The SOURCE photobook edition has been out for a wee while now and the full online archive of ‘great’ photobook selections is available to all for free so a little late sharing this but do check it out. For one, it is a valuable insight into the photobook and the way in which we think about it. Two, it shows who the ‘characters’ of the photobook are. Three, the Photobook Club is in there (and shown below)[and din’t quite follow the ‘greatest’ request]…
While there is definite merit in list forming as a means of introduction and suggestions, it is something I am a little uncomfortable with. The Photobook Club was set up in part as a pragmatic response to canonisation without qualification and seeks to enable open and non-hierarchical discussion. So with this in mind I have asked a number of Photobook Club organisers from around the world to suggest the photobook(s) that their community has had the liveliest discussion around. These choices come from Photobook Clubs in Barcelona, Buenos Aires, Coventry, Madrid, Monterrey, Montevideo and Tokyo.
Julián Barón, Dossier Humint, 2013.
Martin Bollati, La forma Bruta, 2016.
Will Steacy, Deadline, 2016.
Musuk Nolte, La Primera Piedra, 2013.
Xavier Miserachs and Horacio Fernández, Miserachs Barcelona, 2016.
As part of my current research I am looking to explore ‘readership’ and the photobook — how we find, buy, read and speak about the photobook. For me, this is important if we are to better understand the form and how it operates and not only speak about its popularity.
The most significant part of this process is hearing from as many photobook readers as possible and so I have created a survey for anyone who has ever attended even one single Photobook Club event which can be found here – http://bit.ly/2duhgKH (organisers can also fill this out please!). And, thanks to the kindness of Juan Cires, there is a Spanish version also – http://bit.ly/2fjA5zW. I would be very grateful for anyone who has attended a meeting to fill this out, a process I hope you might also find interesting.
In addition, there is an ‘open’ version of this survey for anyone who has ever picked up a photobook — not just those who have attended Photobook Club meetings. That link can be found here – http://bit.ly/2fCDtXe.
I would be so thankful for your time in this or in sharing with others who might be able to take part — the results (which are anonymous) will soon feed into public presentations of photobook readership for anyone who is interested to get an insight into the lives of books and readers.
We celebrate our passion for photobooks, we rejoice that Anna Atkins bound some cyanotypes, we commemorate every book we have on our shelves, we applaude all the libraries buying photobooks and photozines, we love every person who love photobooks!
And we’d love you to join us to celebrate this global event by organizing an action related to photobooks in your own city. Spread your love for photobooks around your community. Please share your activities on social media using the hashtag #PhotoBookDay, it will be the best way for everyone in your local community to reach your activity.
Ask your local library to buy local self-published photobook and photozines, we are sure you can give them some ideas.
If you are in charge of a library, consider to purchase and support self-pulished photobooks and photozines on this special day and mark your book record with a special note to PhotoBookDay.
Buy a photobook. Many bookshops and publishers will make special discounts for the day. Follow your favourite bookshops on social media or search for #PhotoBookDay for offers and discounts.
If you make or sell books, offer your customers discounts or some special goodies. If you run a bookshop a special 5% discount will make your clients happy. Don’t forget to announce it with #PhotoBookDay on your usual social media channels.
This survey intends to visualise and in a sense, flatten, the many events, competitions and workshops that are taking place around the photobook right now. In doing so, a lineage — or at least a chronology — can be established, demonstrating a growth of interest and increasing institutional support in the medium.
It has been put together with the view that it will act as a record not just of 2015 but the new age of the photobook (golden or otherwise). is research is concerned only with photobook speci c events and only covers the US and Europe. is is not because these geographical areas can be seen as the home of the photobook – not by any means, but because this is both the focus of my broader research project, and provides an opportunity, through networks, to realistically claim con dence in correctly recording and listing the vast majority of appropriate events. e choice to begin with the year 2015 is similarly bene cial. While of course many events have run in earlier years, or are starting up in 2016, the single year provides a baseline from which to work back in establishing the aforementioned chronology and origin.
Only photobook-speci c events have been recorded — a choice which, if aiming to build a picture of the variety of spaces in which the photobook is present, would be disastrous. Here, art book fairs and non-medium-speci c zine workshops for example, have been excluded. In doing so it is hoped that clarity is improved and subjectivity removed.
Fairs and festivals are subject to a further limitation in that they must be multi-day events. Once again a choice of clarity and con dence and not a suggestion that single day events are not a part of the photobook world. Many single day events have been arrived at during this research, the transient and o en independent nature of which have on many occasions presented quite di erent ideas on what the photobook, and what a photobook event should be.
A list of thanks can be found on the right hand side of this visualisation — these are people who have contributed to this survey and without whom many omissions would have been made. ere are likely still some errors or misses so please do get in touch if you have any: firstname.lastname@example.org. A scroll of this document will be produced in Autumn of 2016 on lightweight poster paper, if you are interested in having a copy, please email the above address.
Despite a relatively strict set of criteria for the events listed here, it was inevitable that I would miss over signi cant happen- ings. In sharing beta versions of this research I was grateful to receive help from a number of contributors. My sincere thanks to Tommy Arvidson, Bonifacio Barrio Hijosa, Ana Paula Estrada, Sarah Greene, Jose Félix Liébana, Hermann Lohss, Malcolm Raggett and Hannah Watson who all got in touch to share information. If you see absences and would like to aid the building of this resource, please get in touch – email@example.com.
