The PhotoBook

March 28, 2016

The Aftermath Project – WAR is Only Half the Story – Volume VIII

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Copyright 2015 the photographers

Photographers: Philippe Dudouit (Switzerland), Olga Ingurazova (Russia), Luca Locatelli (Italy), Diana Markossian (USA), Javad Parsa (Iran)

Publisher: The Aftermath Project (USA)

Essays: Sara Terry and the photographers

Text: English

Stiff-cover book with hand stamp, sewn binding with hand applied butcher tape on the spine, four-color lithography, printed in the United States

Photobook designer: Sara Terry & Mika Toyoura Mingasson

Notes: The Mission of the Aftermath Project and their annual publication WAR is Only Half the Story, is to broaden the public’s understanding of the true cost of war the real price of peace. They believe that while stories of war must be told, war itself is the story of man’s inhumanity to man. The Aftermath Project strives to illumine what it means to be human, to explore specific stories with universal themes that affirm our common humanity – and alert us to the dangers of equating a mere end of violence with sustainable peace.

This year’s submissions resulted in the winning grant awarded to Luca Locatelli (Italy) for United Colors of War, his four part project investigating the Industry of War, the commercial infrastructure that has swelled to make war possible, and perhaps a little too profitable. Locatelle includes one part investigating the industry of training combat photographers who subsequently make a living documenting war.

This edition also provides selections from the four Finalist; Philippe Dudouit (Sahel the Dynamics of Dust), Olga Ingurazova (Scars of Indeprndence), Diana Markossian (Goodbye My Chechnya) and Javad Parsa (Moments of Freedom). Collectively, a strong narrative that affirms our common humanity and that we need to avoid war.

Cheers

 

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March 25, 2016

Tim Richmond – Last Best Hiding Place

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Copyright 2015 Tim Richmond

Photographer: Tim Richmond (born England, resides Somerset, UK)

Publisher: Kehrer Verlag (Germany)

Essay: Jorg Colberg

Text: English

Hardcover book, sewn binding, four-color lithography, printed in Germany

Photobook designer: Mark Tappin (London)

Notes: Richmond’s opening one-line statement summarizes his body of work; “Places, like people, can seem alone, filled with melancholy”. As an English photographer, he investigates a version of the American West that is found in Montana, Utah, Wyoming, South Dakota and Colorado, perhaps chasing movie myths while facing current realities. His photographs indeed appear to be layered with melancholy; open spaces devoid of people while sparsely populated by cattle, abandoned dusty western streets, boarded up small town store-fronts, old beat-up cars and empty bars. He has found those lonely in-between places where the American West dream has seemed to fizzle and become something much less. I am left wondering about his subjects; the faceless cowboys, the old biker, the young boy and others captured in a pensive moment.

Richmond’s photographs are well made and have an objective, documentary appearance that capture the nuances of the wide open expanses in Big Sky country. As his book title implies, and his photographs tend to support, the American West is still a large, sparse and desolate space where someone can escape to and become lost, leaving all one’s past baggage behind.

Cheers

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March 19, 2016

Chris Killip – In Flagrante Two

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Copyright 2015 (2016) Chris Killip

Photographer: Christopher David “Chris” Killip    (born; Douglas, Isle of Man, resides Boston, MA, USA)

Publisher: Steidl Verlag (Germany)

Essays: the book is without any essays, but does include an index of photographs at the conclusion.

Text: English

Hardcover book with dust jacket, sewn binding, four-color lithography, with index of photographs, printed in Germany

Photobook designer: Chris Killip and Victor Balko

Notes: In Flagrante Two is Steidl’s edition of Killip’s original photobook In Flagrante, which was a softcover book published in 1988 by Martin Secker & Warburg Ltd. Killip is investigating the working class neighborhood of northeast England over the duration of 1973 to 1985, a time of unrelenting economic troubles for the UK. Regretfully I have not have a copy of the original 1988 In Flagrante, but the frequent criticism of this first edition was that the horizontal two page spread design and printing lost some of the photographic content within the gutter. This large Steidl edition has each photographic image on one entire page, one printed page per spread and thus all of the photographic content is intact.

The photographs are very gray and gritty, the documentary style portrays an industrial area in a declining condition; an opening photograph of the Wallsend housing in Tyneside, cloaked in snow and at the conclusion of the book, the same advantage point during the demolition of this same housing track in Wallsend, with the bricks and rubbish littering the lane, similar to resulting the fall of Humpty Dumpty, who could not be put back together again by all of the King’s men. I should note that when corresponding with Killip, he revealed that the later photograph of the Wallsend housing demolition is one of three images that are new to the Steidl edition, which for me, makes this edition all that more compelling as a narrative of this time and place. I also note that Killip frequently photographed children who seem happy and oblivious to their dire surroundings, while the older youth and young adults appear to become very aware of their situation.

