As I am in what I hope to be the final stages of my PhD, I have done very little here on this site but rest assured that those who really make The Photobook Club what it is — the organisers of specific meetings or ‘branches’ are still doing amazing things that can be found via the events page.
While i’ve tried to focus away from specific works, I was really intrigued by the book Doug’s Cabin as a sot of exemplar of a particular modern take on two ways of thinking about the photobook, and have written a review linked below on Photomonitor.
Disclaimer: A publicist working with Schilt Publishing got in touch looking for a review of Mind the Gap. I don’t tend to review books, particularly if approached, but having really enjoyed Hesitating Beauty I thought this could be a great opportunity to see if Joshua was interested in a frank conversation about photobook publishing. Luckily, Joshua has given the questions posed a good deal of thought and has been refreshingly open about the publishing process. I hope this is of interest to readers here and truly I do recommend seeking out the book if you can…
Joshua, seeing as we are talking mostly about Mind the Gap it seems that the best way to start might be in asking you why this work, and the publication, matters to you?
I wouldn’t say Mind the Gap matters so much, It’s the conversation that the work is about which feels really important. The publication functions simply as a way to have a dialog of sorts with these issues. I don’t really know how to play a productive part of that exchange in any other way besides things like teaching and making work that creates the conditions to talk about it.
And the book is a key part of this? With Meadowlands and Hesitating Beauty, it seems as though the book as a medium really offers you something as an artist — what is this?
They were all really very different processes. Meadowlands didn’t start as a book it started as just pictures I was making. This was way before book making became so ubiquitous. A book or even a show really wasn’t even on my radar. In a way Hesitating Beauty didn’t start as a book either but it quickly lent itself to the medium once I started making some small prints. I like making books because I can work small. With a book I can see this thing from beginning to end. I feel that it can say the thing that I want to. If it falls apart ultimately it is on me. With a show, I tend to work backwards where the space dictates what is included and at what size. The parameters for what I am going to say is very different. In a way I don’t hold myself to the same standard. I am ok with shows falling apart a little bit or not saying all the things I want them to.
My favorite components of the book as a medium is how one reads it in such a way that confirms something that they may believe to be true and how a belief system is reinforced by something in the book itself. Basically, If you have a small hint of something that you think is true and apply it to the book that very thing becomes the glasses for which you read the entire book. A younger version of myself fought this as much as I could to make sure people where seeing exactly what I was. Letting go of this is a little scary but ultimately has ended up being really quite spacious.
Is this connected to the books permanence? Its longevity? It seems especially in a predominantly digital medium this is important to makers and readers alike?
I am not thinking consciously about permanence with the work. If anything, impermanence is the thing that drives my work. I do one day want to explore the digital realm of showing my work. Right now, the digital format for me really functions as a document for the actual print or the book not the piece itself. For now, I think it’s more connected to control. Feeling a bit unresolved about the work online I ultimately can’t control what happens to it. For example, there is an artist taking my photographs and turning them into design posters and fabrics. At first, I wanted to reach out and ask them to stop but then I was flattered that they would spend any real time with the work to consider using it in their own practice.
This is your second time working with Schilt, something that would certainly suggest a symbiotic relationship. Can you explain a little about what the two parties put in to the production of the book and why it is that you have chosen to work with Schilt again?
We worked together again because I was extremely pleased with Hesitating Beauty. The book was produced almost exactly how I wanted it. There was very little push to change anything that was not in the original design. Although he didn’t do Hesitating Beauty I know one of the designers (Henk VanAssen) that Schilt works with very well and I wanted to work with him. Henk was great to collaborate with. These things are really so difficult. Photographers spend years looking at a project only to have them hacked away by over- design. Henk was very conscious of the work that I had done, willing to push ideas while honoring the intent of the book. In the end we didn’t land far from where we started which for this book was ultimately the right move.
Is this important to you that your intent remains mostly unchanged — not that it isn’t challenged or supported but do you see the resulting book with you as author or a co-authored project?
Perhaps this sounds smug but I do not see the designers that I work with as co-authors at all. Co-designers but not co-authors. I would argue that with all my books I came to the design process with 99% of the layout done and 95% of the design done. My designs however are never in the right format and far from print ready. I use photoshop instead of InDesign to hack my way through the process. The designer then takes my pages and translates them into a format that can be used by the printer.
