Juergen Teller is globally recognised as one of the most influential photographers of his generation. Subversive, compelling and provocative, his work has achieved a cult-like following in a career spanning more than 30 years. This book documents Telle …

WOLFGANG TILLMANS 2017 – LONDON, TATE MODERN – Catalogue by Chris Dercon, Helen Sainsbury & Wolfgang Tillmans. London 2017. 16 x 24 cm. 320 S. mit farb., teils doppelseit. Abb., Chronologie, Index, broschiert.

24 Pages 11.2 x 17.8 cm b/w Offset First Edition 2007 ISBN 978-3-905714-20-3

STILL is an independent magazine featuring inventive writing and photography. The artists published by the magazine challenge creative conventions in form or content and include an eclectic range of creators working in fiction, nonfiction, poetry, essa …

VANDALS is an only content book/magazine. Straight to the point: No comments, no small talk… It is not another waiting room magazine, something you look at before getting a tooth removal. VANDALS is not a niche dark magazine, it’s just an eyes-wide-o …

Published by Conveyor Editions, 110 pgs, 27.5 × 22.5 cm, Softcover, Spiral Bound, 2016,

68 pp. 52 colour images thread-sewn softcover Leipzig April, 2017 ISBN: 9783959051071 Edition Number: 1 Width: 21 cm Length: 29.7 cm Language(s): German CO-DESIGNER Markus Dreßen AUTHOR Stefanie Pretnar DESIGNER Stefanie Pretnar

Since first coming to prominence 10 years ago, Ryan McGinley has ushered in a wholly new language of photography: images that are uniquely grounded in our contemporary moment while simultaneously evoking an idyllic timelessness. In this new volume, Rya …

The first book to examine Ryan McGinley’s early photographs and Polaroids—raw, visceral portraits of his coterie of friends and artists in downtown New York City. Published to accompany an exhibition at Museum of Contemporary Art Denver, Ryan McGinley: …

What do people do, if they are out in the street? Reading? Waiting? Can we recognize the inhabitant, the stranger, the traveller by his actions and deeds in an urban setting? This is the premise of Johannes Schwartz’s exploration, which was set in Athe …

Batia Suter’s work intuitively situates found images in new contexts to provoke surprising reactions and significative possibilities. This volume follows on from the first ‘Parallel Encyclopedia’, published in 2007. Underlying themes of Suter’s practic …

Seit dem 19.Jahrhundert gehören Plakate zum Bild der Städte. Die frühesten davon sind Anschläge reisender Zirkus- und Schaustellertruppen. Pierre Pané-Farré hat Plakate des Leipziger Druckers Oskar Leiner mit historischen Fotos der Stadt zu einem Buch …

LE PETIT VOYEUR is an independent publisher from Copenhagen, dedicated to showcase and promote an eclectic mix of talented and creative visual artists worldwide. The main focus is on the featured artists works and their craftsmanship across genres, tec …

OPEN DAG / OPEN DAY A book documenting the indoor walls of the Werkplaats Typografie. All photos are taken on November 13 & 15, 2012. Concept, Design & Photography Bardhi Haliti

The archive of the Photo Service of the President of the Socialist Federal Republic of Yugoslavia contains nearly 300,000 photographs documenting Josip Broz Tito’s public and private activities from 1948 until his death in 1980. It is housed today in t …

Paul Mpagi Sepuya’s Studio Work collects formal portraits, snapshots, still-lifes and documentation of the studio space, created during his residency at the Studio Museum in Harlem from 2010–2011. The artist writes: “I am exploring how the studio environment, as the site of creation, editing, and accumulation affects and frames portraiture, and the performance of portraiture.”

Any Part, Any Form is a follow-up to London-based graphic designer Radim Peško’s Informal Meetings (2010), a collection of photographs made during travels and wanderings to different places. This volume brings back found compositions and situations where seemingly unremarkable encounters between space, architecture and water suggest their own stories.

New edition, 2015 Text in English only Paperback 196 pages, 150 color and 22 b/w illustrations 20 x 26 cm ISBN 978-3-85881-764-8

Edgar Leciejewski spent six months as an artist-in-residence with Fogo Island Arts in 2014. Tones brings together new work stemming from the Leipzig-based artist’s time on the island, including large-scale collages, photographs of natural elements, and precarious sculptures composed of objects found on the shore. Taken together the works are a collection and an archive of time shown in modern images, raising questions on how we contemplate ideas of nature. This publication features essays by Bill Arning and Zoë Gray, as well as a conversation between the artist and Nicolaus Schafhausen.

