All posts filed under: Color

Claudia Andujar: Tomorrow must not be like yesterday (Kerber, 2017)

Claudia Andujar, born in Neuchâtel, Switzerland in 1931, dedicated her life to photograph the Yanomami, an Amazonian community with little contact with the outside world. This publication was published in conjunction with the same-named exhibition at the MMK Museum für Moderne Kunst Frankfurt/Main (18.2. – 25.6.2017).

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Peter Granser: Coney Island (Hatje Cantz, 2006)

Peter Granser, who lives in Stuttgart, Germany, commutes to the U.S. for work: his two previous books of photographs, Sun City (2003) and Alzheimers (2005) observe aging and illness among preternaturally prosperous and tan American retirees. Coney Island brings his gaze to an outpost of retro beach culture and economic decay that may be better known in Europe than at home.

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Sarah Moon: Now and Then ( Kehrer Verlag, 2016)

With a special focus on the film works, for the first time ever the oeuvre of the photographer Sarah Moon was presented as a retrospective in the House of Photography at the Deichtorhallen in Hamburg.The exhibition was accompanied by this catalog published by Kehrer Verlag, edited by Ingo Taubhorn and Brigitte Woischnik

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Gillian Wearing and Claude Cahun: Behind the mask, another mask (National Portrait Gallery, 2017)

This book accompanying an exibition at The National Portrait Gallery ( brings together for the first time the work of French artist Claude Cahun and British contemporary artist Gillian Wearing. Although they were born almost seventy years apart and came from different backgrounds, remarkable parallels can be drawn between the two artists. Both of them share a fascination with the self-portrait and use the self-image, through the medium of photography, to explore themes around identity and gender, which is often played out through masquerade and performance.

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Boris Mikhailov: Yesterday’s Sandwich (Phaidon, 2008)

This is the first book on the famous Russian photographer Boris Mikhailov’s fascinating early body of work entitled the Superimposition series. In this series from the late 60s to early 70s, he has overlayed two colour slides, creating fascinating “sandwiches”, i.e beautifully composed tableaux of glamorous naked women, surreal urban landscapes and strange scenes of everyday Soviet life.

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Allan Sekula: TITANIC’s wake (Camera Austria, 2003)

Die vorliegende Publikation stellt Sekulas Arbeiten “Dear Bill Gates” (1999), “TITANIC’s wake” (1998 – 2000) und “Waiting for Tear Gas” (1999/2000) in den Zusammenhang dieses “kritischen Dokumentarismus”, dessen Hintergrund in der für ihn typischen Verbindung von Fotografie und Essay, Konzeptkunst und kritischem Journalismus besteht.

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