“When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots. . . . I don’t know, it must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.” Wim Wenders—painter, actor, writer, and one of the most successful contemporary filmmakers around—has assembled a fascinating series of large-scale photographs taken from 1983 to 2011 in countries all over the world. From his iconic images of exteriors and buildings to his panoramic depictions of towns and landscapes, this book presents the full range of Wenders’s photography.

Since the early ’80s, Yohji Yamamoto’s groundbreaking silhouettes and innovative design aesthetic have propelled him to the highest rank of the international avant-garde. Distinguished by his anti-fashion approach, Yamamoto changed the face of contemporary fashion, radically transforming it with asymmetrical and highly conceptual designs partly inspired by the techniques of traditional Japanese kimonos. His vision came as a refreshing contrast to the power suits and brightly clad fashions of the time, forcing a reconsideration of the future direction of fashion. In YAMAMOTO & YOHJI, this luxuriously bound book explores all the major themes in his forty years of counter-fashion design showing for the very first time his work not only on the Yamamoto brands but as well on his brand Y’s and these various collaborations in architecture, movies, plays, literature.

我希望，
这样一本有关照片的书，
可以成为一本故事书。
尽管它现在还不是，
但它能够是，
通过每一个有兴趣
倾听它所见的人。
——维姆·文德斯
［编辑推荐］
最新修订完整版，增加17篇“一次”和96张照片。
与2004年的中文版相比，这一版开本更大（开本越大，对照片的表 现越充分），图片文件更精美，而且整整多出17篇“一次”和96张照片！好内容好素材更要认真对待，我们的编辑、设计、调色、印刷等所有工作，都力求完美展现文德斯的摄影作品，让读者朋友充分感受到照片中传达的微妙情绪。
文德斯在旅行、工作和日常生活中记录下的各种经历与随感。 有500年历史的阿尔卑斯山农舍、澳大利亚的荒原、废弃的汽车影院…… 还有他与黑泽明、戈达尔、马丁·斯科塞斯、大岛渚的偶遇和交往。
［内容简介］
“有一次……”童话总是这么开头的。文德斯的这部图片日记简洁、优美，读起来犹如随意的抒情诗歌。三百多幅充满生命力和灵感的照片，五十多段以“一次”为题、富有韵感的文字，是文德斯在旅行、工作和日常生活中记录下的各种经历与随感，他足迹遍及世界各地，诸如500年历史的阿尔卑斯山农庄小屋、澳大利亚的荒原、废弃的汽车影院……还有许多他与电影、艺术同行们，如黑泽明、戈达尔、马丁・斯科塞斯、大岛渚、滚石乐队等交往或偶遇的有趣故事。
［推荐语］
你会在这些照片里看到，懂的摄影的人都是思想单纯的，都是真正懂得观察生活的，都是在路上漂泊无根的。 ——独立电台《一次电台》
“一次等于没有” 是一句谚语。
孩提时代我觉得这句话特别在理，
然而至少在摄影方面并非如此。
对于摄影来说，一次就是唯一。
——维姆·文德斯

Wim Wenders (born 1945) started taking photographs at the age of 7. By the age of 12 he had equipped himself with his own darkroom, and by 17 he had acquired his first Leica. A few years later he was to emerge as a leading light in the New German Cinema movement of the late 1960s, making his feature-length directorial debut with Summer in the City (1970). Throughout his subsequent global acclaim as a director, Wenders has doggedly maintained his life as a photographer. In fact, the two careers have served each other well, as many of his photographs are created while location-scouting for films. His image repertoire of neglected industrial buildings, vacant lots, cemeteries, dilapidated urban niches and courtyards expresses a mixture of bemusement, melancholy and dislocation. “When you travel a lot, and when you love to just wander around and get lost, you can end up in the strangest spots,” Wenders says. “It must be some sort of built-in radar that often directs me to places that are strangely quiet, or quietly strange.” These strange and quiet color photographs are accompanied by poetic captions, some of which elucidate what is depicted while others lightly supplement with an anecdote. This new edition of Places, Strange and Quiet features seven new photographs taken in Germany and Fukushima as well as an essay by Wenders on analogue and digital photography.

Wim Wenders' fame stems primarily from his motion pictures such as Paris, Texas, Wings of Desire, and Pina, yet the filmmaker admits: "Photography is the other half of my life." In honor of his 70th birthday in 2015, the Dusseldorf Museum Kunstpalast is exhibiting large-format photographs and landscape panoramas. "When you're on the go a lot," Wim Wenders writes, "when you like to meander in order to lose yourself, you can end up in the strangest places. It must be a sort of built-in radar that often guides me into areas that are either peculiarly quiet or else peculiar in a quiet way." Unlike the filmmaker, Wenders dispenses with modern technical contrivances as a photographer. He prefers analog photography, without artificial lght or a tripod. The exhibition catalogue will feature his series Written in the West, Buena Vista Social Club, Once, Pictures from the Surface of the Earth, and Journey to Onomichi, among others.

From the furniture of Donald Judd to the cinema of Michelangelo Antonioni and Wim Wenders, from the music of John Cage to the buildings of Mies van der Rohe, Luis Barragan, and Arne Jacobsen, and on to the theater of Samuel Beckett and the fiction of Ernest Hemingway, Less is More: Minimalism in Architecture and Other Arts is dedicated to the phenomenon of Minimalism. Perhaps the most compelling multidisciplinary aesthetic of the past century, minimalism continues to resonate and still points towards the future for art, design, and culture. Quite a lot of the work that can be characterized as "minimalist" draws its effect from the dialectical interplay of two apparently contradictory forms--Minimalism and Maximalism--and the artists presented here testify to this tradition, drawing some unusual conclusions--but always making amazing art. Tautly and attractively designed, Less is More is an essential guide to all things minimalist.

This volume collects three previously published books of Wenders' essays. He discusses his development as a film-maker from the moment he picked up a camera, and offers a broad analysis of his passions - rock music, avant-garde cinema, questions of German identity, and the influence of America.