Addressing ideas of ethnicity and identity, Port Yarin serves as a visual documentation of a fictional town, a home to the wandering souls of the racially ambiguous, third culture kids of the world. In and around the collated cityscapes and landscapes are the subjects, swathed in the glow of dusk and neon lights, haunted by a sense of foreboding; in many ways reflecting the feeling of unrest faced by minority groups in the political world today. Port Yarin is about embracing the melting pot of influences that form our construct of ethnicity, forging a new future identity.

In the last ten years, the Dutch photographer Erik van der Weijde has been responsible for over fifty publications: these include not only slim photozines and simply produced brochures but also voluminous cloth-bound books — many of them distributed via his own publishing house 4478ZINE. This Is Not My Book provides for the first time an overview of his work, which constitutes one of the most important artistic positions at the interface between photography and independent publishing. The book uses large-format representations to show the lines of connection between the individual publications. It also contains van der Weijde’s 4478ZINE publishing manifesto and other texts as well as five conversations with the publishers Anne König and Jan Wenzel. This Is Not My Book indicates a full stop, an act of punctuation set down by the author with his published work.

Edition Bauhaus 46 When Dessau was bombed in early 1945, the Director’s House and Moholy-Nagy’s Master House were reduced to rubble as well. After the Dessau Masters’ Houses – epitome of the 20th-century artists’ colony – had been restored to their original state in the 1990s, a debate began on the reconstruction of the two houses destroyed in the war. In 2010, after consultation with the British star architect David Chipperfield, the decision was made to recreate the Master Houses of Gropius and Moholy-Nagy using contemporary means, rather than rebuilding them 1:1. And so they have now been reconstructed on the basis of designs by the Berlin firm Bruno-Fioretti-Marquez, as innovative reductions and abstractions of the original houses. This volume describes the chequered history of the Dessau Masters’ Houses, presenting the reconstructed buildings for the first time in book form, with photographs by Armin Linke and Heidi Specker.

In the summer of 2015 writer Roman Ehrlich and photographer Michael Disqué visited the German army base Camp Marmal in Mazar-e Sharif in Afghanistan. Their aim was to portray the life of the soldiers in the camp without falling back on the standard narratives of journalistic reportage. At the heart of the book are the structures that the soldiers have created for themselves and the interaction between the camp’s architecture and its inhabitants; the extreme artificiality of the living environment; and the civilian aspect of life there that extends throughout the camp in spite of it being a military organization. Derived from a term used to mean the battlefield, Theatre of War represents all the aspects of “staging” that determine warfare — depicted here first and foremost in its most banal form: the everyday life of the camp as seen in its offices, workshops, and accommodation areas, in its utility hubs and kitchens, as the war’s employees occupy their time waiting and contemplating.

The Militant Image Reader versammelt acht sehr verschiedenartige Texte von TheoretikerInnen und KünstlerInnen aus Europa und Nordamerika, die über das gegenwärtige Verhältnis von künstlerischer Repräsentation und sozialen Veränderungen spekulieren. Die Publikation lässt sich auf das militante Bild ein, ohne es definieren zu wollen – möglicherweise vergänglich, flüchtig, flüsternd und am Rande der Sichtbarkeit zirkulierend, zeigt das militante Bild dennoch, dass neue Voraussetzungen der Bilder auf die radikal ungleichen Voraussetzungen der Gegenwart reagieren müssen.

