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How We See: Photobooks by Women
A “book on books” anthology that documents How We See, a traveling public and hands-on reading room of a global range of 100 photography books by female photographers. In addition to all one hundred books in the How We See Reading Room, the publication includes three essays, an annotated history, reference lists of historical books by women photographers, an author index and a visual index. Paris Photo-Aperture Foundation Photobook Awards 2019 – Jury’s Special Mention Les Rencontres d’Arles Photobook Award 2019 – Shortlisted 50 Books 50 Covers / AIGA 2019 – Best Book Winner ADC Merit Award 2020
What They Saw: Historical Photobooks by Women, 1843-1999
What They Saw: Historical Photobooks by Women, 1843 - 1999, 10×10 Photobooks' most recent "book-on-photobooks" anthology in its ongoing examination of photobook history, explores photobooks created by women from photography's beginnings to the dawn of the 21st century. Presenting a diverse geographic and ethnic selection, the anthology interprets the concept of the photobook in the broadest sense possible: classic bound books, portfolios, personal albums, unpublished books, zines and scrapbooks. Some of the books documented are well-known publications such as Anna Atkins' Photographs of British Algae: Cyanotype Impressions (1843-1853), Germaine Krull's Métal (1928) and Diane Arbus: An Aper...
Margins of Excess
In ?Margins of Excess? the notion of how personal imagination conflicts with generally accepted beliefs is expressed through the narratives of six individuals. Every one of them momentarily received nationwide attention in the US press because of their attempts to realize a dream or passion, but were presented as frauds or deceivers by the mass media?s apparent incapacity to deal with idiosyncratic versions of reality.0The current era of ?post-truth?, in which truths, half-truths, lies, fiction or entertainment are easily interchanged, has produced a culture of ?hyper-individual truths?, demanding a new approach to identify the underlying narratives that structure our perception of reality in a world where there is no longer a generally accepted frame of realism. 0Embedding the stories of the six main protagonists into a clustering tale of cloned military dogs, religious apparitions, suspect vehicles, fake terrorist plots, accidental bombings and fictional presidents, this book follows an associative logic akin to the indiscriminate way a paranoid mind connects unrelated events, or the hysteria of the 24-second news cycle.
Photobooks &
An engaging appraisal of photobook culture today and the future of the form Elucidating key issues and themes in contemporary photobook culture--from the medium's post-digital and post-photographic condition to the aims of publishing, issues of accessibility and the act of reading--Matt Johnston's Photobooks &combines research and interviews with key individuals from the photobook world. Informed by his experience with the Photobook Club project, Johnston examines current trends and practices, emphasizing connections (made and missed) between makers and readers. Johnston calls for a recalibration of a maker-centric discourse to address the communicative potential of the medium: aligning making with making public. Contributors include: Alejandro Acin, Eman Ali, Mathieu Asselin, Sarah Bodman, Bruno Ceschel, Natasha Christia, Juan Cires, Ángel Luis González, Larissa Leclair, Russet Lederman, Dolly Meieran, Olga Yatskevich, Michael Mack, Amak Mahmoodian, Lesley Martin, Tate Shaw, Doug Spowart, Jon Uriarte, Anshika Varma, and Amani Willett and Tiffany Jones.
What Photographs Do
What are photographs ‘doing’ in museums? Why are some photographs valued and others not? Why are some photographic practices visible and not others? What value systems and hierarchies do they reflect? What Photographs Do explores how museums are defined through their photographic practices. It focuses not on formal collections of photographs as accessioned objects, be they ‘fine art’ or ‘archival’, but on what might be termed ‘non-collections’: the huge number of photographs that are integral to the workings of museums yet ‘invisible’, existing outside the structures of ‘the collection’. These photographs, however, raise complex and ambiguous questions about the ways ...
A Parallel Road
"A multi-layered visual work exploring the Black experience of driving in America. Challenging preconceived ideals of the classic road trip, this thought-provoking book layers pages from the historical Negro Motorist Green Book with found images, pictures from the family archives, and new photographs. It questions how long the road will continue to be a site of violence and oppression for Black people in American society." --
Virginie Rebetez
This is a conceptual work with a tragic underlying narrative: the disappearance of the teenager. The project tends to question our relationship towards absence and loss and the need of physicality in the process of acceptance and closure. The book combines materials from different sources, such as family archives, reproductions of police and psychic files as well as photographs by Virginie Rebetez. This two year project is also a a reflection on the medium of photography. The status of each image is constantly shifting, offering new meaning and context to this open case. Delphine Bedel, the editor and publisher, and Virginie Rebetez worked together 6 months on this publication, with great attention details and to the narrative structure of the book. The roles of images and their haptic qualities keep shifting, family archives and memories becomes first police evidence and later tactile objets for the mediums and the artist, a fragmented representation of reality, a transformation process that Delphine calls 'the haptic image'.
Franziska Klose: Detroit
An artist's-book portrayal of contemporary Detroit, an overgrown and deindustrialized city on the perpetual brink of renaissance This publication appraises the contemporary urban landscape of a deindustrialized city in the form of an artist's book. In her photographs and texts, German photographer Franziska Klose (born 1977) represents the city of Detroit as an overlay of social and natural history, depicting a landscape absolutely consumed by industry. What was once celebrated as the "Motor City" is now described by the media using slogans such as "ruin porn" and "future city." Snapshots of vacant land and overgrown lots highlight the structure of contemporary Detroit, which remains a manifestation of social inequality, despite all the conjurations of an imminent economic boom. The story of the "comeback" is set against land speculation and water shutoffs, contrasting with the emergence of a potential post-growth society based on urban agriculture and individual autonomy.
Vegas and She
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FLASHPOINT! Protest Photography in Print, 1950-Present
Flashpoint!, an anthology focusing on protest photography in print, presents a global selection of photobooks, zines, posters, pamphlets, independent journals and alternative newspapers that address protest and resistance from 1950 to the present. Surveying more than 246 photography in print assets, Flashpoint! is structured thematically into seven broad chapters: Anti, Gender, Displacement, Race & Class, Environment, Political and War & Violence. Each chapter includes multiple sub-themes that address resistance related to anti-government, anti-globalization, women’s rights, AIDS, anti-apartheid, civil rights, anti-imperialism, workers’ rights, territorial disputes, student protests, nat...
