The PhotoBook Journal

September 30, 2016

Arion Gabor Kudasz – Memorabilia

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Copyright 2014 Arion Gabor Kudasz

Photographer: Arion Gabor Kudasz (born, Hungary and resides in Budapest)

Publisher: Magyar Fotografusok Haza Nonprofit Kft (Hungary)

Essays: Arion Gabor Kudasz, Gabriella Uhl, Emese Kudasz

Text: Hungarian, English

Stiffcover book, sewn naked binding, four-color lithography, printed in Budapest, with poster

Photobook designer: Nora Demeczky

Notes: A complex and layered personal photographic project that investigates the memory of his mother, which in turn becomes an investigation on the act and process of attempting to capture a memory. One layer is the process of documenting what remains; the objects, places and traces of a person who has passed. Another layer is attempting to understand if these subtle traces can hold and/or trigger memories? Still another layer; if and for whom will these memories occur?

The photographs are printed on an in-expensive paper stock with a low contrast printing process and are in a documentary style, abet, resembling a catalog or inventory of objects. There are no captions with the pages although a listing of some notes are located at the conclusion of the book. The significance of each of the objects photographed remains a mystery, thus allowing the viewer to construct a personal narrative from the evidence provided.

For me, this is a book that is heavily infused with melancholy. When you are old enough, you live beyond your grandparent’s lifetime and then one day even your own parents. I am emotional touched by this photobook, a wonderful combination of photographs and words/text that is a talisman for my own family’s memories. This photobook is also a gentle reminder to not take your friends and family for granted, as time is relentless and at sometime all too soon you have only memories.

Best regards

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September 23, 2016

No Photobook book review this week

Filed under: Photo Books, Photo Book NEWS — Tags: , — Doug Stockdale @ 6:17 pm

Hello photobook friends,

Regretfully no photobook review will be published this week as I am in the midst of curating a potential photographic exhibition and under a bit of a deadline for the gallery submission.

So ample opportunity for you to look at the past 395 photobook reviews that are available on this site. Use the inquiry box on the right to see if your favorite photographer has a photobook for your reading pleasure.

Cheers!

September 15, 2016

Lisa Elmaleh – Everglades

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Copyright 2016 Lisa Elmaleh

Photographer: Lisa Elmaleh (b. Miami, FL & resides in West Virginia, USA)

Publisher: Zatara Press

Essays: Ann McCary Sullivan & Lisa Elmaleh

Text: English

Hardcover book with wrap around cover with interior pocket, Smyth-sewn binding, interior booklet saddle stiched, lithography, without captions or pagination, printed in Richmond, VA

Photobook designer: Andrew Fedynak and Lisa Elmaleh

This photobook, Everglades, by Lisa Elmaleh is a beautiful sonnet about the Florida Everglades and a testimony to her vision and patience. I had enough issues with a 4×5” camera with sheet film on dry land, least taking on the use of huge 8×10” camera (aptly named Fitzgerald Fitzwilliam Fitzgeorge) and the finicky wet collodion glass negative process while stomping around in a swamp. If you are not familiar with the wet collodion process, which dates back to 1851, it requires that the glass plate be prepared and exposed while still “wet” and immediately developed with acid on site after exposure to further complicate her photographic process even more.

Her landscapes photographs of the Everglades wilderness are lyrical and haunting. The resulting imperfections of the wet collodion process add a measure of serendipity and chance, while creating mysterious poetic images, from all that I am told, not unlike the complexity of the Everglades itself. Due to the limitations of her process, this body of work is not meant to be an exacting documentary style investigation of this massive location, but more attuned to capture the emotional essence of her experience.

The hardcover book has contemporary elements in the binding and inclusion of the introductory booklet while the photographs are sequenced and laid out in a classic style, each plate with ample white margins. The plates have an additional coating that provides a very nice sheen that adds to the visual quality of these beautiful black and white images. The Smyth sewn binding allows the book to almost lay flat upon opening that make this book a delightful experience to read.

The photographic titles and date of exposure is available on Lisa Elmaleh’s web site.

Cheers!

