The Box of Dummies which was formed last year during the ‘Le Photobook Fest’ dummy award, is now ready to ship! The box features 12 awesome dummy photobooks which I hope will make their way to a whole bunch of different events around the world.
While I have already received some locations for stops, it would be great to have all interest expressed here so that the most efficient route for the books can be worked out. As before the only cost involved is in paying for the postage from the book’s previous destination. If you are interested – pop me an email firstname.lastname@example.org.
I have been thinking a lot lately about the readership of photobooks which is, in most cases, limited. Limited in quantity, breadth and diversity*. This is little concern for self referential and egotistical works but what about the bookworks that contain questions, answers and thoughts that a wider readership could benefit from.
One such project is ‘Understanding Stanley, Looking Through Autism‘ by Rosie Barnes, a “beautiful new photo book that gives a unique and powerful visual insight into life on the autism spectrum.” In the Kickstarter video featured below, Rosie mentions that she ideally wants this book to be seen by the person standing next to Stanley at a bus shelter who through reading the book may better understand and be more inclined to find out more about autism – what a powerful idea. The book is affordable, a digital edition would make it more so, perhaps this is a photobook that will really break the photobook bubble, find it’s way into school’s curriculums even?
*Lately newspaper works have sought to fill this need but they are few and far between in relation to good photobooks and could be said to ignore people under 20/25 for whom the medium is un-relateable and cumbersome.
Now it’s just after harvest time, my favorite time of year. The fields are almost cleared and I’m barefoot on my porch with a beer in my hand. I can see for miles.
For over a year now I have been working with Nathan to bring this fantastic project into corporeal existence and with the aid of Akina Factory who who created the book concept and design, the result is beautiful.
One of the toughest elements of editing this work is something Nathan has pointed out in a recent interview with Darwin Magazine – how the projects needed to move away from cliched depictions of the rural midwest but at the same time not disown culture and environment. While the geographical location rooted in the midwest, this project for me has always been about home, about home as a constant for good and bad. For this reason I hope it appeals to many.
Congratulations to Lloyd Spencer who was the lucky winner of the signed Martin Parr and Gerry badger tome ‘The Photobook: A History Vol III‘. Lloyd is a photographer based in leeds, UK and for those with a curious mind, he selected André Kertész’ ‘Hungarian Memories’ as a book never to be sold.
Approximately 300 people entered the prize draw with a random integer created to determine the winner. Huge thanks to Phaidon for providing the signed book which is available to purchase here.
If you want to skip my waffle and head straight to the competition, scroll to below the book cover!
The list has troubled me, and many others for some time. My initial reaction to the first two Parr/Badger books were to shun them; they made access to many influential photobooks incredibly difficult. I have had the same knee-jerk response to the end of year lists we are all familiar with yet I still chose to produce a version myself. Some of my pain from those early books has subsided with a good number of works being reprinted and available for very reasonable prices yet there still remains an uneasiness with the effect these lists can have on the market. This is inevitable and is the same in many industries – restaurants have the Michelin guide, literature has the Pulitzer and cinema has the Oscars (the latter two examples dealing mostly however with reproducible content online the finite resources of a restaurant or editioned photobook), all we must do is take it with a pinch of salt.
The Oscars might encourage us to view a film but rarely will we be persuaded only by an award with no initial desire to engage with the work. Likewise with the new Parr/Badger book those of us who fall outside the die-hard monetary collector or prospector spectrum can see it as a personal reference, an individualistic guide and ultimately a perspective. There is no doubt however that this is an important book for the photobook community at large – for some it will be confirmation of choices, for artists it might be recognition of work produced and for many others it will act as a well produced and coherent guide through some fantastic photobooks produced right up until 2013.
Just fill out the form below and a random name will be selected on 28th March (Deadline for responses 12 noon GMT on 28th) – this individual will be contacted for a postal address and then the book will head on to you!
An update from Anita Totha of the Photobook Club Auckland of the Box of Books visit to New Zealand…
The Photobook Club’s “Box of Books arrived in Auckland from Toowoomba AUS in late February. Photobook Club Auckland held its meeting in conjunction with the Tangent photo collective and brought together 20 photo book lovers. We thoroughly went through the box and all of its mementos and zines included from other clubs around the world. A crowd favorite photo book was Mrs Merryman’s Collection by Anne Sophie Merryman (Mack Books). We shared some other new titles too and had some great overall conversation around photo books and publishing in NZ. The box will be off soon to our friends in Victoria, Canada…
There are some fantastic photobook collections the world over – collections that focus on indie or handmade books, collections that are driven by rarity and monetary value, collections based on location and many based on specific events or happenings. The Photobook Club has never been and never had a collection, occasionally kind folks have sent books through to me and I have sought wherever possible to take them with me to Photobook Club events and talks but no more.
