WOLFGANG SIEVERS

Contemporary Photographers: Australia

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WOLFGANG THALER

Mep’Yuk

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MY YAZD

Called the “Jewel of the Desert,” Yazd, a city in central Iran known for its ancient wind towers is one of the world’s cultural treasures, though little-known in the West. In 2005, X-CHANGE culture science invited 17 photographers from Iran and six European countries to spend a week in Yazd exploring the city, assimilating their own perceptions and expressing them. This stunning volume is the result of that exploration, and it serves as an engrossing introduction to Yazd and a showcase for this marvelous group of artists. Some focused on the ancient architecture, some on modern commerce in shops and marketplaces, some on the inhabitants of the city; together, their photos build a portrait of a place both timeless and very much of our time. In English and Farsi.

Includes Anita Andrzejewska, Sabine Bitter, Abdolali Hadadian, Edgar Honetschlager, Kourosh Javidi Parsijani, Walter Joebstl, Iosif Kiraly, Ayk Kokcu, Paul Albert Leitner, Ghasem Meamari, Maryam Mohammadi, Walter Niedermayr, Klemens Ortmeyer, Shahrbanoo Sabet Sarvestani, Sara Sasani, Rupert Steiner, Helmut Weber, Babak Zirak.

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VISIONS OF FUJI

An Incurable Malady of Modern Japan

Masahi Kohara

The image of snowcapped Mt. Fuji is the icon of Japan, an object of religious veneration, even a symbol of the nation itself. Yet artists’ views of the sacred mountain have changed with the times, reflecting the mental landscape of the Japanese. This lush exhibition catalog from the IZU Photo Museum traces representations of Mt. Fuji from the mid-19th century to the present day, embracing a wide range of work from early woodblock prints to photos from the 19th-century photo pioneer Beato to contemporary master Sugimoto. Its 300-plus reproductions also include perspectives of the mountain through the eyes of foreigners, both during World War II and in contemporary art.

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ANDREAS ZÜST

Menschen Tiere Abenteuer

Mara Züst (Ed.)

The camera was Swiss photographer-artist-collector Andreas Züst’s (1947–2000) constant companion. On walks through countryside by day or city by night, he kept a photographic diary with his camera, making notes on each subject and event in his almanacs. The first almanac, covering the years 1978–83, is the basis for this new publication, Menschen Tiere Abenteuer (“People Animals Adventures”). Edited by his daughter, Mara, and presented in gritty 1960s documentary fashion with full-bleed, grainy black-and-white images collaged on each page, this book is a diary-like journey into her father’s eccentric life. Züst’s observations of visual phenomena, social ties and contemporary events, presented in chronological order, range widely from Zürich’s Bahnhofstrasse and nocturnal street scenes to patterns in ice and portraits of the artist Anton Bruhin and his own family. This chronological perspective may well be the most revealing approach to the artist and his rather melancholy work.

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MART IN ZELLERHOFF

Taking Up the Motif

When contemporary artist Martin Zellerhoff edits analog photographs on his computer and places them alongside unprocessed analog images, he produces slight interferences that immediately activate the viewer’s comparative memory. He sets out to accomplish by artistic means exactly what the digital image devices can’t provide: a dialogic structure. Zellerhoff (who assisted Thomas Struth for over 10 years and oversaw artistic production for Christopher Williams from 2004 to 2007) crosses the fine line between image and art to question the mechanisms by which cultural value is attributed. This artist book works, according to the artist, “just like my exhibitions,” using the simultaneous viewing of images, sight lines and voids in varying order to stimulate questions regarding image and art and the distinction between concept and craft, technical mastery and artistic skill. With a text by art historian Ursula Panhas-Buhler.

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MICHAEL ZIEGLER

Photography

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MARKO ZINK

Im Kurhotel

The Kurhotel was one of Austria’s most-noted spa hotels of its time. Built in the 1950s, it quickly became the vacation spot of the ’70s. But by 2000, its brilliance began to wane, along with a sudden and still-unsolved abandonment by its owner. The hotel was left completely intact and amazingly still remains in its original state: linens on beds, mid-century modern furnishings in the rooms and curtains still hanging in the windows. This seductive but chilling environment has become the backdrop for Austrian photographer Marko Zink and his new series of work. In addition to images filled with the essence of fleeting moments, four interconnecting short stories written by the artist further lead the viewer into layers of unsolved mysteries and untold secrets. A well-executed artist’s book and nontraditional record of the exhibition, the volume includes texts by Bettina Schulz, Günther Oberhollenzer and Andreas Stadler.

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