Theory

Broschierte Ausgabe ohne Schutzumschlag (wie erschienen), 12,5 x 20,5 x 1 cm., 112 S., 60 S/W-Abb., deutsch-sprachiger Text - GERMAN TEXT ONLY!

With books by John HEARTFIELD, MUYBRIDGE and many more. HC with dust jacket, as issued, 23 x 32 x 3 cm., 464 pp., color ills., 2,7oo gr., text language: English

'The Complete Essays' contains 68 texts by Luigi GHIRRI in which he discusses returning themes in his photographic work. It is also an unintentional, yet comprehensive treatise on the history and theory of photography, as well as a special autobiography.

'Directions for Leaving' on the work of Jeffrey SILVERTHORNE 1971-2006 pointedly asks existential life questions about identity, gender, love, violence, sexuality and death. The transsexual becomes the ultimate symbol, seeking ways to show his inner self.

In January 2020, Alec SOTH received a letter from a prison inmate asking the photographer for a dialogue. 'The Parameters of our Cage' contains the following correspondence in times of COVID-19 pandemic, 'Black Lives Matter' movement and civil unrest.

'But Still, It Turns', a photo and text book edited by prominent British photo artist Paul GRAHAM, brings together collected dynamic and diverse works that tell open stories. These are brought together in this volume - in harmony and revealing dissonance.

In the book 'Over Time: Conversations about Documents and Dreams', Alessandra SANGUINETTI reflects with her cousins on the 'The Adventures of Guille and Belinda' series and its development. The in-depth conversation is illustrated with unpublished images

Actual print run, HC, 25 x 29 x 3,5 cm., 336 pp., text language: English

For his photobook compendium 'Canon. On African Photobooks', Johannes Wohnseifer selected titles from his private collection that focus on the African continent. These photobooks, published between 1948 and 2011, are presented here in chronological order.

'At the Edge of Pictures' is the first monographic study of life and work of John STEZAKER. By using the eventful decades of the 1970s and 80s as a prism, Yuval Etgar offers a new reading of his mode of operation and a mapping of the strategies of collage