"It's hard to talk about photography without facing issues of time, memory and death - not as stereotypical archetypes, but as challenging and malleable entities of culture and nature." Domingo Milella This first published monograph by Domingo Milella is a photographic journey from his hometown in the outskirts of Bari in southern Italy, taking us to Mexico City, Cairo, Ankara, Anatolia, Sicily, Tunisia, and as far as Mesopotamia. Milella's subject is cities and their borders, cemeteries and villages, caves and homes, tombs and hieroglyphs - in short, signs of man's presence on earth. His interest is the overlap between civilisation and nature, and how landscape and architecture are invested with individual and collective memory. These photographs emerge from and challenge classical ideas of landscape in art history, and seek an alternative iconography in which an almost forgotten past coexists with the present. Says Milella: "Making images doesn't only mean documenting or taking photographs. It's also a possibility for contemplation and recollection. Building an image of the past is to face the present, and activate the possibility of the future."

In April 1937, the Museum of Modern Art in New York hosted an exhibition that served as a catalyst for the appropriation of prehistoric rock art in postwar abstract painting. With the title "Prehistoric Rock Pictures in Europe and Africa", it displayed a range of copies from the influential collection of the German ethnologist Leo Frobenius. Largely disregarded in modern American art history up until now, this book highlights the importance of this exhibition to artists such as Josef Albers, Adolph Gottlieb, David Smith, and The American Abstract Artists group, who sought inspiration from the prehistoric images' primordial creativity. With a transnational scope, this book reveals new facts about the connections between Paris and New York, and the importance of communication and collaboration between them for these artists. In doing so, Seibert shows that this debate was about more than just legitimizing abstract art forms from the past, but about recognizing an autonomous American abstract art. Presenting unseen archival material, letters, and exhibition documentation, Prehistoric Pictures and American Modernism offers a new reading of the development of modern American abstraction, and will hold an important place in the historiography of the movement, its global traditions, and its legacy.

World-renowned photographer Alec Soth discusses the history and the language of photography in a broad conversation with Francesco Zanot.

Acclaimed photographer Gibson offers more than 60 intimate black-and-white portraits of guitar masters playing their instruments. Focusing his expert lens on musicians within virtually every genre, Gibson reveals the intense relationship of the player with his beloved "axe."