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September 9, 2016

Julia Borissova – Dimitry

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Copyright 2016 Julia Borissova

Artist: Julia Borissova (born Talinn, Estonia, resides St. Petersburg, RU)

Self-published by the artist, signed and numbered edition of 100

Essays: Julia Borissova, Alexander Fokin

Text: English

Hardcover book, hand-sewn naked binding, digital printing in Russia

Photobook designer: Julia Borissova

Notes: Julia Borissova in her recent artist book, Dimitry, investigates the Russian Tsar Dimitry Ivanovich, the youngest and last son of Ivan IV the Terrible, a child of eight who died under “mysterious circumstances” in 1591. What results is Russian intrigue & speculation perhaps similar to the stories and lore in the US about who all killed President Kennedy or was responsible for the death of Marilyn Monroe. The story of Dimitry Ivanovich is further confounded by the whispers that he narrowly escaped the murder attempt and that he and his descendants still live on, again perhaps similar to current sightings of Elvis.

Borissova states in her introduction “I was intrigued by how the story can go on without the actions of a hero and how his absence can play a major role and catalyze the further development of the story. It is absence that creates legends and turns them into a myth over time.”

There is little known about this young boy Dimitry and apparently even less about the events that occurred in 1591 thus leaving ripe the narrative of his sad saga and the lingering effects on Russian culture. Her narrative is based on a small part of reality, large doses of myth and all wrapped in an enigma. To develop her elusive narrative Borissova has creatively leaned into photo-collage, montage, and layered images interwoven with some documentary style landscape photographs. The photo-collages and montages are initially jarring appearing almost crude in the stark lines of the constructed objects, but this images are also poetic, abstract and wonderfully metaphoric. Her interior images remind me of the style of the Russian abstract montage artist of the 1920s.

Thus Borissova’s narrative has been symbolically ripped from the pages of a Russian 1920’s version of People magazine. She continues to be a Russian photobook artist to watch.

Other artist books by Julia Borissova featured on The PhotoBook: DOM, address, Running to the Edge

Cheers

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September 1, 2016

Susan Burnstine – Absence of Being

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Copyright 2016 Susan Burnstine

Photographer: Susan Burnstine (b. Chicago, IL  & resides Los Angeles, CA, USA)

Publisher: Damiani Editore (Italy)

Essays: Text by Del Zogg, Chantel Paul, Susan Burnstine

Text: English

Hardcover book, sewn binding, four-color lithography, Biography, printed in Italy

Photobook designer: Masumi Shibata

Notes: Susan Burnstine’s second photobook Absence of Being is a collection of singular poetic black & white photographs, which are dreamy and mysterious landscapes. These photographic images result in part from her photographic equipment, a series of homemade photographic contraptions she created that utilized medium format film, but to a larger extent the concept and visions she is cathartically engaging. The overall darkness that engulfs her moody photographs hints at the underlying tension of her poetic narratives, what has been described has “an idiosyncratic and deeply personal visual landscape”.

Another visual theme woven in this body of work, more so than her first monograph, is the presence of a singular person or vehicle, which can be found in the midst of these landscapes. This is a strongly autobiographic element that visually places her within these narratives. Her subjects appear to be engaged in a journey, a dark metaphor that relates back to her night terrors as the source of her artistic endeavors and the mystic road she alone is traveling.

This wonderful body of work is sequenced with a single image per double page per spread; the left edge is run into the gutter with an edge bleed on the right, accompanied with a facing pagination and caption. The layout is metaphoric, with the binding providing the central source from which the pages and photographs radiate, while the bleed off the end of the page implying that her narrative does not simply end on this page. There are two styles of captions that reflect the two different states Burnstine deals with her dreadful night terrors. Also interwoven through the body of work are handwritten excerpts from Burnstine’s personal dream journal that provides some insights to the internal dialogue she is working against.

Burnstine’s photobook is a beautiful object and her wonderful luminous interior images are printed on a warm coated paper with a spot coat of luster varnish that emulates her photographic prints. Viewing this photobook is very similar to the experience of studying her print portfolio, which I was fortunate to do this last spring when we had adjacent tables at Photo Independent and the final galleys for her book were being completed. Recommended.

Susan Burnstine has been previously featured on The PhotoBook: Within Shadows (2011)

Cheers

Cheers!

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