"Somewhere in America. Countrysyide. Streets, wooden houses, landscape. People, pets, cars. Inside: Desk, chair, bed. Sideboard, curtain, Pictures on the wall. A way to live. But do you want it that way, can you? That's what Tsar Fedorsky asks herself. Of course that must not be of interest for us, were there not the pictures. Has Tsar Fedorsky even made them? I dont think so. I guess it was a sleepwalker, who shows her how painfully strange the familiar has become, who projects her as stranger into the familiar surroundings, makes clear, how necessary it is to look for new ways of living and also knows how hard it can be to say good-bye"--Publisher's website.
Understanding Photobooks is a user-friendly guide to engaging with the photographic book— or, as it is widely known, the photobook. Despite its importance as a central medium in which many photographers showcase their work today, there is surprisingly little information on the mechanics of the photobook: what exactly it does and how it does it. Written for makers and artists, this book will help you develop a better understanding of the images, concept, sequence, design, and production of the photobook. With an awareness of the connections between these elements, you’ll be able to evaluate photobooks more clearly and easily, ultimately allowing for a deeper and more rewarding experience of the work.
Author: Ernst Van Alphen
Release Date: 2018-01-03
Edited by Ernst van Alphen, ?Failed Images? attempts to understand the divergence between photography and the reality it portrays, analysing the various ways the photograph transforms that which exists before the camera. Because the photographic medium enables very different practices, which in turn results in many kinds of images, it must also be examined from a perspective outside of the dominant approach to the medium, generally called the ?snapshot?. This book therefore explores the photographic image by focusing on practices which refuse this conventional approach, namely staged, blurred, under- and overexposed, and archival photography.
As a manufacturer of food and animal feed, seeds and chemical products, Monsanto is relentlessly developing and marketing new technologies. The monopoly it has arguably secured by dubious means bears no relation to its negligence with regard to potential risks. Particularly in light of the devastating consequences that are still causing suffering to people and the environment in many places, the company?s self-portrayal as a forward-looking, omnipotent force for good seems cynical. The photographer Mathieu Asselin, who lives in France and Venezuela, has tried his hand at the daunting task of exploring the issues surrounding Monsanto. His investigative photographic study manages to capture the complexity of this topic, creating links between past, present and future and illuminating many different aspects from a variety of perspectives.
A major new work, Tenancyis comprised of 42 photographs by Robert Adams (born 1937) made in Nehalem Bay State Park, Oregon, between 2013 and 2015, with short texts by the artist. The book's theme of tenancy expresses the idea of "temporary possession of what belongs to another"--specifically, the natural environment. Adams' recent photographs of the landscape reference the current and imminent threats of clearcutting, environmental degradation and natural disasters along the Northwestern coast of the US. The black-and-white photographs include poignant images of massive tree stumps on the beach--a product of the cutting of first and early second growth--as well as shimmering stretches of coastline protected for endangered birds previously thought to have abandoned northern Oregon.
Release Date: 2008
Eleven years in the making and compiling more than thirty years worth of material: Ed Templeton's Deformer, a multi-media scrapbook of his upbringing in suburban Orange County, California. This beautifully designed volume, entirely art-directed by Templeton himself, is sure to be a major work. Its photographs give a sun-drenched glimpse of what it might be like to be young and alive in what Templeton refers to as "the suburban domestic incubator". Deformer intertwines photographs, paintings, drawings, sketchbook pages, disciplinary letters from his grandfather and religious notes from his mother into a magnificent narrative of teenage isolation and social criticism. Many of the photographs have come about due to his life as a professional skateboarder. "Skateboarding allowed me to travel the world and that showed me that where I lived was totally messed up," says Templeton. "That perspective has fueled me and become a source for my art." Through photographs and stories, Ed Templeton's Deformer offers readers an intensely close and personal look at not only one artist's coming of age, but also the often overlooked and forgotten dark side of the American dream.