Where does price fit into the process of bookmaking? At $50 it is not a cheap publication and I wonder whether the price (or range) is set at the start or whether it is the product of all the other decisions that go into the production of the publication?
That is something that is set by the publisher. I have really no say in that stuff. I think Schilt Publishing weighs the cost of the book against the Amazon reduction. $50 becomes $35 but really not sure how any of that happens.
It is pretty hard to see the ‘work’ that is Mind the Gap without buying the publication, or seeing the ClampArt show at the moment — is this a conscious decision to hold back and keep something limited or perhaps you are keen to really curate or control the experience of those coming to the work?
I wish it was that thought through. Honesty, it is really just about not updating my website. Most the images are either on the galleries website or other publications that have interviewed or reviewed the work.
Do you have a strategy for getting the book into specific archives, libraries, schools and so on? Does this factor into your bigger plans for the book?
No, I don’t really have plans for the book in that sense. I do very little outreach to institutions to get the book placed. As a teaching artist with kids my time is so limited. If I am not teaching or with my kids I try and devote all my studio time to making work. Perhaps in another life I would have a gaggle of assistants that could help with these things, but I don’t see that happening anytime soon.
Who is it then that you want to see, or buy the book? Are you aiming for the book itself to primarily be read by photobook enthusiasts or are there other groups of people you are looking to reach?
That is a really important question. Often when a book comes out people ask you to come to different places to show the work and talk about it. I did a bunch of that before realizing that almost everyone coming to see these events were people that want to be doing it themselves. We end up talking to ourselves over and over again. Rarely, for many of us in the photography art world are we able to really reach outside of our own little echo chamber. That said it does become really beautiful when the work is able to transcend beyond our circles. With my first book Meadowlands that happened a little bit with people interested in the environment but more often with enthusiasts of New Jersey. Hesitating Beauty was a bit more successful in this realm and seemed to touch a note with caregivers, specifically those caring for parents or those suffering from mental illness. I am really not sure who the audience will be for Mind The Gap. It does seem to be hitting some strange notes that are trickling into all sorts of unintended interactions. The range has been somewhat disparate; from the Bernie Sanders Campaign wanting to collaborate to a warden of a Texas Prison connecting about a public works project. At this point, I am not sure where any of it is going just feeling grateful for the ability to be a part of the conversation.
What is a successful reading of Mind the Gap for you? What do you want (or do you even think about this?) people to hear when they look at the work?
I don’t really think there is a successful read as much as there is an unsuccessful read. For example, the book has about 20+ short stories in it. Some readings have taken the stance that based on my previous work certain stories must be grounded in truth while others must embrace fiction. It is not that I am bothered by the picking and choosing of real vs fiction it’s just a bit more effective if people embraced not knowing. In a way that is essentially what the work is about; our collective need to come to conclusions about things. It is about the state of being lost in confusion 99% of the time with only tiny glimpses of clarity. I like the Sanskrit word samsara and refer to it in the drawings of the wheel of samsara used in the end pages. I suppose this becomes a legend or a map for the book for anyone really wanting to dig in. Samsara translates to wandering and these drawings depict ancient and modern-day states that from a buddhist perspective prevent us from finding clarity. My favorite thing about them is that these obstacles have been updated but they haven’t changed we only think they have.
What role does the accompanying spiel/blurb/precis that accompanies the work do for this communication between you and the reader?
That’s a publisher thing and that has to do with marketing. If I had it my way there wouldn’t be anything, but I do understand the need.
Do you think consciously of the ways in which the book (this or previous) impacts you from a financial perspective or in terms of your career —
To the first part of your question photo-books at the scale that I am making them do not contribute to any real income. My finances are not directly tied to book sales at all. My income is generally balanced through the ebb and flow of teaching, art sales, grants and the occasional editorial job. As far as career, I think they are all intertwined and support each other.
Is it important today for photographers to be making books?
No not at all. Don’t hate me for this but I think there are way too many photo-books being made. I can’t tell you how many people tell me about a book they want to make. They see the book before they see the work. What is important for photographers to be making are long term realized projects that may or may not one day find themselves in the book format. The work has to come first. A photo-book should be the end result of every possible iteration. It’s a massive undertaking that should really not be seen as the goal but if anything the outcome.