Now, I find more and more I have been asked to bring collections of books to events, Universities and so on – I respond by bringing my own collection but it is a young and sparse collection lacking curation and coherence. At the same time I have been thinking a great deal recently about a thematic collection, a collection that, while not seeking to be exhaustive, does seek to provide both broad and deep reading. A collection that can be visited in my home, a collection that will be viewable online and a collection that can travel in whole, or in parts, to different locations.
I figured such a theme would need to be narrow enough that it could near a completion of sorts but in reality this will never happen. I have chosen instead to openly begin a collection with a broad headline, which can then be shaped both by works submitted and interest in it’s contents. The theme chosen I believe speaks not only about photography and it’s history but also relates to the indie photobook movement, the interest in the generative artefact and a quest for a less hectic way of life.
The Natural Collection – Photobooks, zines and papers that explore our relationship with nature and the natural landscape.
As mentioned above, this is broad, but will be shaped in time. As a set of books to offer a well known guide, I would consider the likes of John Gossage’s ‘The Pond‘, Lucas Foglia’s ‘A Natural Order‘, Ricardo Cases ‘Palomo al Aire‘, Ron Jude’s ‘Lick Creek line‘ and Oscar Tuazon’s ‘Leave me be‘.
I would be grateful to anyone, established or otherwise (incl publishers) who would be willing to send works through to the collection, these works will be featured on the Photobook Club website, will be taken to various book club events and will be open to anyone willing to pop by for a cupa! The condition of the works is not of paramount importance so any misprints at publishing would be welcomed with open arms!
The Natural Collection
The Photobook Club
10 Granby Avenue
As has been the case for the last few years I have produced this list, I am not really bothered if the books were made in 2013 or not – I just don’t spend a great deal of time with enough books each year.
This years list is made up of books that in one way or another have moved me; created or recalled an emotional reaction. For that reason, ‘The Pigs’, ‘Various Small Books’, ‘The Looking Game’ and ‘Control Order House’ are not included – although they are some of my favorite books of the year…
There are a wee stack of books that I either regret not buying or simply can’t afford right now. I hope that in time I either realise I have little interest in these books, or that they are such a failure I can pick them up for peanuts in a few years*.
(These books have also been selected in relation to the reaction they have caused rather than their merit as an exemplary unit of the medium)
/\ Damn this is great image making and emotionally engaged storytelling. Blok creates something here which taps into a popular aesthetic but brings genuine weight and the ability to move an audience. I wait on the sec on edition to get a hold of this.
In no way whatsoever related to my inability to afford the above, here are some books that are so awesome everyone should own them, and it just so happens I am looking to move them on. They are all my favourite books and I ail cry to see them go blah blah blah.
Truthfully – these books do not interest me anymore but by selling I might be able to get some that do.
Richard Billingham’s Landscapes – Gee whizz this book sucks
Taryn Simon’s ‘Kaleidoscope of Entropy‘ – Actually this is kinda interesting but hey, maybe selling this will buy me a copy of American Index and a few others
There are so many more books I want to move on to better homes but barely seems worth mentioning them here as most can still be bought new for £20 odd. I wonder whether I can tell more about myself and my book-love through these books than through those I think are worthy of elevation to a curated shelf.
Some of these books were bought in regards to some of their parts – I was interested solely in sequence or binding for example, and it turns out that this just doesn’t cut it for me – the book needs to work on a holistic level. Some books, I am ashamed to say were bought as I thought I might like them and was scared I wouldn’t be able to afford them several years down the line. Turns out these books have rarely become collectible and have continued to illicit in me a particularly neutral feeling – fail!
Other books have occupied that desire to collect knowledge and to be interested by ideas and concepts, these books I think of as my ‘studium libre’. I appreciate their position on the shelf as I write lectures looking for strong examples of certain themes, but they rarely make it to the table – perhaps this is the life they are destined to live and maybe I should come to terms with that. I just wonder whether a printed version of a front cover would provide the same effect.
On read through, this is rather a sombre end to a post, and a great year of books so let’s finish with one more great book…
News from the Photobook Club Belast and Campo de Gibraltar first:
BELFAST PHOTOBOOK CLUB
Wednesday 11th December (nb: change of date – originally listed as 12th)
Hosted by Belfast School of Art Photography Artists in Residence Jan McCullough & Lewis Rankin at Belfast Exposed
Returning to our regular format, this month Jan McCullough and Lewis Rankin will be presenting a selection of photobooks from their personal collections. Both avid collectors, we are excited to see what surprises they have in store! There will be a festive twist for our last event of the year, with mince pies and mulled wine for all attendees.
