France

Art historian Ian Jeffrey has sifted through WWII soldier albums and selected the most compelling photos to create a record of lives that have seen the unprecedented. Style & content of the photographs changed along with the collective mood after 1942.

In 'Claude Cahuns Poesie des Objekts' (C.C.'s Poetry of the Object), Kat Lawinia Gorska focuses on the underestimated aspects of her artistic & literary activity from a media-philosophical perspective and thus sheds a completely new light on Claude CAHUN.

'Real/Ideal. Photography in Mid-Nineteenth-Century France' accompanied an exhibition at the Getty Center in Los Angeles. The catalog explores the early history of photography in France. It focuses on the photographers who worked with paper negatives.

The catalog volume 'Reversing the Eye. Arte povera and Beyond 1960-1975' takes a fresh look at the Arte Povera movement, rarely associated with photography & film. The artistic movement is placed in the social and political context of the time in Italy.

In the book 'Verlassene Ort' (Abandoned Places) various photographers document the beautiful and at the same time eerie atmosphere of places where decay has set in and nature has returned. The history & present of these places are explained in short texts

Catalog LVR-LandesMuseum Bonn. With photo works by Albert KAHN, Sergej Mikhailovich PROKUDIN-GORSKII, Adolf MIETHE, Léon BUSY, Jules GERVAIS-COURTELLEMONT, Auguste LÉON, Marguerite MESPOULET, Stephane PASSET

In her book of photographs 'Empty Nests' Atsuko Murano ABALOS does not show the nothingness, but rather she confirms the existence of a bright and wonderful world that can be found in these 'empty nests'. The volume shows stork nests in the French Alsace.

The photo volume 'Paris Portraits. 1925-1930' features the clear, honest results of the earliest photographic endeavor of the prominent US-american photographer Berenice ABBOTT’, which illustrates the philosophy that shaped all of her subsequent work.

'Cathédrales et églises de France' (1949) is the motif in the photo volume 'Cathédrales' by Laurence AEGERTER, who placed the volume at the window of her studio and photographed the natural light incidence with the shadow reproduction of Bourges Cathedral

This chronologically arranged monograph on the work of Eugène ATGET shows a photograph and includes the commentary of the editor, John Szarkowski. However, it is less about an exact analysis than about capturing the context and describing the attributes.