The PhotoBook Journal

January 30, 2017

Left Coast PhotoBook News: LA ART BOOK FAIR 2017

Filed under: Photo Books, Photo Book NEWS — Tags: , , — Doug Stockdale @ 5:12 am

LA Art Book Fair coming soon to the Left Coast!

February 24 – February 26, 2017
Preview: Thursday, February 23, 2017, 6–9 pm
Location: The Geffen Contemporary at MOCA:

The Geffen Contemporary is located at 152 North Central Avenue, Los Angeles, CA 90012

This is the fifth annual LA Art Book Fair (which I missed last year, darn), and best of all, its Free!

Printed Matter’s LA Art Book Fair is a unique event for artists’ books, catalogs, monographs, periodicals, and zines presented by more than 300 presses, antiquarians, artists, and independent publishers from over 20 countries. A very diverse collection of photographic and art books. If you have not been to this event before, it will blow your mind.

Focus: Photography
A curated cross-section of photo-based books and magazines, this year’s Focus: Photography has expanded, and includes: ARÖK (Lithuania), Goodbye Ranch (Arizona), SUPER LABO (Japan), Bemojake (UK), Remote Photobooks (New Zealand), The Heavy Collective (Australia). This should be interesting!

Slow Culture & Deadbeat Club (a SoCal group of film users) are proud to present “THE FOTOMAT”.  A pop-up installation in the Geffen courtyard paying homage to vintage drive-thru photo kiosks with actual 24 hour film developing services. Photographer friends will be guest clerks and sell exclusive prints to the fair.  Also available will be film & photography accessories, zines, photo books and other photo related ephemera.

As always, a fun and entertaining event and I hope to see you there and if you see us, don’t forget to give a big shout-out ;- )

Cheers!

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January 29, 2017

Left coast photobook news: Ruscha at OCMA

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Every Building on the Sunset Strip copyright 1966 Ed Ruscha

Currently OCMA (Orange County Museum of Art) is exhibiting Pop Art Design and included are a few works by Ed Ruscha, but probably the most interesting to those who enjoy photobooks is a very long display of Ed Ruscha’s 1966 Every Building on the Sunset Strip.

This is a deadpan photographic project in which a 35mm motor-drive camera with a bulk feed was used to photograph all the adjacent buildings while driving up and then back again on Sunset Blvd. This street was commonly called the Sunset Strip, thus Ruscha’s resulting photobook plays a visual  pun of the street nickname by creating a long continuous strip of images. On the top of the pages is one side of the street and positioned below this in reverse is the other side of this street.

This photobook design was very innovative for its time with stiff covers and the interior was bound to display as an accordion (also known as Leporello or Concertinas) layout, which is to say each page was connected and continuous. A very long strip of photographic images. As a part of the Pop moment, his book was also meant to be a very inexpensive, which is apparent in the rough and uneven gluing of the accordion page binding.

My photographs of this exhibit were a grab shot and dose not do the Ruchas’s photobook enough justice, thus I recommend for you to go check it out and see the real thing!

The OCMA exhibition runs thru April 2nd, 2017.

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January 17, 2017

Nancy Baron – Palm Springs > The Good Life Goes On

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Photographer:  Nancy Baron (born in Illinois, residing in California, USA)

Publisher:  Kehrer Verlag, Heidelberg, Germany, © 2016

Essays:  Foreword by Alexa Dilworth; statements by Matthew Weiner and Nancy Baron; quotations by Martha Stewart and Hugh Kaptur

Text:  English

Hardcover book with 120 pages; 63 numbered and titled color photographs; sewn binding, printed and bound in Germany. 22.5 x 22.5 cm

Photobook Designer:  Katharina Stumpf, Kehrer Design Heidelberg

 

Notes:

Palm Springs has been a geographical and cultural mecca (not only for Southern Californians) since the early twentieth century, a place where a variety of endeavors have had the freedom to unfold. Especially in our time, both celebrities and others consider this desert city a notable attraction, an informed center of cultural activities of all kinds, most notably several film and art festivals, a summer photo festival, an excellent Museum of Art, and many more, also in association with its eight sister communities in the Coachella Valley. The dry air supplies a healthy environment for outdoor activities much of the year as well.

Mid-century modern is the architectural style that makes many of the private residences in Palm Springs especially appealing. Some fifty years later, one marvels at the manner and style that seem to seamlessly integrate residential buildings into the desert environment with its seasonal challenges in temperatures, and at the “good life” it supports. Nancy Baron excels as an observer who lets us look over her shoulder to see the marvels which this impactful town presents. It is almost as if time has stood still: In an era of world turmoil the serenity of the desert and its structures forming an enclave for residents serve as the basis for this second volume of Palm Springs photographs by Nancy Baron. (The first volume was previously featured on The PhotoBook by Douglas Stockdale.)

