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This substantial monograph on the respected German Concrete artist features a selection of floor and skirting-board paintings from the late 60s and 70s, large-scale and multi-media architectural paintings, furniture, abstract geometric oils and acrylics and sculptural wall-works. A serious study of post-Constructivist color and space. In a 1992 text, von Monkiewitsch wrote, "Since 1968, a single theme has characterized my work: space. Whereas I used to use interior spaces or structures to suggest space with the aid of perspective, since 1985 I have attempted to do so using surface and color."

Using stock photography archives, the Internet, model-making brochures and his own photographs, drawings and watercolors, this 47-year-old German painter creates bright, ironic works that are very much about camouflage, deception, and, above all, painting.

Behind the Seven Mountains is Martin Kulinna's portrait of life in the Maramures, a little-known region of the Carpathian mountains in northern Romania. Life in Maramures has changed very little over the past century or so, and the area is often described as a "living museum." Kulinna's black-and-white photographs capture the everyday life and enduring customs of Maramures with great charm and warmth.

These bright, blocky portaits--and what look like slumber-party scenes--represent four key years, 2002-2005, in the rise of this young painter from the Leipzig school. Hans-Werner Schmidt, the Director of the Museum of Fine Arts there, contributes text.

Over the last two decades, South Korean artist Dong-Yeon Kim (born 1960) has created a diverse body of work that explores the history of cities through sculptures and installations--often just knee height--that reference buildings and construction materials. This book documents his exhibition in the Dortmund Kunstverein, and particularly emphasizes his preparatory drawings.

For the last three decades, German sculptor Werner Pokorny (born 1949) has employed the motif of the house in his wooden and steel sculptures. The smallest works resemble children's blocks, while larger pieces consist of tilted, inverted and intertwined house shapes. This retrospective catalogue shows completed works as well as preparatory maquettes and sketches.

With the inauguration of the Heinz and Marianne Ebers Foundation in 1997, the Kunstmuseen Krefeld received a purchasing power unprecedented in its 100-year history. Its collection has since expanded considerably. This volume examines its holdings, including works by Anton Henning, Richard Allen Morris, Thomas Ruff, John Wesley, Franz West and others.

Andrew Gilbert's cartoon-ish history paintings dramatize British colonialism in India and Africa, through depictions of clashes in the Hindu Kush, the Zulu wars and in Amritsar. This smartly designed volume gathers Gilbert's grotesque, surreal and sometimes violent narratives, produced over the past two years.

The Kunstmuseum Bonn's Videonale has become one of the most acclaimed festivals for video art in Europe. This volume documents its thirteenth installment, which included artists such as Janet Biggs, Karen Cytter, John Di Stefano, Anna Hepp, Ran Huang, Teresa Hubbard, Nicolas Provost, Reynold Reynolds, Nurit Sharett, Maria Tobola, Adam Vackar and Claudia Waldner.

The motifs of Bodo Korsig's woodcuts and reliefs resemble blown-up microscopic creatures or organic entities that appear at once both decorative and menacing. Korsig has often made artist's books with these images, adding poetical captions. This volume looks at these and other works.

Eight monumental works by one of Denmark's most esteemed mid-career painters are explored here, primarily via well-chosen details. There are terrifying rallies, moody still lifes, apocalyptic landscapes, haunted interiors and enigmatic figures from the past.

One byproduct of our global car culture is the proliferation of parking lots. By looking closely at these spaces that we usually ignore (unless we're searching for a parking spot), Carsten Meier, with these photographs, finds mystery in the mundane. Are they a real convenience or a kind of manipulation? In the empty parking lots of recently closed or just-built shopping centers, or in the vertigious view of a city over the railing of a multistorey deck, Meier depicts, as Stephen Shore has done before him, ordinary emblems of our extraordinary mobility.

The performances and installations of Fabian Knecht (born 1980) call into question social patterns of perception and power structures. This book looks at his work of the past ten years, with a conversation between the philosopher Dehlia Hannah and the art historian Nadin Samman, plus a poem by Lukas Töpfer.

This volume surveys the most recent work of Düsseldorf painter Bernd Finkeldei (born 1947). Quiet and modest, Finkeldei's canvases focus on those modest objects that populate the painter's studio--not only the expected utensils, trestles, buckets and paint mixed on palettes, but also stray food items, a phone and even a vacuum cleaner.

At first glance, the paintings of German artist Robert Klümpen (born 1973) seem to be innocuous landscapes. Soon, however, a nagging mood of dread emerges, as the artist orchestrates deliberately artificial, excessive coloration--putrid greens, hazy purples and sanguine oranges--coupled with a deliberate and precisely executed sketchiness.

