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Abstrakt is a collection of photographs selected by Ernst Haas for a two-projector 25-minute film he worked on until his death in 1986. The photographs span his entire career in color from 1952 to 1984. Many of the photographs were shown in Life magazine's first color issue devoted to Haas' 1953 story on New York, "Images of a Magic City," and in his 1962 solo exhibition Ernst Haas: Color Photography at The Museum of Modern Art, the first color retrospective at that institution. The photographs in this book show various abstractions--from street detritus to torn posters and other found objects. Haas considered this project to be the culmination of his work in photography. Ernst Haas was born in Vienna in 1921 and took up photography after World War II. His early work on returning Austrian prisoners of war brought him to the attention of Life, from whom he resolutely declined a job as staff photographer in order to maintain his independence. At the invitation of Robert Capa, Haas joined Magnum in 1949, developing close associations with Capa, Werner Bischof and Henri Cartier-Bresson. He began experimenting with color, and in time became the premier color photographer of the 1950s. In 1962 New York's Museum of Modern Art mounted its first solo exhibition of his color work. Haas's books were legion, with The Creation (1971) selling 350,000 copies. Haas received the Hasselblad Award in 1986, the year of his death. His books to date with Steidl are Color Correction (2011) and On Set (2015).
This book intends to correct the somewhat blurred image of Ernst Haas's color photography which, due to its extraordinary vibrancy, was much in demand by the illustrated press of its time. Haas's color work, published in the most influential magazines and various books in Europe and America, earned him worldwide fame, but at the same time has often been derided by critics and curators as too easily accessible and not sufficiently "serious." As a result, his reputation has suffered in comparison with a younger generation of color photographers, notably Eggleston, Shore and Meyerowitz. However, such criticism usually overlooks the astonishing sensibility of Haas's personal work in color, which constantly but almost invisibly accompanied his commissioned photography and was far more radical and ambiguous. Haas never printed these pictures in his lifetime, let alone exhibit them. With their striking inventiveness and complexity, they firmly stand their ground in the face of the work of Haas's fellow photographers. Due to its enormous popularity, Steidl is now offering Color Correction in a new, unaltered edition.
Color photographs depict the beauty of the elements, the seasons, plants, and animals
A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 is the first publication to deal with the avant-garde in the Nordic countries in this period. The essays cover a wide range of avant-garde manifestations: literature, visual arts, theatre, architecture and design, film, radio, body culture and magazines. It is the first major historical work to consider the Nordic avant-garde in a transnational perspective that includes all the arts and to discuss the role of the avant-garde not only within the aesthetic field but in a broader cultural and political context: the pre-war and wartime responses to international developments, the new cultural institutions, sexual politics, the impact of refugees and the new start after the war.
The first book on master photographer Ernst Haas's work dedicated to both his classic and newly discovered New York City color photographs of the 1950s and 60s. Ernst Haas's color works reveal the photographer's remarkable genius and remind us on every page why we love New York. When Haas moved from Vienna to New York City in 1951, he left behind a war-torn continent and a career producing black-and-white images. For Haas, the new medium of color photography was the only way to capture a city pulsing with energy and humanity. These images demonstrate Haas's tremendous virtuosity and confidence with Kodachrome film and the technical challenges of color printing. Unparalleled in their depth and richness of color, brimming with lyricism and dramatic tension, these images reveal a photographer at the height of his career.
This volume considers the film-stills of Ernst Haas, one of the most accomplished photographers of the twentieth century, transgressing the borders between static photography and the moving image. Haas worked with a variety of directors - from Vittorio de Sica to John Huston, Gene Kelly and Michael Cimino - covering movie genres from suspense (The Third Man; The Train) to the Western (The Oregon Trail; Little Big Man), and from comedy (Miracle in Milan; Love and Death) to musicals (West Side Story; Hello Dolly).
With Building in France, Building in Iron, Building in Ferroconcretre (1928)—published now for the first time in English—Sigfried Giedion positioned himself as an eloquent advocate of modern architecture. This was the first book to exalt Le Corbusier as the artistic champion of the new movement. It also spelled out many of the tenets of Modernism that are now regarded as myths, among them the impoverishment of nineteenth-century architectural thinking and practice, the contrasting vigor of engineering innovations, and the notion of Modernism as technologically preordained.
Wulf Kansteiner shows that the interpretations of Germany's past proposed by historians, politicians, and television makers reflect political and generational divisions and an extraordinary concern for Germany's perception abroad.
This book collects together new architectural photography by Karl Lagerfeld, including the celebrated buildings of Zaha Hadid and Tadao Ando. Central to Lagerfeld's aesthetic are the buildings' architectonic details, and the title Konkret Abstrakt Gesehen (concrete seen abstractly) reveals the basis of Lagerfeld's vision. He sees architecture as not merely functional, but a source of abstract patterns, forms, lines and textures, defined by light in space. Lagerfeld's aim is thus not to document the structures he sees, but to re-conceive them in photographic form.
The posthumous publication of Emmanuel Levinas’s wartime diaries, postwar lectures, and drafts for two novels afford new approaches to understanding the relationship between literature, philosophy, and religion. This volume gathers an international list of experts to examine new questions raised by Levinas’s deep and creative experiment in thinking at the intersection of literature, philosophy, and religion. Chapters address the role and significance of poetry, narrative, and metaphor in accessing the ethical sense of ordinary life; Levinas's critical engagement with authors such as Leon Bloy, Paul Celan, Vassily Grossman, Marcel Proust, and Maurice Blanchot; analyses of Levinas’s draft novels Eros ou Triple opulence and La Dame de chez Wepler; and the application of Levinas's thought in reading contemporary authors such as Ian McEwen and Cormac McCarthy. Contributors include Danielle Cohen-Levinas, Kevin Hart, Eric Hoppenot, Vivian Liska, Jean-Luc Nancy and François-David Sebbah, among others.