Two posts I authored are on the College Book Art Association ‘Art Theory Blog’ found here. The first talks a little about the importance of remembering the multiple histories that the photograph and the page have, and the second introduces some thoughts around interactivity and the photobook. While they are only brief sections of much larger research and writing, they, like the other posts on the Art Theory Blog might well be of interest.
While it may have limited crossover in its totality, a short article recently written for the ‘Academic book of the Future’ by UCL Press and the British Library touches a little on some of the pedagogic considerations behind the PBC and thus may be of interest. The full post can be found here.
Perhaps counter-intuitively the photobook – a form which is expensive to make, buy and distribute, not to mention time-consuming – is experiencing something of a golden age (Crager, 2014), which to others seems an unhealthy cult (Bush, 2016). This phenomenon, linked to both post-digital pragmatism and oppositional reaction has lead to a landscape in which there is firstly an abundance of new works, and secondly (in relation to the first) an absence of considered discussion around the merits of new works or the hailing of classics. This presents a problem to the student of the photobook – including the formal academic student, as well as the photographer, designer, binder and publisher. Fundamentally the The Photobook Club looks to one of the most overlooked agents in the life of the photobook – the reader.
A huge thanks to all 178 people who took part in the photobook survey I have conducted over the last few months some fantastic responses have come through and a number of interesting trends are presenting themselves. I will look to publish some results in the future but for now my gratitude for so many spending considerable time giving thoughtful answers to questions around photobook readership.
Further research with particular individuals is developing some of the difficult-to-answer questions about our reading of books new to us and those we are already familiar with. Already a number of interview sheets with non-linear response diagrams have been sent out – if you would like to be involved in this also pop me an email.
Great to hear rumblings of Photobook Clubs in Ecuador and Seoul with more details coming int he next few weeks. In the meantime, if you are local (Guayaquil in Ecuador) then please pop me an email so I can forward on your details to the organisers.
In other news, it has been about 4 months since the launch of the 2 surveys of photobook readership I put out with the intention to build a picture of the ways in which we interact with (buy, read and speak about) photobooks. If you have taken part, a huge thanks. If you have not yet I hope I can ask you to spend some time filling out the anonymous survey which is already producing some fascinating insights. Below are three links, the first to anyone who reads photobooks, the second only to those who have attended a Photobook Club event, and the third in Spanish for those who have attended a Photobook Club.
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.
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?
Transparency – I was sent a review copy by Kehrer Verlag
KayLynn Deveney’s ‘All You Can Lose is Your Heart’ looks at ranch-style dream homes in the American Southwest, built in the 50’s and 60’s. It is intended that the images inside, presented as a close-to-typological study is able to act as a metaphorical portrait for ‘those living inside’ that tells us about ‘a fading vision of the American Dream’. For some reason the press release seems keen to stress that this is the ‘first time these houses are the subject of a published photographic work’ – something that on its own should be nearly inconsequential.
What is a well trodden path though is the visual and verbal discourse of the American Dream and its health – it’s dead, it’s alive, it’s dead, it’s alive. It’s dead. So, important then that Deveney brings something of value to the discussion. This is certainly the case for the images presented in the book, which, despite learning more about their production in the accompanying interview with architect (and marketeer) Jean Valjean Vandruff, are still charmingly sweet. The mix of straight-cut timber with ornate, curved detailing on acutely angled roofs is only made more compelling for the pick up trucks and light-up reindeer that now block the view. Here is the strength of the work (not the book) – in plainly evidencing the augmentation or destruction of an historical ‘ideal’.
As I tend to find with almost all photobooks from more established houses, there are too many images here, and some focus is lost in the edit – it is a struggle to really feel as though we are seeing much of the occupant’s lives in these photographs. We should also ask whether we gain any insight into the wellbeing of that elusive American Dream – to an extent perhaps but greatly aided by the interview and essay at the rear of the book.
The sequence and edit of content (not only images) is my main issue with the reading – which feels somewhat cumbersome and in need of some rearranging. Using the essay and interviews as well as original marketing material and blueprint to break up sections of the photographs might simultaneously create a more sure delivery.
To celebrate World Photobook Day in Coventry we will be hosting a book club meeting at the University on 14th Oct with photobook dummies and photobook favourites. The latest ‘box of dummies’ will be in attendance and I am asking folks to bring along their favourite photobook.
The event is open to all but there will be a limit on numbers so please rsvp to email@example.com
Ellen Terry Building Coventry University 6pm – 8pm then pub