The PhotoBook Journal

June 23, 2016

Lorne Resnick – CUBA

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Copyright 2015 Lorne Resnick

Photographer: Lorne Resnick  (born Toronto, Canada, resides Los Angeles, CA, USA)

Publisher: Insight Editions (USA)

Essays: Lorne Resnick, Brian Andreas, Pico Iyer, Gerry Badger

Text: English

Hardcover book with dust jacket, sewn binding, four-color lithography, printed in China

Photobook designer: Leah Bloise

Notes: In conjunction with the opening of travel by the United States into Cuba, a Caribbean island which due to trade embargos has an economy and physical infrastructure that appears to be frozen in time, there is suddenly an overflow of photographic books that attempt to investigate this charming island.

Resnick is not a stranger to Cuba having started his 50 or more visits to Cuba in 1995. This thick monograph of lyrical photographs by a veteran street photographer using a documentary style has an interesting mix of color and black white photographs. His subjects are a mash up for portraits, landscape, details and social events. I have extensively worked as well as vacationed in the Caribbean, thus I find Resnick’s investigation appears to reveal similarities to but yet awkward differences with its Caribbean island cousins. In attempting to provide a wide view of Cuba, he occasional treads close to some potential Cuban clichés while yet infusing his book with humor, potency, intimacy and the exuberance portrayed by his subjects. Included is a nice book element with poetic text printed on translucent pages that intermittently layers his photographs.

Resnick also has a limited edition version of this book that includes a 60-song Cuban music collection. nice.

Cheers

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June 17, 2016

Sara Terry – Elvis in the Tree

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Copyright 2016 Sara Terry

Photographer: Sara Terry (b. Detroit and resides in Los Angeles, USA)

Self-Published: 10 (X) Editions

Text: English

Hardcover artist book (boards with hand stamp and hand inscription on cover) with elastic belly band, leporello interior design, pigment ink prints with clear corner stays, hand-printed, limited edition book of 10.

Photobook designer: Sara Terry

Notes: Sara Terry’s hand-made artist books in her 10 (X) series are a delight to hold and read. I have known Terry as the founder, artistic director and publisher of the Aftermath Project and her annual War is Half the Story stiff-cover books and that she received a Guggenheim Fellowship in 2012 to support the publication of artist book Forgiveness and Conflict: Lessons from Africa. These are all very serious documentary style projects. What I was not aware of was her wonderful 10 (X) Editions until we had adjacent tables at Photo Independent last month. I found out about the not-so-serious side of Sara Terry!

I also quickly found that Terry is very particular about her books when I inadvertently did not place the elastic belly-band back on this book in the right place. Likewise she pays careful attention to the design details and production of her books; they are very well constructed and reading is a fun and enjoyable experience, especially as the leporello design unfolds the interior prints in your hands. For Elvis in the Tree, Terry states “It’s about trees. It’s about visual puns. And yep, it IS about Elvis in the tree.”

A simple but yet elegant book object that is well executed. Recommended.

Cheers

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June 10, 2016

Aline Smithson – Self & Others

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Copyright 2015 Aline Smithson

Photographer: Aline Smithson (born & resides Los Angeles, CA, USA)

Publisher: Magenta Foundation (Canada)

Essays: Paula Tognarelli, Karen Sinsheimer & Aline Smithson (A.S.)

Text: English

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

Photobook designer: Office of Gilbert Li

Notes:  This monograph is a wonderful mid-career touch-point (as I know that just about every artist is loath to have a “retrospective” published while still in the midst of developing new work) that chronologically encompasses her early black and white analog projects, then a period of hand-coloring silver gelatin prints and currently exploring portraiture with the color photographic medium.

She has learned to masterly fill the square frame with her subjects, frequently her family as well as family of friends and make excellent use of her training as a painter in creating the accompanying background sets. One can see the early influence of the ambiguous style of Keith Carter or the family in masks of Ralph Eugene Meatyard, evolving to when her vision becomes more uniquely her own with her hand-colored photographs and subsequent color portrait projects. Portrait as Autobiography is thus a very apt subtitle to Smithson’s book Self & Others, an on-going collection of portraits by the photographer.