In my naivety of my English cousins, I had though In Flagrante was a reference to a region or place in northern England. Following up with Killip, he states that his book’s title is extracted from the term “In Flagrante Delicto”, a legal term meaning “caught in the act” in a sexual connotation, while In Flagrante is also caught in the act, but without a sexual connotation.

I had also read that many of the photographs of In Flagrante were made by Killip with a 4”x5”, but there was a spontaneity to the images that did not seemed to correspond to a static viewpoint of a view camera (my 4”x5” equipment assumption) on a tripod. In response to my question regarding the camera equipment he used, Killip stated that he mainly used a Linhof Technica 4”x5” hand-held which was mixed with 6×7 roll film taken on a Plaubel.

As to my question as to the overlap of his Seacoal images that are also included in In Flagrante, he responded; “I did the In Flagrante book a longtime before the Seacoal book and the Seacoal images that are in In Flagrante just seemed to fit.

Killip also states “In Flagrante Two is strident in its belief in the primacy of the photograph, embracing ambiguities and contradictions in an unadorned narrative sequence devoid of text.”

Other Chris Killip photobooks featured on The PhotoBook: Seacoal

Cheers

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March 11, 2016

Ron Jude – Lago

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Copyright 2015 Ron Jude

Photographer: Ron Jude (born Los Angeles, resides Eugene, OR, USA)

Publisher: MACK (London)

There are no essays, pagination or captions

Text: English

Hardcover book with embossed and printed linen cover, sewn binding, four-color lithography, printed in Germany by Optimal Media

Photobook designer: Ron Jude with Grégoire Pujade-Lauraine

Notes: Although not stated in Ron Jude’s 2015 photobook Lago (Spanish for Lake), his title is a sideways reference for his subject, the Salton Sea and the surrounding Southern California desert community located not far from the Mexican border. In fact this photobook is minimalist in design; photographs only without any essays or captions, thus intending the reader to create their own narrative.

I will admit that this storied location out in the desert is not that far from my studio but its current downward spiraling conditions, both economically and environmentally, have had no appeal for me. Probably why I am a bit late to acquire and review Jude’s photobook, but I became more interested as I read other books reviews and interviews with Jude about his project.

The decaying structures, plants and isolated details appear ambiguous as to their actual location other than a place in a desert setting. When his subjects are illuminated by a warm light, this creates an emotional disparity for the dismal vision in front of Jude’s lens. Nevertheless, when his subjects are in the harsh, direct light of the cloudless desert, this seems to provide a more appropriate illumination of the found conditions. The Salton Sea due to the economic decay matched with the increasing alkalinity of the lake, has become a frequent photographic “ruin porn” destination, in line with the similar sad conditions surrounding Detroit, while I find that Jude’s photographs transcend the vast majority of photographs created at the Salton Sea. I feel that is probably due to Jude’s concept which goes beyond a documentary style project investigating failure.

Although his photographs capture some of the sad economic conditions that surround the location, once thought in the 1950’s to become another desert Palm Springs on the lake, his photographs can be read as visual metaphors for memory, hope, loss and stubborn reality. Jude stated in another interview about this project “These things you mention—the harsh light and the fishbone beaches—served as strange, almost violent embodiment’s of how difficult it is to come to terms with the gap that exists between the smooth edges of memory and the staccato nature of actual experience.”

Other Ron Jude photobooks that I have discussed on this blog in the past: Lick Creek Line, Other Nature

Cheers

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March 10, 2016

Photobook Competition update: I have been added to the judging panel

Filed under: Photo Book NEWS — Tags: , , , — Doug Stockdale @ 8:26 pm

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PhotoBook Independent.

I am very honored, as well as excited, to announce that I have been added to the judging panel for the PhotoBook Independent phototographic book competition! So how cool is that?

I will be joining Rudi Bianchi (photographic collector), Marissa Caichiolo (Curator and Executive Director, Building Bridges Art Exchange), Chris Davis (Publisher, Fabrik Magazine), Kio Griffith (Artist, Designer, Writer, Curator), Sarah Lee (Curator) and Kirk Pederson (Publisher, Zero+Publishing). This appears to be a diverse panel, so this should be an interesting process and I am looking forward to it.

Reminder, the cut-off day for this is very quickly approaching with the published books to be delivered by March 21st (Los Angles, CA). So if you think that this is for you, please check it out and get your books in.

I am now looking forward to all of the great submissions!

Update: The submission deadline for delivering books has been extended to the end of March.

 

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