Author: Jason Fulford
Publisher: Soon Inst
Release Date: 2014-11-30
This publication reissues a beloved photobook classic-acknowledged as such by Martin Parr and Gerry Badger in the third volume of "The Photobook: A History"-that has been out of print since the hardcover edition was published in 2010. As photographer Jason Fulford (born 1973) recently learned firsthand, mushrooms have a way of growing and spreading wherever they touch ground. It all started when a friend of Fulford's gave him a box, found at a flea market, full of photos of mushrooms-unassuming pictures taken by an unknown but almost certainly amateur photographer, apparently as notes for some mycological studies. Fulford's art photographs (aside from his well-known book "Dancing Pictures," which depicted people getting down to their favorite songs) are usually of staid, quasi-mute objects: a smashed Dorito chip overrun with ants, two bronzed doorknobs spooning, the blank back of a street sign. Yet these mushroom images got stuck in Fulford's mind, like a bad song sometimes does, and they started to grow in his own work. "The Mushroom Collector" combines some of the original flea-market mushroom pictures with his own images and text by the artist about the project.
Author: Ebenezer Cobham Brewer
Publisher: The Minerva Group, Inc.
Release Date: 2004-03-01
Genre: Literary Criticism
Originally published in 1892, "the object of this Handbook is to supply readers and speakers with a lucid, but very brief account of such names as are used in allusions and references, whether by poets or prose writers; - to furnish those who consult it with the plot of popular dramas, the story of epic poems, and the outline of well-known tales. The number of dramatic plots sketched out is many hundreds. Another striking and interesting feature of the book is the revelation of the source from which dramatists and romancers have derived their stories, and the strange repetitions of historic incidents. It has been borne in mind throughout that it is not enough to state a fact. It must be stated attractively, and the character described must be drawn characteristically if the reader is to appreciate it, and feel an interest in what he reads." This work, an American reprint of The Reader's Handbook by E. Cobham Brewer, ..".while retaining all of the original material that can interest and aid the English-speaking student, gives also 'characters and sketches found in American novels, poetry and drama.'"
The Cultural Work of Photography in Canada is an in-depth study on the use of photographic imagery in Canada from the late nineteenth century to the present. This volume of fourteen essays provides a thought-provoking discussion of the role photography has played in representing Canadian identities. In essays that draw on a diversity of photographic forms, from the snapshot and advertising image to works of photographic art, contributors present a variety of critical approaches to photography studies, examining themes ranging from photography's part in the formation of the geographic imaginary to Aboriginal self-identity and notions of citizenship. The volume explores the work of photographs as tools of self and collective expression while rejecting any claim to a definitive, singular telling of photography's history. Reflecting the rich interdisciplinarity of contemporary photography studies, The Cultural Work of Photography in Canada is essential reading for anyone interested in Canadian visual culture. Contributors include Sarah Bassnett (University of Western Ontario), Lynne Bell (University of Saskatchewan), Jill Delaney (Library and Archives Canada), Robert Evans (Carleton University), Sherry Farrell Racette (University of Manitoba), Blake Fitzpatrick (Ryerson University), Vincent Lavoie (Université du Québec à Montréal), John O’Brian (University of British Columbia), James Opp (Carleton University), Joan M. Schwartz (Queen’s University), Sarah Stacy (Library and Archives Canada), Jeffrey Thomas (Ottawa), and Carol Williams (Trent University/University of Lethbridge).
This book celebrates the new creative processes of the modern photographic era, in which blogs and Instagram streams function alongside analogue albums and contact sheets, and the traditional notebook takes the form of Polaroid studies, smartphone pictures, diaristic projects, found photography, experimental image-making and self-published photo-zines. Each photographer presents his or her sketchbook: several pages of images that convey his or her working methods and thought processes. These intimate, one-off presentations are accompanied by engaging interviews that reveal how the simple act of pressing a shutter can capture and express a fully realized personal vision. Three essays by the authors explore subjects at the cutting edge of contemporary practice, including: photo diaries and online experiments and exhibitions; print and electronic publication; planning and editing large projects; and new cameras and other photographic technologies. Designed to satisfy the most demanding of image junkies, this is an indispensible resource for anyone with an interest in photography or the creative process.