Female photographer

In her volume 'Moving Away' Miyako ISHIUCHI herself becomes the subject of her photography. In the time between her decision to move out of the house where she had lived for a long time and her move, she took photos of landscapes, street and detail shots.

HC (no dust jacket, as issued), 18,5 x 24 cm., 268 pp., 175 color ills., English

In 'Daughters of Magic' Ostkreuz agency photographer FRITZ documents Mihaela Minca, the most powerful witch in Romania. Magic & mysticism are part of everyday life in her Roma family & closely knit community, witchcraft is an expression of female strength

Photo volume 'Yerevan 1996/997' by Ursula SCHULZ-DORNBURG is a facsimile of a sketchbook created during her trip to Armenia, which deals with the history of cultural objects long since dismantled and the artist's actions on the way through time and space.

The catalog 'Fortschritt als Versprechen' (Progress as promise. Industrial photography in divided Germany) places commissioned works in the context of their contemporary use for the first time. The focus is on the concepts linked in East and West Germany.

The compendium 'KONTINENT', published on the occasion of same named exhibition in Berlin, contains color and b/w photographs of the participating Ostkreuz photographers. It addresses the most important issues currently preoccupying the European population

Espen EICHHÖFER, Annette HAUSCHILD - HC (no dust jacket, as issued), 24 x 30 x 2,5 cm., 236 pp., 132 color & 33 b/w ills., bilingual text: German / English

Using the Dolomite mountains as an example, Marina CANEVE asks the viewers in her volume 'Are They Rocks or Clouds?' to consider the risks people take in an effort to live comfortably while exploring the limits of how they interact with the natural world.

In her photographic volume 'Inventur' Mira BERGMÜLLER gives insight into rooms of the collegiate church St. Margarethen, describing the church from its everyday use and thus sharpens the view for art and architecture as witnesses of a history of faith.

Juxtaposing works by photographers Annie LEIBOWITZ, Gregory CREWDSON and Andreas GURSKY, critic Jörg Colberg examines in 'Photography's Neoliberal Realism' how these artists produce the capitalist equivalent to the socialist realism of the Soviet Union.