The volume is designed with a square format, as are almost all of the photographs; square compositions have a satisfying feeling of completion when well done, as is the case here. This is in line with the feeling of serenity of the “good life” depicted here. The colors are bright, a series of portraits of the environment and its inhabitants to match the bright desert sun. The emphasis is on the structures in their surroundings; the occupants and owners and their possessions seem part of an ever-changing context that is subject to some cultural influences and interpretations, as well as to a great deal of nostalgia. The volume is well thought out and is pleasant to view and read. The writers of the essays share some personal impressions and experiences regarding this unique town. Nancy Baron shows a special knack for portraying the special characteristics of places along with their cultural phenomena. We are looking forward to her future projects!

Gerhard Clausing

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January 13, 2017

David Carol – No Plan B

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Copyright 2016 David Carol

Photographer: David Carol (born and resides NYC, NY)

Publisher: Peanut Press (Los Angeles, CA)

Essays: David Carol Introduction, Afterword by Jason Eskenazi

Text: English

Hardcover book with debossed cover, sewn binding, duotone printing with slight varnish, captions, printed by Meridian Printing in RI

Photobook designer: Ashly Stohl

Notes: This monograph of David Carol’s photographs recaps twenty-three years of candid and ironic black and white street photography and is a visual testament to his love of this medium. He has been fortunate to have a career as working photographer, but these are his personal out-takes of situations that momentarily captured his wild imagination. These mini-narratives speak to the power of always having a camera available and constantly looking for the possibilities, open to what might unexpectedly come by your way.

His photographs range from the subtle reflection in a window that juxtapositions oil wells with wedding dresses, the surreal image of an oversized white gorilla sitting in front of a suburban home, humorous photographs of his son doing funny kid’s stuff, to the poignant  self-portrait of his cast shadow on the snow holding his symbolic son’s hand. Who has not found themselves trying to talk to someone and something is blocking their face, but Carol recognized this humorous situation and captured it.

Carol seizes upon the opportunity to create humorous antidotes about mankind and as he states “My job is to find stuff and report back”. Which he is doing quite well and he has no plans to do otherwise.

Other photobooks by David Carol featured on The PhotoBook: All of My Lies are True

Cheers

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January 11, 2017

Claire Felicie – Only The Sky Remains Untouched

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Copyright 2016 Claire Felicie

Photographer: Claire Felicie (born Breda, NL, resides Amsterdam, NL)

Self-published (the Nederland)

Essays: Claire Felicie

Text: English

Stiffcover book, sewn binding, quad-color (2 blacks, dark grey, warm grey) lithography by Colour and Books, printed in the Nederland

Photobook designer: Sybren Kuiper ( -SYB- )

Notes: Claire Felicie has undertaken a daunting task of investigating the dark inner psyche of war veterans who after engaging in terrifying military combat, have returned home with the invisible wounds of PTSD (post-traumatic stress disorder). Felicie carefully chose a symbolic location to stage her portraits, which is a former military weapons factory.  Her portraits and landscapes are subsequently mashed-up and interwoven together in an attempt create a more chaotic and disjointed narrative. The black and white photographs lean heavily into grey and dark tonalities, providing a very somber setting for this body of work.

Her subjects recline half-dressed on a minimalist and symbolic military style cot within a stark space. Some cannot confront the camera, needing to turn their backs to look away. The remaining gazes appear blank, dull, without energy and momentarily without resistance. Many of her portraits are truncated with the interleaving of pages, see images 2 and 3 below, and as well as images 5 and 6, visually revealing only a partial embodiment of her subject, as though that person is no longer whole and symbolically broken.

Many of portraits are paired with images of a decaying structure; a desolate and foreboding environmental context that seems well suited to the disturbing war stories her subjects share in the afterword. Her subjects have experiences that are difficult for a non-combatant viewer to fathom, even after reading about the events that have been witnessed. These are the experiences that subsequently result in sudden bouts of intense anxiety, fear, and sadness accompanied with a loss of trust and a sense of security. Thus pairing a portrait with an abstract marking that could be representative of a weeping wall, bottom image below, is a beautiful symbolic metaphor for a depressing sadness.

Essentially all conceptual projects, although especially portraits, attempt to find ways to explain the unexplained and visualize the invisible. Books and photographs become a silent witness. Nevertheless, I find her photographs of these veterans sequenced among the moody rural and urban landscape photographs elicits a perceived sadness emulating from her subjects and although I don’t know the extent of their pain, it feels palpable.

The surrounding forest, although rendered darkly, is steadily reclaiming the man-made structures, thus offers hope for a slowly regenerative healing for her subjects and mankind as well.

In closing, a beautiful book object that results from the creative collaboration of Felicie with the smart book designer Sybren Kuiper and the beautifully lithography by Sebastiaan Hanekroot at Colour and Books. Recommended.

Cheers

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January 8, 2017

Barbara Kyne – By Fire

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Ph­otographer:   Barbara Kyne (born Hoboken, NJ; resides Oakland, CA)

Publisher:  Self-published, © 2015

Essay:  “On Contemplation and Perception” by Barbara Kyne

Text:  English

Stiff cover book with 32 pages, not numbered; 10 duotone photographs; 8.75 x 7.25″. Marketed by Norfolk Press  and by the photographer.