The late Karen Sinsheimer states in the forward; “Smithson manages to explore and explicate larger questions and issues as she remains true to who she is. She does not flinch from unpleasant or painful memories, nor does she shy away from an honest assessment of her work. Smithson maintains a sense of humor as well as a humanity; her photographs reflect her kind nature. One never senses meanness nor voyeuristic “gotcha” moments. She is unafraid of trying new ideas as she is of failing; she simply learns from and analyzes the experience and stores it in her memory for future reference.”

Cheers!

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June 7, 2016

Portfolio Reviewer at LACP Exposure 2016

Filed under: Photo Book NEWS — Tags: , — Doug Stockdale @ 11:41 pm

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Susan Burnstine, a Portfolio Reviewer for LACP Exposure 2016

I will be among the 19 Portfolio Reviewers, joining Susan Burnstine, Aline Smithson, Julia Dean, Kirk Pederson, Sarah Lee, Chris Davies to name only a few, for the Los Angeles Center of Photography’s (LACP) “Exposure 2016” event being held at the end of July at Santa Monica’s Bergamont Station.

The LACP’s “Exposure 2016” is a great opportunity to have your work seen by a diverse group of portfolio reviewers; see all of the bio’s here.

I am recommending that photographers who are interested in feedback on a portfolio that has been edited for potential publication may want to consider me for a review session. I am also recommending that if the photographer/artist has a book dummy in addition to a print portfolio, it would be a great opportunity to get some constructive criticism on that as well. The issue as always for these events is that you only have a 20 minute window to spend with each reviewer, so it really helps to know what exactly you want from this brief exchange.

Although this is a two day event; Saturday, July 30, 10 am – 5 pm + Sunday, July 31, 10 am – 5 pm, regretfully I will be available only on Sunday, July 31st. So I’m a bit limited for availability. Thus I suggest if you want to have my review, you will probably want to sign up as soon as possible.

For more details on “Exposure 2016”, including on how to sign-up, head over to: here.

Currently early bird pricing is still available until July 1st, so check it out now ;- )

Exposures 2016 event adress: dnj Gallery, Bergamot Station, 2525 Michigan Avenue, Suite J1, Santa Monica, California, 90404, (United States).

Cheers!

June 3, 2016

Kurt Simonson – Northwoods Journals

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Copyright 2015 Kurt Simonson

Photographer: Kurt Simonson (born St Paul, MN, resides Long Beach CA, USA)

Publisher: Flash Powder Projects (USA)

Essay by George Slade, Poem by Franz Wright

Text: English

Hardcover book, sewn binding, multiple gate-folds, tipped-in tri-fold page, four-color lithography, printed by Bigger Dot in South Korea

Photobook designer: Kurt Simonson, David Bram, Jennifer Schwartz

Notes: Kurt Simonson’s Northwoods Journals was one of the immediate standouts while I was judging the Photo Independent Book Competition last month. Even now after the first impressions formed during the book judging process have faded, I find his body of photographs to appear both factual, in a documentary style, as well as mysterious, as to the potential content, creating an interesting, although at times dark narrative. I realize that Simonson’s ambiguous photographs allow me the room to fill in some spaces from my own Midwest upbringing, a personal layer that I can add onto to his story. I like when that happens.

The body of work opens with a photograph that might be his grandmother’s envelop and unopened letter, a sly node to the late Roland Barthes. Simonson follows with a playful twist to include a tipped-in tri-fold page with a photograph of a hand-written text that contains his own introduction, as a surrogate of his grandmother’s letter, which may also have been hand-written, similar again to Barther’s photograph of his mother; we don’t know. Nor does it really matter.

Playful, mysterious and a ample ambiguity that allows the reader to make the story their own. Nice.

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