In »Dialogues« führt die in Brüssel lebende deutsche Künstlerin Stephanie Kiwitt zum ersten Mal verschiedene Arbeiten der letzten Jahre, die sie in Form von Publikationen und Ausstellungsprojekten realisiert hat, in einem gemeinsamen Kontext zusammen. Neue Anschlüsse von Bild zu Bild entstehen, die es so nie gegeben hat, jedes neue Bild ist ein Sprung in der Zeit und im Raum, zwischen Belgien und Marseille, Prag und Gent … Oder handelt es sich eher um Kollisionen, denn um neue Anschlüsse? Anschnitte, Ausschnitte, Bilder, die über ihren Rand hinausreichen, die weiterführen, woanders hinführen – vielleicht in ein anderes Bild hinein? In besonderer Weise gelingt es Stephanie Kiwitt, ihre Bilder, Serien und Bücher an einer Grenze anzusiedeln, an der eine Beschreibung etwas eröffnet und ermöglicht, anstatt es auszuformulieren und abzuschließen, eine Grenze, an der die Bilder etwas zur Verfügung stellen anstatt es zu demonstrieren. Diese Öffnung ereignet sich nicht ohne zutun, sie muss in Gang gesetzt werden – durch Bilder, die nicht zufällig entstehen und auch nicht beiläufig, die aber nicht so tun, als wüssten sie es immer schon besser, Bilder, denen eine Zurückhaltung eigen ist, durch die sie einen Dialog eröffnen, sowohl zwischen den Bildern selbst als auch mit ihren BetrachterInnen.

Disobedient Bodies: JW Anderson at The Hepworth Wakefield has been published alongside the exhibition of the same name, curated by JW Anderson and opening The Hepworth Wakefield in March 2017. The book – made in a close collaboration between Jonathan Anderson, Andrew Bonacina and OK-RM – acts as an alternative exhibition space in which the pairings and combinations that unfold within The Hepworth’s galleries come in to play with images from Anderson’s collaborative photographic projects with Jamie Hawkesworth. The book object comprises a series of interleaved sections amassing 142 pages and featuring works by Barbara Hepworth, Henry Moore, Constantin Brancusi, Eileen Gray, Sarah Lucas, Jean Paul Gaultier, Christian Dior, Helmut Lang and many more, alongside contributions from Anderson’s own collections.

In seinem Atelier legt Tillmans zur Übersicht Bilder auf langen Tischen aus, bevor sie an der Wand oder im Buch ihren Platz finden. Diese Arbeitsweise wird hier zum Konzept, das Buch zur Installation: In Manual ordnet er eigene Photographien, malerische Arbeiten und Texte sowie vorgefundene Zeitungsartikel zu einer assoziativen Gesamtschau an. Das Material verdichtet sich so zu einer komplexen künstlerischen Auseinandersetzung mit unterschiedlichen sozialen und politischen Themen, die der Künstler seit Jahren verfolgt. Tillmans schafft damit eine überzeugende Ergänzung zu seinen rein photographischen Arbeiten. Für Wolfgang Tillmans sind Installation und Präsentation seiner Arbeit ebenso wichtig wie die Arbeit selbst. Mit Manual assoziiert er ein “Handbuch” für die Erforschung der sichtbaren Welt. Es versteht sich aber auch als “Anleitung” zu Tillmans’ Oeuvre, als Kompendium, in dem der Künstler seine persönliche Sicht auf die eigene Arbeit vorstellt.

The mid-1960s witnessed a boom in underground and selfpublished works. Hectographs, mimeographs, and offset printing not only allowed for the production of small, lowcost print runs but also promote a unique aesthetic: using wild mock-ups, »messianic amateurs« combined typescript aesthetics, handwriting, scribbled drawings, assemblages of collaged visuals, porn photos, snapshots, and comic strips. The typography consciously frees itself, in parallel to a liberalization of linguistic and visual forms of expression in the name of a new »sensibility«. This book (which appears in conjunction with an exhibition at the Weserburg in Bremen) is the first to present the underground and self-published works that came out of West Germany in such depth, while also showing the internationalcontext in which they emerged: not as an anecdotal history but as an attempt to tap into the aesthetic cosmos of a Do-It-Yourself rebellion, one that also challenges us to take a new look at the current boom in »independent publishing«, the risograph aesthetic, and so on.

With the publication Metafiction, we pay a tribute to the many renowned artists with whom we have worked over the past 25 years including Blommers/Schumm, Anne de Vries, Freudenthal/Verhagen and Jaap Scheeren.

Im April 2013 begaben sich die Fotografen Nico Krebs und Taiyo Onorato – sie arbeiten seit zwölf Jahren zusammen – in einem Toyota Landcruiser Jahrgang 87 auf eine Reise in Richtung Osten. Die ungefähre Route war mit dem Finger auf der Landkarte abgefahren, ebenso der erhoffte Endpunkt der Reise bestimmt: Ulaanbataar, Hauptstadt der Mongolei. Eine richtige Expeditionsreise: ein Aufbruch ins mystische Reich des Ostens, Eurasia, Zentralasien, die Ausläufer des Himalajas, die Wälder Sibiriens, die Stan-Republiken, die gigantische Weite der ehemaligen Sowjetunion. Ein riesiger Kontinent, eine Landmasse, von der nur sehr wenige Bilder in unseren Köpfen verankert sind, zumindest keine klaren, definierten, eher ein Nebel aus Historie und Weltpolitik. Krebs und Onorato begaben sich auf die Suche nach diesen Bildern, sie wollten sie reproduzieren, sie selbst kreieren. Continental Drift ist ein Trip entlang der Grenzen der Dokumentation und Fiktion eines unbekannten Terrains und seiner möglichen Vergangenheit und spekulativen Zukunft. Zentral waren die Momente des absolut Fremden, Unzugänglichen, Bizarren gepaart mit einer beeindruckenden Offenheit und Gastfreundschaft, die sie noch nie so ausschweifend erleben durften und in spürbarem Gegensatz zu ihrer letzten Reise durch die Vereinigten Staaten steht (The Great Unreal, bereits in dritter Auflage in der Edition Patrick Frey erschienen). Viele der durchquerten Länder und Regionen befinden sich in einem Wandel: Irgendwo zwischen Jahrtausend alter Tradition und Historie, post-kommunistischer Standortbestimmung, religiösen, territorialen, ethnischen Wirren und dem dringenden Wunsch nach Anschluss an den globalen Turbokapitalismus – die Suche nach Identität ist spürbar. Diese Suche und auch Verwirrung widerspiegeln sich in Continental Drift.

leipzig, 2016

Seiichi Furuya’s Dresden photographs from 1984/85 are a most unlikely document — a view of daily life in the latter days of the GDR recorded by a Japanese photographer, who had been a major player in the photography scene in Austria since the beginning of the 1980s. Furuya came to Dresden as an interpreter for a Japanese construction company. His pictures are private — a young family in an intimate setting, their deep-seated anxieties and moments of happiness — and it is more in passing that he records everyday life and society. His view from the outside, a stranger’s way of seeing things, has no equivalent in the art photography of the GDR. In 2015 an exhibition project brought Furuya back to Dresden, where he took a series of new pictures: photographs of familiar places, onto which capitalist life has now inscribed itself, thirty years on, and of the Pegida demonstrations that have completely transformed the image of the city.

Newspaper was started in 1969 by Steve Lawrence, and it ran for nine issues till 1971. It was a small press publication that spotlighted work by figures of the Downtown NY scene. A pivotal publication for the time, Newspaper was a product of the conceptual art movement and an emphasis on media systems and subversion. In 1970 it was part of the Information show at MoMA — widely acknowledged as the first large survey on conceptual art. Over the years and after the AIDS crisis, Newspaper was lost and Steve Lawrence's work faded into obscurity. In researching the original, NEWSPAPER has been inspired to make a call for the return of the transgression of earlier queer forefathers — an intellectual awareness, openness and love deeply informed by countercultural thinking. It is an exercise of looking back in order to move forward. As particular queer images of beauty, body, consciousness, and identity have emerged in mainstream visual culture and media, damage has been done. Over time they have established themselves in most media. This will be a space for artists, living and dead, that loudly or quietly promote an investigation or redefinition of these images in order to express their own sensibility.

Hollywood, 1927. California, 1927. America, 1927. The world, 1927. It was a year like any other year — brim-filled with chaos and calamity, success and sensation — the minutia of everything and nothing. When we broke proverbial ground on Ace Hotel Downtown Los Angeles, we re-animated a strange and special part of Los Angeles' story — a historic compound built in 1927 by the newly founded independent United Artists. We asked celebrated film and art director Mike Mills to create the art for all of the guest rooms in our new hotel, he designed a webwork of pieces highlighting the events of that fateful year — with the work in each individual room contributing to a sweeping property-wide narrative. We've bound these micro-stories together into a special yearbook — cataloging both Mill's elegant work, and the year that long-ago was.