This monograph features 75 quietly sensual, sculptural works, based on the forms of the shell and the kernel, from 1985 to 2005. Says Natz, who lives in Germany and Nova Scotia, "The sculptures are formed from my reaction to the innateness of a material, of a proposed form, of a color."

Matthais Meyer's paintings of cityscapes and landscapes combine and collide Monet's lusciously dissolved figuration with Gerhard Richter's harrowed, striated abstraction. (Meyer was a student of Richter's at the Düsseldorf Academy in the early 1990s.) On What Is Really Seen reproduces works from 2005 to the present.

Wulf Kirschner (born 1947) is well known as a sculptor of abstract metal bodies, but like most sculptors, he has also maintained a drawing practice, which he has further developed in prints. Kirschner's graphic oeuvre is unveiled in this volume for the first time.

For this project, the Austria-based artist Thelma Herzl photographed unique ash formations at the edge of the Eyjafjallajökull volcano in Iceland. Highlighting the infinite variety of their patternings, Herzl uses the ashes to create black-and-white photographic abstractions that resemble anything from fractals to ocean beds.

"Buildings that have the purpose of supporting claims to power must never be feminine, cute or sweet; instead they should intimidate." Sculptor Annette Streyl intertwines Deutsche Bank and McDonald's or Ikea and the Palace of the Republic in Berlin, weaving power, material and market together in her 1:100 scale, felted objects.

Dense, meticulous cross-hatching covers the surfaces of Moussa Kone's detailed ink drawings, which depict surreal, allegorical scenes of human folly and bizarre plights. Images of megalomania, herd behavior and violence sit alongside more poetical drawing cycles of dancers and faceless juries massed around a corpse. This volume comprehensively appraises his work.

Valeria Heisenberg, whose work has been featured at Threadwaxing Space and White Columns in New York, makes paintings on aluminum boards that have been printed with photographic imagery. Her subject is the urban landscape, as seen from a slight distance, through coolly shimmering glass. Heisenberg is based in Berlin.

Gereon Krebber (born 1973) utilizes such materials as plastic film, burnt wood, construction foam, gelatin, Post-it notes and even preserved pig's trotters to create astonishing, large-scale, site-specific sculptures that frequently only last for the duration of their exhibition. Here Today, Gone Tomorrow accompanies the artist's recent exhibition at The Irish Museum of Modern Art.

Mare Morto gathers three cycles of 33 photographs of wrecked boats along the southern Mediterranean, all presented cropped within a circular frame. Beautifully composed, these seemingly harmless photographs actually explore an issue of increasing controversy in Europe: the waves of refugees entering the continent by boat from Africa, who often meet their deaths at sea.

The luminous photographs of Carina Linge (born 1976) reference the classic still life and memento mori: glass bottles overflow with flowers just beginning to droop, and the light plays off the contrasting textures of a cut lemon and a dish of sardines. Her solemn portraits, although clearly of modern-day women, express the quietude of a Vermeer.

German video and photo artist Eva Teppe (born 1973) works with found footage, from which she extracts everyday moments of breach in the fabric of social convention. These moments usually involve bodies at rest in unlikely public spaces (such as people asleep on the streets of Tokyo), or occupying some state between consciousness and unconsciousness. This attractive artist's book surveys recent works.

The Stowed Space reproduces a series of sculptures that German artist Elizabeth Wagner (born 1954) has been working on since 2000. Using materials like cardboard, plaster, bubble wrap and wire, she creates portrait works based on famous paintings. The finely nuanced modeling of these pieces belies the crudeness of the media that composes them.

Tswi accompanies Klaus Lomnitzer's recent exhibitions at Kunstverein Münsterland, Coesfeld, and Kunstverein Ludwighshafen. Its primary focus is the titular sequence, an epic 42-panel painting on PVC, based on landscapes that are radically abstracted through an arduous layering of pastel acrylics.

The AutoWerke photo portfolio was commissioned by BMW, which cleared the way for Candida Hàfer's gleaming factory interiors, Rineke Dijkstra's portraits of pimpled vocational-school plant trainees, and Gillian Wearing's portraits of BMW owners, among 28 other car-related projects. Crucially, the company also gave the artists enough freedom that the work stands on its own, as it will at the Leipzig Museum of Fine Arts, to which it has been donated.

In images and biographical articles, German photographer Nicolaus Schmidt (born 1953) picks apart a curious portion of German-Vietnamese history. Following the First Indochina War in 1955, children from North Vietnam were sent to boarding school in East Germany and students from South Vietnam to West Germany; the exchange had an immense impact on Vietnam.