Great to hear from Moritz Neumüller about the possibility of setting up a Photobook Club Aarhus — something which would extend the great conversations that happen around Aarhus Photobook Week throughout the year. If anyone is interested in attending, or has any ideas/locations etc. to share, please get in touch with Moritz.
Elsewhere, on Wednesday 22nd I will be presenting the Photobook Club’s Box of Books at an exciting conference called ‘Books and the City‘ in Maastricht. Along with a discussion of the box and intent, I will highlight the fantastic variety of events and outcomes of Photobook Club communities all over the world. It is only a brief paper but will be a good way to begin a more thorough survey of the Photobook Club, its organisers, attendees, conversations and locations.
Really looking forward to some time in Barcelona next week. I will be heading over to launch Code-X; Paper, Pixel, Screen and Ink with the bookRoom (UCA Farnham) at Arts Libris. The book brings together some great voices who are playing with, responding to, and generally trying to make sense of the sometimes chaotic changes the codex is going through. The chapter I contributed is titled ‘The Photobook Club; a pragmatic response to hierarchical conversations and the photobook as capital‘ and is available in the book (of course) and soon online.
I have only ever written a handful of ‘reviews’ on this site – it has never been the purpose of the platform in any way – and still is not, but for a few reasons I like to engage with the process. Primarily the review allows a new connection to the work and a deeper engagement with it – positive or negative – it demands a concretisation of loose and often fleeting thoughts. Secondly, the review, from a readers perspective should be invaluable to the author of the work – I am consistently surprised by the emphasis placed on a few ‘elite’ and selected reviewers over a true readership, especially with works that seek ‘to do’. Thirdly, any books I receive end up at Photobook Club events or, if light enough (and this is a very serious limitation) touring round different locations, getting posted to other parts of the world and being enjoyed by tens and hundreds of people.
With this in mind I thought a reader’s perspective on a recent publication* from MACK and a brief comment on another would be a good start. These books were received amongst others and were unsolicited. I had originally planned to write about Ivars Gravlejs’ Early Works – a book that I took to a Winter book club in Coventry and was extremely popular, but Colin Pantall had already written a thorough piece on the book which resembled a lot of my own thoughts**.
*New issues are interesting for sure but how about more reviews on older works/books that didn’t sell well/second editions etc?
** Colin’s review was posted in July – giving some cause to think that I may never be someone to write about a book when it first launches.
It is inevitable that with a medium like the photobook, in which we, the reader, are given so much room to bring our own thoughts to the experience of reading, that we will find books articulating what we are thinking about at the time. I spent time with Spirit of the Bone at the same time as I was getting my head around the underlying state of the ‘visual’ that led to James Bridle’s proposal of a ‘New Aesthetic‘. The New Aesthetic – which represents a new way of looking and making, influenced by an undercurrent of computational seeing manifests itself in the everyday screenshot, glitch, timecode, manipulation or satellite image. Broomberg and Chanarin’s work immediately connects with these notions of computation seeing – images in a hybrid form – recognisable not as photographs but as photographic elements.
The series of portraits in this book, which include Pussy Riot member Yekaterina Samutsevic and many other Moscow citizens, were created by a machine: a facial recognition system recently developed in Moscow for public security and border control surveillance. The result is more akin to a digital life mask than a photograph; a three-dimensional facsimile of the face that can be easily rotated and closely scrutinised. (MACK)
Together, the series as a taxonomy of portraits of resistance and futility is powerful. The breadth of subjects and the sense of ‘collection’ together with their lifeless representation through the cameras and software creates a highly voyeuristic reading. To compare a reading of this book with a visit to a taxidermy museum would not seem too far fetched. Physically the book is commanding and exquisitely printed – the separation of image from page via tip-in(?) highlighting the alienation of subject from surrounding, reduced to algorithmic visual interpretation.
An interview follows the photographic section of the book – suggesting augmentation and addition as apposed to essential reading. The interview (between B+C and Eyal Weizman) is a little meandering. Physiognomy and phrenology give way to forensics and taxonomies, colonialism and retrospective anthropology before arriving at surveillance and facial recognition in relation to terror and modern conflict. A little more focus and some discussion on the process (including subject selection) would have improved my own reading and understanding of the work.
A note on reading: Despite spending considerable time with the book, and having explored each page, I have never done so in a sitting and have not felt much has been missed in not reading the book in a single, linear fashion. I would be really keen to hear how others have navigated through books like this, and whether you feel it has had an impact on what you have taken away from the experience.
Erm…. how to comment on a Roe Ethridge book? I don’t really want to comment on the work actually, as a reader I found it rather thin and was given no help in the work (Shelter Island is the only piece of tex aside from acknowledgements). For what it’s worth I figured that Ehridge was interested in speaking about the changing relationship to place (in current and past forms) that digital technology has brought about. What is really exciting about this work though is that it is a wonderfully made book, with high quality prints, of a decent size…. and for £10! Of course Ethridge’s name likely helps keep the edition size up and cost down but to know that works of this quality can be sold for £10 is so encouraging – perhaps MACK might consider a progression of Schilt’s excellent ‘Grey Matters’ series?
The Photobook Club’s Natural Collection (found online here) returned from a stay in Australia recently where it was exhibited at the Monash Gallery of Art in Melbourne. The collection is now back in Coventry where it awaits an exhibition at the Lanchester Library and a number of social engagements with schools in the area.
A number of the books have already been requested and sent to Casablanca – if you would like any packages of books sent on then just get in touch.