Stephanie Kloss

Weltausstellung

The photographs and essays in this combination artist book and monograph reveal the invisible histories of human enterprise, idealism and trauma embedded in the work by Berlin artist Stephanie Kloss. Eight bodies of work in black and white and color made in locations as diverse as Israel, Japan, the United States, Germany and Greece, from 2006 to 2014, explore the mythos and utopianism of architecture. An idyllic Canary Island bears scant traces of Otto Muehl’s Actionist commune and sexual crimes; the mute currents of the Mississippi Delta belie its devastation first by Hurricane Katrina and subsequently by the BP oil spill. The commonality—and one could say, colonization—of modernist architectural form rather than the peculiarities of place, nation or time seems to attract her lens. In Weltausstellung, Kloss speaks a collective photographic language that warns against the ease—and peril—of forgetfulness.

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ROLF KOPPEL

Basement Arcade

German-born American photographer Rolf Koppel creates an artist’s book with his own technique of fusing traditional black and white photographs (shot on film) with photograms, to make a lyrical and personal fantastic voyage. Koppel, whose work has been shown at the Los Angeles County Museum of Art and other venues throughout the United States and Europe, uses himself and his spouse, Will, as nude models for this work. He adds simple natural light and ordinary household objects for photograms. Basement Arcade is a journey of imaginative scenarios that also comments on the nature of photography and perception. While the work seems on one level to be the erotic musings of an individual, it also has a gripping universality.

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Katrin Korfmann

ENSEMBLES ASSEMBLED: IN FULL COLOR.

Dutch photographer Katrin Korfmann could never make her monumental aerial photographs without being suspended in a crane above each tightly curated location she selects. The locations are determined by her need to record a sea of humanity congregated in one spot such as Fool’s Day festival in Ibi, Spain, where the community throws flour and eggs and shoots fire extinguishers at each other. Fluorescent colors are added over the writhing content, creating a psychedelic surface that at first glance seems decorative, but at closer inspection, comes alive with human bodies. The works are a fluid mix between social realism and euphoric abstraction. The hybrid artist book/ exhibition catalogue is designed as one long Japanese fold-out inviting close examination while still representing the complete series. Art in America critic Gregory Volk and curator Freek Lomme contribute texts discussing the production, reception and context of the work. Another exceptional artist’s book produced by Onomatopee!

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Nina Korhonen

Rewind
The Photographs

Memory and history, and all they evoke, are the subjects here for Swedish-American photographer Nina Korhonen in this third volume of her powerful personal trilogy. Korhonen examines issues of identity and self-discovery, continuing and uniting the tales she has been telling of her life and her family, especially about her childhood, and the lives of her mother, grandmother and other female role models. The self-portraits and the family scenes, all beautiful color images, blend once again into an emotionally charged work which draws its strength from subtle feelings of love, death, joy and pain.

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JAN KOSTER

Dutchscapes

Dutch landscape photographer Jan Koster first became known for his innovative river landscapes, for which he turned the camera 120 degrees around one point and created stunning panoramic scenes. For the new work featured in “Dutchscapes,” Koster abandoned the panoramic format, systematically covering the Dutch coastline in single mammoth images, documenting the dunes, sea, and dikes. The end result of this lengthy foray along the Dutch coast is an overwhelmingly serene and visually spacious series of photographs. As quoted by art historian, Merel Bem, Koster’s monumental photographs should be viewed not only in photographic terms but also as an extension of the Dutch landscape painting tradition.

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Paul Kranzler

Land of Milk and Honey

The title can only be meant ironically as photographer Paul Kranzler tells the story of his elderly neighbors, Toni and Aloisia, living out their days in their one-room subsidized apartment. The deeply empathetic photos document the subjects’ bewilderment at slipping out of the middle class due to forces beyond their control. “The main challenge of Kranzler’s photographs is [his] determination to keep nothing at arm’s length,” writes an admiring critic of the young Linz-based artist, who tries to make himself a participant rather than clinical observer of the lives he shoots. Kranzler is a true 21st-century heir to the great Social Realist photographers of the past.

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PAUL KRANZLER

Brut

Austrian photographer Paul Kranzler is a storyteller. In his acclaimed books Land of Milk and Honey (2005) and Tom (2007), Kranzler applied his socio-documentary style to tell ruthless yet sensitive stories of people and environments in rural Austria. In Brut, Kranzler turns his lens on his own family, choosing 120 images from among the thousands he has taken of his family since 2004, and providing revealing captions about family history and the realities of everyday life. “In the living room my father likes to show slides he took in the States in the 1970s,” writes Kranzler. “He says that the town of Traun is Austria’s equivalent to Los Angeles, and he’s not wrong.” Once again, this influential photographer creates an atmosphere in which intimate images emerge.

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PAUL KRANZLER

Kyle, Britney, Christina, Pamela, Pink and SYNDICATE 18

Rainer Iglar & Michael Mauracher (Eds.)

The new two-volume photo-book project by Austrian photographer Paul Kranzler (b. 1979) focuses on youths and young adults searching for identity in a world caught between regional tradition and global media patterns. Taken in Upper Austria, Kranzler’s almost 100 color and black-and-white portraits are undisguised and intimate. Essays by legendary drummer and lyricist Marcus Binder evoke the stories behind the images, adding a literary dimension to the publication. An added feature and published for the first time in the accompanying magazine, SYNDICATE18, are photographs Kranzler took of his friends and himself when he was the age of his subjects from the 1990s to 2013. Conceptually the complete project is a reexamination and evaluation of Kranzler’s archive, Kranzler’s self-portraits when he was a youth allowing us to compare photographer and subject at the same age. The title, SYNDICATE18, derives from the name of rapper Ice-T’s record label and stands for both the average age of the young people being portrayed and the period over which the photographs were taken. Kranzler’s fourth book with publisher Fotohof.

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Paul Kranzler

Tom

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MIKI KRATSMAN

All About Us

Argentine-Israeli photographer Miki Kratsman uses his camera to make daring and original explorations of the human condition in one of the most complicated situations on earth: the Israeli-Palestinian conflict. This heartbreaking catalog presents Kratsman’s photographs taken when he lived in the Negev desert with the Bedouins, a minority of the Arab minority in Israel. Kratsman documents the forced evacuation of the Bedouins from their homes and the subsequent demolition of their village by the Israeli government. Awarded the 2011 Robert Gardener Fellowship in Photography by the Peabody Museum of Archaeology and Ethnology in Cambridge, Massachusetts, Kratsman makes images that surpass ordinary socio-documentary work.

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