Fallschirmspringende Hunde, ferngesteuerte Haie, Raketen, die von Tauben gelenkt werden, Katzen mit implantierten Abhörgeräten : In diesem Buch geht es um Tiere, die der Mensch zu Kriegsteilnehmern gemacht hat. Die militärische Nutzung von Tieren spielt seit Anbeginn der Kriegsgeschichte eine entscheidende Rolle. Tiere sind ständige Wegbegleiter, jedoch keineswegs ebenbürtige Partner der Menschen. 32 erstaunliche, skurrile und bizarre Tiersoldaten dieses Buches zeigen, dass der Mensch keine Grenzen kennt, wenn es darum geht, sich gegenüber dem Feind einen Vorteil zu verschaffen. Woher kommt die Selbstsicherheit, mit der der Mensch sich die Fähigkeiten der Tiere zunutze macht ? Welche Konsequenzen hat das für Mensch und Tier, und wie und warum gerät der Vormachtsglaube der Menschen gerade zu Kriegszeiten ins Wanken?

Photographs taken by Ari Marcopoulos in Rome (February – March 2016), and Malibu (August 2016). With a text contribution by Kara Walker. “Rome. (…) Here, no image or structure is complete without symbolic framing devices, which also require framing devices, and so on. Ad infinitum. Malibu. Rockstars and fallen rocks and the edge, here is where the European conquest of the New World meets its fountain of youth endgame. We have reached the end, and it is vast.”

Format: Softcover Publikationsstatus: erschienen Seitenanzahl: 86 Abmessungen: 18 × 30 × 1 cm Einband: Klebebindung

Celebrating twenty years of an agenda-setting powerhouse of contemporary style, design, and popular culture. Celebrated for discovering and promoting new artists, musicians, designers, and filmmakers, Dazed & Confused magazine has been a barometer of popular style and culture since its founding in London in 1991 by Jefferson Hack and the photographer Rankin. Edited by its founders, this daringly illustrated book immortalizes the magazine’s most enduring features, from legendary photo shoots and iconic covers to controversial interviews, and supplements them with outtakes, ephemera from the editors’ offices, original artwork, and contributions from the photographers, designers, and artists behind it all.

Photography by Andrzej Steinbach Edited and designed by Études Studio, Paris Published by Études Books Image post production by Janvier First edition, 300 copies November 2016, printed in EU ©2016, Études Books for this edition and Andrzej Steinbach for the images with the courtesy of Galerie Conradi.

Dieser Band ist die definitive Monographie zum Werk von F.C. Gundlach (*1926), einem der bedeutendsten deutschen Modefotografen der Nachkriegszeit. Vier Jahrzehnte lang hat Gundlach in seinen Bildern Mode in Szene gesetzt und damit selbst ein Stück Modegeschichte geschrieben – die Geschichte der Kleidung, aber auch der Posen und Gesten, Requisiten und Locations, der Schönheitsideale in ihrem Wandel. Daneben entstanden einfühlsame Porträts und Reportagen, Aufnahmen im Stil der subjektiven Fotografie sowie Reiseaufnahmen. Seinem Selbstverständnis nach war F.C. Gundlach stets Fotograf im Auftrag. Tätig für auflagenstarke Zeitschriften, hat er die Wahrnehmung von Mode geprägt. Umgekehrt reflektieren seine Arbeiten in Schwarzweiß und Farbe den Geist ihrer Zeit – vom Optimismus der kargen Nachkriegsjahre über die Op- und Pop-Ästhetik bis hin zur anbrechenden Postmoderne. Dass seine Bilder auch isoliert bestehen können, belegt ihren ästhetischen Rang. Besichtigt wird ein Lebenswerk zwischen Dokument und Erfindung, Dienstleistung und künstlerischem Anspruch.

Photography is a peculiar medium, an idiosyncratic mix of strengths and weaknesses. It is extremely good at documenting our everyday reality, and yet it is only capable of capturing the mute surface of our world. It merely shows the external appearance of things, not their essence. This is a question of interpretation, a matter for the viewer’s discretion. To compensate for this failing, photographs are mostly presented in an explicit context, often with explanatory captions. Tillesen’s “superficial images” also document our everyday reality, in combination with titles that seem to offer an explanation of their content. But on closer examination it becomes clear that neither the photographs nor the captions are reliable. The book appears in conjunction with the solo exhibition Peter Tillessen — Superficial Images, Centre de la photographie Genève, 25, November 2016 to 22, January 2017.

