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.
The box of dummies, which can be seen online here, is currently sitting around and waiting for a new destination – so if you fancy it heading your way, just drop me an email. The only thing needed, is to split the cost of shipping to your destination among members of a club or just a bunch of folk!
Looking forward to Paris next week – will be stopping by Paris Photo, Offprint, Le Photobook Fest and more. Would love to catch up with anyone else in town and also keen to see new works or just chat photobooks/projects. Pop me an email if you want to meet over coffee – firstname.lastname@example.org
Had a fantastic day at the University of Huddersfield with photography students this week, speaking about the photobook as a form of communication and giving some practical help to students working on books. Was great to see photobooks in their infant stages as well as to work with students in re-editing John Gossage’s ‘The Pond’ and Nathan Pearce’s ‘Midwest Dirt’. A few pictures here from Richard Mulhearn…
I will be at Belfast exposed this coming Thursday 5th february for a workshop – spaces limited but click the pic below to find out more information and see if their is availability.
Will be in New York from 21st – 27th March, if anyone has any recommendations that are a little off the beaten track for exhibitions or book stores they would be greatly appreciated. Similarly if anyone is interested in meeting or having a book club event then shout – email@example.com
Markus Schaden and his Photobook Museum is doing some really interesting things with the photobook and the ways in which the photobook can be enjoyed and explored by all manner of folks. If you haven’t already try and get yourself to the Carlswerk Edition, if not, watch this space for more.
A huge thanks to everyone who has got involved in any way with the Photobook Club over this past year, I shan’t turn this into a year-end soliloquy, just to say thanks and that it has been a really fun year. Much more planned for next year but before then I will be attempting to maintain radio silence spending time with family, friends and the hills of Derbyshire.
My thanks to New Zealand based photographer Shelley Jacobson for sharing this reflection on Power’s ’26 Different Endings’. If you enjoy this text, please check out Shelley’s thesis on temporal landscapes which can be read online here.
26 Different Endings – or, A System of Edges, if one were to use the exhibition name – offers quiet vernacular views of London’s city limits, as defined by the London A-Z Street Atlas. The viewer is able to discern a system inherent in Power’s practice; made evident through the titling of his work, for example G 57 East, and through the inclusion of a site map. Notable in this work is the intent to depict ‘outside’ views; achieved by pointing the camera away from the map, beyond a known territory. One could argue that as a practice, topographic photography is intrinsically linked to cartography and that both are manifestations of cultural geography. Power’s photographic approach brings cartography to the fore, drawing out the social implications of mapping.
I first happened upon Mark Power’s work in a 2006 paper by Liz Wells entitled Landscape, Geography and Topographic Photography*. Wells argued that the authority of contemporary topographic photography relies on the methodology of the photographer, offering the concept of the ‘photographer as researcher’. At the time of reading, in 2008, I was working on my MFA thesis Temporal Landscapes**. I had been fixated upon concerns of research parameters and approach, and Wells’ concept is one that not only informed me then, but has stayed with me since.
Over the past several years in my own photographic work I have become increasingly intent on devising project-specific systems by which to produce work. Between my work and that of others favoring this approach, I dare say that Wells was on the mark, in her belief that systems offer rigor. In this regard, I would certainly cite Power as a pioneer of this trend. A recent example of a project that follows this trend is a book released here in New Zealand in 2011 by photographer David Cook, entitled River Road: Journeys through Ecology***. It would seem that for a number of contemporary topographic photographers, systematic methodology can offer an anchor point for their practice, informing both concept and content. Importantly, this can offer the viewer a key to the work in question.
This one is still available at a reasonable price and so this video is in no way a replacement for seeing the real thing, instead it is shown here to give a feel for the layout, design and sequencing of the book, for a selection of high quality images from this book, head over here.
In November we will be looking at Nobuyoshi Araki’s, ‘Diary, A Sentimental Journey/Winter Journey’
( This is the 1991 version which features both the original 1971 ‘Sentimental Journey’ and ‘Winter Journey’ images from 1990).
We will shortly post a video of the book for those who do not have a copy and cannot get access to one, although I strongly urge if at all possible to get hold of one at your local art library, or borrow from a good friend as it is, in itself, a beautiful object.
As always, we would love to feature as many personal reflections as possible, so leave any thoughts in the comments section or email firstname.lastname@example.org.
If you are interested in purchasing this book, links are provided below: