The PhotoBook

March 3, 2017

Carol Golemboski – Psychometry

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Copyright 2016 Carol Golemboski

Photographer: Carol Golemboski (b. Shreveport, Louisiana – resides outside Denver, CO)

Publisher: Flash Powder Projects

Essay: Shirley Jackson

Text: English

Hardcover book, embossed cover, duo-tone printing, Smyth sewn binding, captions, printed by EBS, Verona, Italy

Photobook designer: Jordan Swartz

Notes: Golemboski’s monograph of intricate manipulated photographs investigate nostalgia, loss and impermanence. The manipulated prints use an old school Black & White wet-print technique; a mask that is hand-scribe by the photographer to modify her photographic “reality” during the print making process. Her marks are a mash-up of careful delineated lines, scratches, letters, and drawings, which are similar to a digital layer mask in Photoshop. Frequently these masks are pin-registered to the printing paper to ensure precise line-up of the mask with the projected negative. A few of her intricate velum masks are included within the book in perfect alignment with the corresponding print. The effect is to lift the vale on the process that results in the final print. I find the velum’s layers as intriguing as the final print object.

Regarding the book’s title, Golemboski states “In Psychometry, arrangements of old objects in dilapidated spaces serve as metaphors for human emotions and psychological states. The term “psychometry” refers to the pseudo-science of “object reading,” a purported psychic ability to divine the history of objects through physical contact. The objects in these pictures seem haunted. They are designed to transcend their material nature and evoke the mysterious presence of past.”

Personally I have found myself  attempting “object reading” of artifacts of the past; a found photograph, family hand-me-down, or perhaps an old structure that I feel inclined to touch, as though my touch will reveal something of the object’s past. Subliminally I think Golemboski’s photographs connect with me in a similar fashion; that when gazing at her visual poems that I might actually connect with some essence just beyond my comprehension.

In turn, the viewers reading of these hand-altered photographs is as layered as the resulting images, some initially appear to be an easy read, such as Safe house, below, while others are a more complex and ambiguous. In some images the marks attempt to obscure the identity of the object or its external context while in others the marks appear to clarify, instill or attempt to add a layer of meaning. The juxtaposition of found objects with her subsequent inscribed marks creates very magical and beguiling works of photographic art.

Cheers

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February 25, 2017

John Loengard – Moment By Moment

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Photographer:  John Loengard (American, born and lives in New York City)

Publisher:  Thames & Hudson, New York, NY, © 2016

Essays:  Preface by John Loengard

Language:  English

Hardcover book with dust jacket, sewn binding; 152 numbered pages; 135 duotone photographs, titled and captioned; name and place index; printed in China; 10.1 x 12.9 inches

Photobook Designer:  Laura Lindgren

 

Notes:

John Loengard is a photojournalist with many decades of experience. As part of his distinguished career with Life magazine and beyond, he has photographed many notables and others along the way. Thus one will find among the 135 photographs in this volume some interesting shots of singers such as the Beatles (as shown on the dust jacket) and Judy Garland, of visual artists such as Georgia O’Keefe and Annie Leibovitz, of politicians such as Ronald Reagan and Jimmy Carter, and many others. The well-known are often shown in conjunction with less well-known individuals across various locations and times. All of the photographs are well-reproduced duotones, since Loengard considers black and white “often more convincing” than color. He sums up his approach to photography as follows: “The shutter opens briefly to let the camera marry reality to form. Their union gives the picture structure and defines the moment that lives on” (Preface).

Often Loengard captures the viewer’s attention with unusual viewpoints: he depicts the Beatles in a swimming pool, the writer Philip Roth looks away from the camera to answer the question of a visitor who is not shown, John Updike is presented in a very minimalistic fashion: his eyes look back at the viewer in the rear view mirror of a car – thus the unseen helps define that which is seen, and the less familiar casts a new light on the seemingly familiar. The captions for the images merely have the function of supplying a few words of background information, rather than to diminish the viewer’s capacity to get involved in the story told by each picture.

While one could consider this volume merely an excellent retrospective of a renowned photographer’s work, it is much more than that: it also is a compendium of many delightful surprises. Where this volume especially shines, in my opinion, is in the exquisite juxtaposition of images on double-page spreads. Below I have excerpted a few to whet your appetite; some of the intriguing combination principles, besides subject matter from different times and places, are: shapes, patterns, movements, scale, among others.

Gerhard Clausing

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February 9, 2017

Paula Bronstein – Afghanistan: Between Hope and Fear

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Photographer:  Paula Bronstein (American, lives in Bangkok, Thailand)

Publisher:  University of Texas Press, Austin, 2016

Essays:  Foreword by Kim Barker / “Afghan Women” by Christina Lamb / Afterword by Paula Bronstein

Language:  English

Hardcover cloth-bound book with 228 numbered pages, 114 color images with captions; sewn binding, printed in China. Louann Atkins Temple Women and Culture Series Book 42.

 

Notes:

Paula Bronstein is a courageous and committed photojournalist with a distinguished career. The cultural and political situation of a war-laden country is not easy to depict, and she does not shirk from a gutsy presentation that documents the Afghanistan situation from 2001 through 2015. In comparison to other book reviews I have done, this particular one has been a true emotional challenge. Paula Bronstein gets right to the heart of things; having received amazing access in difficult situations, she confronts the viewer with a very stark reality through stunning, in-your-face photographic documents, each of which is a story in itself, enhanced by situational details in the captions. The entire volume is a heart-wrenching documentation of America’s longest war. As she depicts a variety of problems, she also provides small glimpses of hope that point to possible solutions.

The volume is divided into three sections labeled “The Situation,” “The Casualties,” and “The Reality.” Besides the 114 color photographs comprising these three sections, there are also three essays: A foreword by Kim Barker deals with the photographer and the context. “Afghan Women” by Christina Lamb describes the background as well as the progress that they have made over the years. Paula Bronstein in an ‘Afterword’ (pp. 224-225) also describes some of the difficulties she faced in doing this work.

Subjects covered in this photographic journey include clashes between belief systems, cultural transitions under the influence of modernity, political and military strife, and the promise of educational opportunities for all, against a background of great turmoil. Both people’s fears and hopes are made relevant through the immediacy of the visual documents. Bronstein does her best to illuminate all the things that are often ignored or shoved aside, such as the byproducts of warfare euphemistically labeled “collateral damage” and the difficulties of oppression, be they cultural or religious: she shows the pain of it all, as well as some small joys and pleasures. As the sample double pages from the work shown below illustrate, military and political as well as social and medical challenges are included. Injuries depicted, both physical and mental, cry out for finding solutions to create a better world.

If ever there was a volume that shows the follies of strife and the need to make a huge effort to find peaceful solutions, this is the one. As I write this review, the press reports that the Afghan war killed 25% more children in 2016 than in 2015, as well as causing injuries to 23% more children than the previous year, affecting thousands of families (Los Angeles Times, February 7, 2017, p. A4), along with all of the equally lamentable adult casualties.

Gerhard Clausing

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February 7, 2017

Barbara Kyne – A Crack In The World

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Copyright 2016 Barbara Kyne

Photographer: Barbara Kyne (b. Hoboken, New Jersey – resides. Oakland, CA)

Publisher: Daylight Books (USA)

Essays: Barbara Kyne, Susan Griffin, Jasmine Moorhead

Text: English

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

Photobook designer: Ursula Damm

Notes: Barbara Kyne and her partner Fran Lowe have property in Mariposa, located east of the San Francisco bay in the foothills of the Sierra Mountains. The land is a bit rough and tumble, which is to say a little on the wild side. Although her book appears to be an abstraction of the natural landscape, Kyne is seeking to go beyond the apparent and investigate an aspect of nature that we do not usually think may be occurring; how does nature view itself?

In nature we take for granted that there is an active interplay between the wildlife animals, birds and other crawly creatures, but we have not been taught or made aware that perhaps the trees and vegetation may actively communicating among themselves. Kyne has tapped into the writings and scientific investigations that gives credence that plants and trees are in a sense actively communicating with each other. Thus raising the question; if plants and trees can perceive, what might they comprehend and what could that vision look like?

In discussing this book, she stated “And my work is about reality. Reality and time. I’m just looking at reality from what I imagine is the perception of another species. I’m attempting to expand our perception of reality and let go of or at least loosen the grip of our human-centric perception.”

Her photographs are abstract and very lyrical as I find Kyne’s hypothesis and subsequent investigating to be very intriguing and visually beautiful.

Other photobooks by Barbara Kyne reviewed on The Photobook: Gerhard Clausing’s review of By Fire

Cheers

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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

Language:  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 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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December 30, 2016

Ara Oshagan – Mirror

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Copyright 2015 Ara Oshagan

Photographer: Ara Oshagan (born Beirut, Lebanon, resides Glendale, CA, USA)

Self-Published (USA)

Essay by Ara Oshagan

Music & Lyrics by Gor Mkhitarian

Text: English & Armenian

Hardcover exposed boards with tipped in image, sewn binding, four-color lithography, printed in China

Photobook designer: Ara Oshagan & Varoujan Hovakimyan

Notes: Ara Oshagan and his self-published photobook Mirror uses a documentary style to create a predominately black and white diary of the Gor Mkhitarian band but with an unusual twist; he incorporates some new technology that allows the viewer to scan the appropriate interior pages and link up the related music on their phone. Oshagan has incorporated the free Aurasma.app (available from Apple or Google) that after downloading and subsequently pointing the phone’s camera to the red icon pages of his book, the reader will be able to experience Mkhitarian’s band play the related music.

Oshagan states “Images mirror music. Music is a mirror of images. Darkness and light reflected in both. The diary’s very structure is a mirror; the lexicon of the pages that follow one another has a visual rhythm, an echo of the ebb and flow of music itself.”

Oshagan was present at Photo Book Independent last spring when I had an opportunity to meet him and discuss his photographs as well as the technology lurking in this book. I usually do not provide reviews of musical band documentaries, but this was really an intriguing collaboration of a nice physical photobook with the download of the related music, which I find more interesting that an iPad experience. I am guessing that once the reader downloads this app, that they should even be able to scan the photographs in this review and interact with the music. Cool.

Cheers

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