Monograph

'Untold Stories' is the most personal statement of Peter LINDBERGH himself. It contains photos from the early 1980s until shortly before his death in 2019, which once again change the view of his extensive oeuvre clarifying his idea of fashion photography

Out-of-print catalog for the major 'Bernd & Hilla Becher' retrospective at Metropolitan Musem with 3 essays and 108 plates to their life & work in a broad sweep. For the 1st time including their early works as well as an interview with the son Max Becher.

'Stadt. Land. Hund' (City. Country. Dog) Photographs 1966-2010' accompanies an exhibition on the work by Sibylle BERGEMANN. In over 200 photographs it presents her unique cosmos. For the first time, it contains motifs from her early work in former GDR.

'Mediations' by Susan MEISELAS contains a selection of works from the 1970s until today. It traces her career since then and contains essays by renowned authors - published at the same time as the major retrospectives in Barcelona, Paris & San Francisco.

This out-of-print German-language monograph, 'Chewing Gum and Chocolate', about the work of the Japanese post-war photographer Shomei TOMATSU provides a good overview of the work of one of the most important Japanese photographers of the 20th century.

The out-of-print volume 'Retrospective' deals with the staged & surrealist photography of Arthur TRESS, whose work is characterized by allegorical wit and narrative acuity, as well as challenging the imagination and understanding of the dark sides of life

Including images from the series 'Evidence', 'The Valley' and more, this catalogue - comparing the exhibitions at Kunstmuseum Bonn and SMAK in Gent (in spring 2015) - gives a comprehensive overview of Larry SULTAN's career as a conceptual photographer.

HC (no dust jacket, as issued), 25 x 33 x 3,5 cm., 328 pp., color ills., English

'It's a strange feeling to look back at the young person I used to be. What happened? What has changed? The apartments. The face has grown older. What else?' - At least not the style in Elina BROTHERUS' self-portraits, that has remained pretty constant.

For this series, 'Vandalism' (1974/1975), John DIVOLA destroyed vacant houses. At a time when the 'truthfulness' of photography was being questioned, the series contributed to the conceptual sabotage of the boundaries between documentary & art photography