Photobook Designer:  Yon Sim

 

Notes:  

By Fire is a fascinating seminal volume that has as its goal creating a connection between severe personal tragedy and the universe of nature as a sphere of continuity and as a context permitting some healing. In ten well-chosen images that have also been given intriguing titles, Barbara Kyne allows the viewer to enter a foreboding yet promising atmosphere: we can project events that have fundamentally affected our lives into a series of fiery depictions of nature. These often include a shadowy figure – a stand-in and ethereal spirit, hinting at a gutsy universality beyond the comprehension of any one individual being, as well as pointing toward some solace and an understanding that we are not alone.

Barbara Kyne has a keen interest in pursuing the deeper meaning of reality and discovering clues to the great existential questions, using her photography to serve as a conduit to understanding “the cycles of life, death, and rebirth, often and surprisingly connecting pathos and joy.” Regarding this volume, she states, “If we move through the metaphorical fire with awareness, we may find that facing mortality creates expansion and renewed life.” Indeed, there is a mysterious and mythical quality to her photography that envelops and fascinates the viewer, inviting several types of discovery.

Barbara Kyne is continuing her important photography in further volumes. We admire her work and are looking forward to further illuminations.

Gerhard Clausing

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January 6, 2017

Young-hwan Choi – BABEL

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Copyright 2014 Young-hwan Choi

Photographer: Young-hwan Choi (born & resides in Seoul, South Korea)

Self-Published (South Korea)

Essays: Young-hwan Choi, Dong-sun Jin, Sang-yong Shim

Text: Korean & English

Stiffcover book with tipped in image, perfect binding, four-color lithography, printed by Photonet in South Korea

Photobook designer: Photonet, South Korea

Notes: Choi’s self-published photobook BABEL is a tall, thin collection of black and white photographs that investigate a towering urban landscape in which the vegetation is either attacking a structure or attempting to conceal it, as though a futile potential reclamation is in process.

This is a dark poetic and surreal allegory about the pursuit of happiness by means of accumulating power and wealth through the construction of tall looming structures, similar to the vain construction of the towers of Babel, is but a hollow chase. None of these structures has been able to truly reach heaven.

In writing about Choi’s photograph, Sang-young Shim states “the excessive deficiency of light, which often comes close to absence. Sometimes all light is extinguished except for the minimum required for perception. Even that is reflected light, with the light source nowhere to be seen. The main tones range between grey and black, but as the darkness advances to the extreme level, it often threaten the middle tones as well…the plant is a place that should be brighter, for sure. One should poke a hole through the sky cover in ash-colored clouds. The ominous grey that pressed down should be covered with brilliant colors. But the signs of dawn are too faint.”

I met Choi at Photo Independent last spring in Los Angeles and I was impressed with his photographic exhibit and his two self-published photobooks, this and his earlier REQUIEM (published in 2011).

I find BABAL’s visual narrative to be extremely relevant to the current global events, especially those occurring in the United States. Anyone who builds large and tall structures with their name bronzed in large letters across the front for all to see (hoping for admiration) is indeed pursuing a dark folly that was characteristic of Babel.

Best regards

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January 1, 2017

Daniel Alexander & Andrew Haslam – When War is Over

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Copyright 2016 Daniel Alexander & Andrew Haslam

Photographer: Daniel Alexander (born Edinburgh, Scotland, resides London, UK)

Publisher: Dewi Lewis Publishing (UK)

Essay: Daniel Alexander

Text: English

Hardcover book with embossed cover, inserts, multiple gatefolds, sewn binding, four-color lithography, printed in Italy

Photobook designer: Daniel Alexander

Notes: Towards the end of World War I in 1917, the United Kingdom made a decision to establish the Imperial War Graves Commission that currently tracks and maintains the burial of 1.7 million Commonwealth war dead from World War I and II in perpetuity. Daniel Alexander’s photobook When War is Over provides a documentary style investigation of this on-going process of memorialization.

Alexander and Haslam’s photographic project took on more meaning for me as I had recently completed a related photographic project documenting road-side memorials. In my investigation I was documenting what family and friends had erected as a personal memorial at the site of a tragic accident in an attempt to create a remembrance and deal with their personal grief. Similarly Alexander and Haslam investigate an organized process of remembrance for those who tragically passed while serving in the military with the government acting on the behalf of families who might not otherwise have a means or capacity to do so, such that those who passed were honored equally.

For me this photobook calls into the question of how we create a remembrance of those who we have known and loved, but who have now passed on. How do we maintain that memory and how that memory is passed on to later generations? Does a well maintained cemetery create this experience, or does it provide an associated remembrance as an example that is available to us all? Likewise this photobook, although not about someone specifically still elicits a poignant remembrance of my family members who were lost in military action during these wars as well as those who were in the war but have passed since, such as my own father who was in the American army during World War Two.

This photobook documents the various aspects of maintaining these burial sites, which engages administrators, quarry-men, stone cutters, and gardeners for the upkeep of 2,500 cemeteries, 21,000 other burial grounds and 200 memorials for the missing in 154 countries. I also find that this photobook is a sober narrative about the terrible price of war, but if so engaged, those valiantly involved will be remembered.

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