Dies ist die erste ausführliche Darstellung von Geschichte, Einflüssen und Wirkungen der ‘Werkstatt für Photographie’, die 1976 vom Berliner Fotografen Michael Schmidt an der Volkshochschule Kreuzberg gegründet wurde. In jenen Jahren entstanden in Westdeutschland Strukturen, die der Emanzipation der Fotografie als Kunstform den Weg ebnen sollten. Dazu gehörten neben der documenta 6 (1977) die ersten Fotogalerien und Fotografie-Magazine wie auch einige bahnbrechende Ausstellungen. Eine zentrale Rolle in dieser Entwicklung spielten die Städte Berlin, Hannover und Essen. Zu jener Zeit durchlief das Medium Fotografie einen grundlegenden Wandel, es entwickelte sich eine eigenständige Form künstlerischer Autorschaft im Bereich des Dokumentarischen. Aus verschiedenen Perspektiven erzählt diese Publikation die Geschichte der deutschen Fotografie der 1970er- und 80er-Jahre mit ihren internationalen Bezügen, ihre Protagonisten und Netzwerken und fügt ihr ein weiteres, bisher in der Geschichtsschreibung wenig beachtetes Kapitel hinzu.

Während ihres Studium an der HGB hatte Dona Abboud meist nur über Facebook Kontakt zu ihrer Familie und zu Freunden in Syrien. ›Out of Syria. Inside Facebook‹ ist aus dieser Erfahrung erwachsen. Es stellt 10 Syrer und Syrerinnen durch fast 2000 Fotos von deren Facebook-Seiten vor. Hinzu kommen Interviews und kurze Biografien. Das Buch ist dreisprachig, deutsch, englisch und arabisch angelegt.

… quickly peek inside, and the scene that’s taking place there gets stuck on your mind”—that’s how the 32-year-old photographer Andreas Mühe (b. Karl-Marx-Stadt, 1979; lives and works in Berlin) describes the effect he hopes his pictures will have. Like the photograph of Helmut Schmidt’s office he chose for the cover of this book. In fact, he leaves nothing to chance, staging each setting down to the smallest detail. Deliberate selection of the space and precise lighting have become his trademark. His unconventional style has made Mühe the shooting star of the German photography scene and a sought-after portraitist of prominent politicians and celebrities such as Karl-Theodor zu Guttenberg, the Italian ambassador Antonio Puri Purini, Christiane zu Salm, and Gerhard Richter.

In 2014, Candida Höfer (b. Eberswalde, Germany, 1944; lives and works in Cologne) traveled to Mexico, visiting the eight cities Ciudad de México, Guadalajara, Guanajuato, Oaxaca, Puebla, Tepotzotlán, Tlacochahuaya, and Tonantzintla, where she photographed old and new libraries, theaters and opera houses, churches and museums, poorhouses and palaces. Most of the pictures are organized by symmetry along a central axis, a characteristic feature of her art. If these works suggest her training with Hilla and Bernd Becher, who taught photography in Düsseldorf—she is now the best-known of their students—others show a “new” Candida Höfer: old-fashioned offices, weather-beaten walls, and simple stores as well as a few expertly captured details of façades, floors, and interiors. With an essay by the Mexican historian and economist José N. Iturriaga.

Futile takes places in Spain and comprises two sets of photojournalistic survey, tracing architectural remnants of the recent recession. The photographers set out in the summer of 2013 to document what the financial crisis had left behind. The first set shows a vast array of unfinished buildings all over the country. The second is a series of images taken at the finished but unused Don Quijote Airport. This ghost airport is one of the largest investment ruins of Spain. The publication includes an essay by Jeroen Nieuwland.

210 x 280 mm, 48 Seiten ISBN 978-3-9812294-5-5 Ausgezeichnet mit dem if communication award 2010.

The comprehensive book on the visionary Hussein Chalayan, one of the most innovative, experimental, and conceptual fashion designers working today. Internationally acclaimed, Hussein Chalayan is known for his inventive use of materials and integration of new technology into his designs. He is also celebrated for putting the creative process itself on view. Some of his best-known designs include a paper dress that can be folded into an envelope and airmailed, armchair covers that transform into dresses, and a coffee table that reveals itself to be a wooden skirt. Original and groundbreaking, his designs are also pretty and modern, and this book explores that continuum. Featuring Chalayan’s complete body of fashion and creative work—including his installations, videos, and photographs—this unique and beautiful volume is as thought-provoking as it is stunning and is sure to be coveted by fashion, art, and design connoisseurs.