Nikolaus Schletterer

Places Gaze Landscape

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MICHAEL SCHMIDT

Lebensmittel

Photographer Michael Schmidt’s latest obsession is the mechanized, industrialized food system of contemporary Western culture. Using his trademark style combining social documentary and urban topographics, he explores the fascinating topic of how we feed ourselves, from the farm to the table (or the fast-food restaurant). This impeccably produced book, clothbound, embossed and slipcased, is a series of images only – no text – that looks at the processes and residue of the food system in Europe. The images are arresting, and the subject matter urgent, whether it’s a huge pile of discarded food or the details of turning nutrition into big business.

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Michael Schmidt

Irgendwo

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IWAN SCHUMACHER

1972—At Home and on the Way

In early 1972, Swiss filmmaker Iwan Schumacher (b. 1947) bought a Canon half-frame camera while teaching photography at an art school in South London. The small camera accompanied him everywhere he went for a year, resulting in a visual diary which strangely anticipates the way we take cell phone pictures today. His subjects include portraits of young friends and co-workers whose moods see-saw between elation and melancholy, a mother with her children and a portrait of Alfred Hitchcock along with dreamlike landscapes and light abstractions seen through car or train windows. Schumacher takes us on a very personal visual journey through his 124 pictures edited from the 3,000 images recorded throughout 1972. Ironically, after that year, he abandoned photography for a career in filmmaking. Schumacher’s early use of filmic sequencing engages the viewer in a very personal narrative of moments and memories frozen in time.

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Valentina Seidel

Exchange: Portraits with Artists

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MOTOHASHI SEIICHI

Sense of Place

Yoko Mori (Ed.)

For over a half century, Japanese sociodocumentary photographer Motohashi Seiichi (b. 1940) has combined still images and filmmaking to capture and investigate subjects ranging from Japanese coal miners to city street scenes, along with three comprehensive books and two documentaries on Chernobyl. This first-time in-depth retrospective of Seiichi’s career at the IZU Photographic Museum, Japan, and the expansive exhibition catalog covers nine bodies of work, from 1960 to 2014. Seiichi’s oeuvre brings to mind the work of internationally recognized Japanese photographers Daido Moriyama and Shomei Tomatsu, but once immersed in Seiichi’s graphically raw black-and-white investigations, one sees a unique and brilliant vision emerge. Highlights include two unpublished early series, Ofuyu and Yoron, along with noted series The Coal Mine, Ueno Station, Slaughterhouse, Performance East and West, Circus, Chernobyl and a new work, Arayashiki. A detailed artist’s chronology along with a complete title list of all 260 full-bleed black-and-white images assist in tracking this fascinating artist and career.

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SEISMIC SHIFT

Lewis Baltz, Joe Deal and California Landscape Photography, 1944 – 1984

Colin Westerbeck

The now-legendary 1975 New Topographics show represented a true “seismic shift” in American landscape photography, moving past the romantic legacy of Ansel Adams and Edward Weston to the minimalist-influenced work typified by Lewis Baltz and Joe Deal. This catalog of 2011’s Seismic Shift exhibition offers a comprehensive narrative of California photographic history made by the 43 featured artists; it includes 58 reproductions (mostly black-and-white) and essays by curator Colin Westerbeck, photographic historian Susan Laxton and regionalist Jason Weems. The exhibition is one of over 60 funded by the Getty Research Institute’s initiative looking at Southern California art 1945-1980, called Pacific Standard Time.

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Günther Selichar

Third Eye

Martin Hochleitner

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SHIRANA SHAHBAZI

First Things First

Andreas Fiedler (Ed.)

First Things First catalogs a stylized selection of images from Zürich-based Iranian photographer Shirana Shahbazi’s (b. 1974) various series created over the last decade and exhibited at the KINDL Berlin (2017). The 47 color photographs comprising this slender publication are not categorically or linearly organized but free of hierarchy. Shahbazi embraces a wide variety of photographic styles, subjects and techniques using various traditional photographic printing processes, and displays them together on each page to create a dynamic visual journey that bridges the real and the subliminal. Fruit and flower still lives are placed alongside unspectacular landscapes, casual urban scenes alongside geometric shapes and colored compositions in contrast with black-andwhite images. Shahbazi’s color-saturated images alternate between abstraction and representation. Seen together, they highlight similarities between pictures from different genres and point to structural parallels between inside and outside, organic and manufactured and natural and constructed landscapes. Brief essays by writer/critic Jens Asthoff and KINDL artistic director Andreas Fiedler.

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MICHELE SIBILONI

Fuck it

Kabalangala, Kampala—Uganda’s most deliciously sleazy bar district, described by a Peace Corps volunteer as “Tijuana on acid”—is rendered by Italian photojournalist Michele Sibiloni in an intense photo-book of full-bleed portraits of streetwalkers, good time girls, vagabonds, pimps, drunken expats, drunken locals, drunken everybody, underpaid guards, overworked bouncers, all kinds of cops, NGO workers and back-alley exorcists. In 1986, the country emerged from 70 years of exploitative colonial rule, followed by a seven-year dictatorship and an eight-year civil war, to successfully present itself to the international community as a responsible, progressive site for aid and development. The rich, pungent variety of color images in this book will elicit a range of reactions: pity, disgust, uncertainty, titillation—natural responses to such beautiful horrors. Sibiloni’s work has been published in the New York Times, British Journal of Photography, Washington Post, Wall Street Journal, Le Monde, M magazine, Wired UK, Al Jazeera and others.

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