Steidlville

Arthur Ross Architecture Gallery, Buell Hall
8 April - 5 May, 2011
Arthur Ross Architecture Gallery, Buell Hall
Graduate School of Architecture, Planning and Preservation
Columbia University, NYC

Galerie Nordenhake
25 March 5 - 7pm
Galerie Nordenhake, Hudiksvallsgatan 8, Stockholm

Thomas Demand Nationalgalerie, Roe Ethridge and Jim Goldberg Open See have been shortlisted for the Deutsche Börse Photography Prize 2011.

Nationalgalerie brings together Thomas Demand’s work of the last 15 years which is rooted in German imagery. Demand examines the “Deutschlandbild”, the ‘German image’ in photographs from a variety of scenarios in the post-war period. From a selection both known and new of key images of decisive political events and private moments Demand offers a kaleidoscopic vision of a society.

Steidl at Paris Photo:

Stand E30 Salle Soufflot

Open daily from 11.30am
Le Carrousel du Louvre
99 rue de Rivoli
75001 Paris, France

For details of new and upcoming Steidl Editions and to download our Steidl Editions catalogue please click here

A selection of works from Elemental by Susan Derges is currently on show at London's V&A Museum.

From 1980–86 Derges lived and worked in Japan, introducing the influence of Japanese minimalism which she combined with her discovery of ‘camera-less’ photography techniques. Her first major series, Chladni Figures, was created by sprinkling powder onto photographic paper made to vibrate with sound, making visible the shapes of invisible sound waves. Subsequent series continued to explore hidden forces and cycles of nature and her most frequently recurring subject is water. She captures the interference patterns in flowing rivers, the energy of waterfalls and breaking waves and the states of water from ice to cloud, from the solid to the intangible. Derges often uses the landscape at night as her darkroom. She submerges large sheets of photographic paper in rivers and uses the moon and flashlight to create the exposure. These images can appear abstract from a distance yet highly descriptive when seen close up. They confound a sense of orientation, questioning what is above or below and implying a dialogue between the microcosm and the macrocosm, or matter and spirit.

We are pleased to announce an exhibition of works from Yves Marchand and Romain Meffre's The Ruins of Detroit

“Ruins are the visible symbols and landmarks of our societies and their changes, small pieces of history in suspension. The state of ruin
is temporary by nature, the volatile result of the end of an era and the fall of empires. This fragility, the time elapsed but even so running
fast, lead us to watch them one very last time: being dismayed, or admiring, wondering about the permanence of things. Photography
appeared to us as a modest way to keep a little bit of this ephemeral state.”

Ernst Haas is unquestionably one of the best-known, most prolific and most published photographers of the twentieth century.

Parallel to his commissioned work Haas constantly made images for his own interest, and these pictures show an entirely different aspect of Haas’s sensibility: they are far more edgy, loose, complex and ambiguous – in short, far more radical than the work which earned him fame. Haas never printed these pictures in his lifetime, nor did he exhibit them, probably believing that they would not be understood or appreciated. Nonetheless, these works are of great complexity, and rival (and sometimes surpass) anything done at the time by his fellow photographers.