PHOTOBOOK CLUB CAMPO DE GIBRALTAR This Friday 29th November
We are going to run the 2nd Session of The Photobook Club Campo de Gibraltar, next Friday 11/29, at 19:00 pm, in The Public Library of La Línea de la Concepción. Attached you can find a little diptych with the announcement, and punctual info at our Facebook fan-page.
– Angel L. Duarte Sastre
I did not talk about books in the recent Paris review, and these few books are not limited to those I found in Paris but just a few recent highlights (more to come as I work through a huge stack of books on the desk).
I plan to write more, much more, on this book – one that is, for me the most important book of 2013, perhaps of the last 3/4 years. This publication is not only a triumph in design and content but also raises (and in some cases answers) some big questions that surround the photobook in the digital age. This book proves the unique power of printed work and does not attempt or need to justify it’s physical manifestation in fetishistic design or production. More soon.
Memory seems to be a focus for photographers in the 2010’s, so too is the creation of super-limited books with various pieces of ephemera or memorabilia. Whenever I come across either of these, I am keen to separate the genuine from the imitation, the art from the gimmick. Stockdale’s ‘Pine Lake’ falls easily within the bounds of the former in both cases.
In Stockdale’s own words this is ‘a semi-fictional story about a multi-generational American rite of summer.’ I wouldn’t argue with this but would posit that for the vast majority of readers this will not speak solely of America, nor of Summer, but instead ask us to recall, regret and reflect on our various life experiences/events and memories thereof. It is surprising that this book can create such strong reactions as it does with only a handful of images and some clever editing and wonderful surprises and is a testament to the author’s clear vision and awareness.
In some ways, ‘Dispersal’ takes on a similar form to Pine Lake but beyond the surface their are few similarities. This book is so many things all at once and I am finding it hard to write about it at all. Fortunately, their are many images and a video via the link above so have a look at your own leisure at these beautiful images rooted in nature and the hunt. Comparisons to Lick Creek Line are perhaps inevitable but where ‘line’ dictates our journey (albeit a loose one), ‘Dispersal’ presents us various avenues and narratives to wander freely.
It is not enough anymore to review Paris Photo. With the addition of Offprint, and this year – Le PhotobookFest, a complete review of the city is needed. I am not the person to provide this complete and unbiased view of Paris 2013, but still I shall try with a quick reflection on the different events and some lessons learned in the 4 days I spent in town.
Paris Photo 2013
Photography is by no means dead but Paris Photo is moribund. Everyone has known for some time that the exhibition is really no more than an expensive, glossy trade show but this year was especially uninspiring. It was my belief that exhibitions/events like this should show new work, spark conversations and the like but this years offering was lazy and showed no inclination whatsoever to showcase inspiring work – unless it also happened to be large, colour and by the latest hot photographer.
When I have thousands of pounds to blow on a photograph to sit above my dinner table I shall head straight to Paris Photo and be doted on by gallerists and glamorous assistants, until then I think I will avoid it! The one redeeming feature that returned in 2013 was Aperture’s book award section with display copies for anyone who could squeeze through to see them.
Offprint Paris 2013
I didn’t spend as much time as I would have liked at Offprint this year, but as last year, it offered an antidote to Paris Photo. The hall was lively, packed with publishers and artists who were all keen to talk and show work, if a little rushed by the flow of visitors. I can’t say i saw a great deal that interested me, at least not compared to last year but as I talked with others who has been there, they produced some real gems – perhaps I simply needed more time to peruse.
The ‘live’ bookmaking project in the side print room was a highlight, I regretted not making one myself.
Fair warning: I helped, albeit in a small way, on this project.
Le PhotobookFest was organised by Pablo Porlan and Emilie Hallard of the Photobook Club Paris and featured Nathalie Belayache, Juan Cires and Ricardo Garrido (Of the Photobook Club Madrid), Akina Books and a host of other speakers and helpers. The idea was to create a space to exhibit interesting books and encourage informal but thoughtful discussions. With that in mind the three days were a huge success – from 300 odd folk arriving to the opening on Friday night to relaxed conversations over books at the bar on Sunday.
Image by Sean Davey of the Photobook Club Australia
I hope that in the days to come there may be other reviews of the event by people who were not directly involved – they may carry more weight than mine but in the meantime a huge thanks and congratulations for all who made it happen, especially to Emilie and Pablo who should be having a chilled week now!
“Wonderful books, good wine, plenty of coffee, warm passion, wide friendships, free hearts, new experiences, deep sharings and much more. Thank you the Le Photobookfest 2013 to make all this possible at Picturetank and le.bar. le bar Floréal.photographie”