The PhotoBook Journal

February 1, 2018

Daidō Moriyama – Record

Filed under: Book Publications, Book Reviews, Photo Book Discussions, Photo Books — Tags: , — Gerhard Clausing @ 5:47 pm

00-moriyama.JPG

Photographer:  Daidō Moriyama (born in Okeda, Osaka, and lives in Tokyo, Japan)

Editor:  Mark Holborn

Publisher:  Thames & Hudson, New York, NY; © 2017

Essay:  “The Headlights in My Eyes” by Mark Holborn

Language:  English

Sewn hardback with illustrated slipcase; 230+ images, of which some 50 are in color; 424 pages, paginated sections; printed and bound in China by Artron

Photobook Designer:  Jesse Holborn, Design Holborn

Notes: Daidō Moriyama is certainly one of the most prolific photographers, having published well over 70 books. His photographic curiosity is given free rein on the street and other anonymous places, where he illuminates the mysteries of both day and night, be it in his native Japan or in Paris, London, New York, Los Angeles, and elsewhere. The gritty images are daring and bold, and some of the darker aspects of life tend to predominate. There is a tough edge to the spontaneous glimpses he shares with us, and we are certainly in his grip as we are reminded about the toughness of life that he presents in his gutsy style. The photographs are rough-and-tumble tableaus in which we play the role of vicarious outsiders.

This handsomely printed volume is a digest of the magazine Record (Kiroku), which Moriyama started to publish in the early 1970s (Issues 1-5) and resumed again starting in 2006 (Issues 6-30). To keep such a momentum going over a period of more than 40 years is an amazing accomplishment. Only “an artist in constant motion” (promotional literature) can develop a style that transcends location and becomes a universal observation mode. The book contains various quotes at the beginning of each of the 30 segments to help set the tone and provide further understanding. An introduction by Mark Holborn provides an interesting discussion of Moriyama, the self-appointed photographic “hunter,” marked by restlessness and briefly drawn to the moment, somewhat analogous to haiku poetry. It is all about the photographer’s self-expression: “I wander around, glance at things, and bark from time to time.”

I have chosen the sample pages below to give you a brief overview regarding the range, breadth, and style. Regardless of the locale, Moriyama is true to himself in how he presents the world to us. Occasionally there is also self-observation: a self-portrait in the form of a reflection. Then also, interspersed, there are scenes with an erotic slant, at other times there is a distinct atmosphere that might imply loneliness or longing. Color is used very seldom, but effectively, either muted or over the top, depending on what is required.

An important publication, well done!

Gerhard Clausing

01-moriyama.jpg

02-moriyama.jpg

03-moriyama.jpg

04-moriyama.jpg

05-moriyama.jpg

06-moriyama.jpg

07-moriyama.jpg

08-moriyama.jpg

09-moriyama.jpg

 

January 29, 2018

The PhotoBook Journal Ranked #1

Filed under: Photo Book NEWS, Photo Books — Tags: — Doug Stockdale @ 10:21 am

Interesting_Photobooks_for_2017_covers

Interesting Photobooks for 2017 selection by TPBJ staff

This weekend we were treated with a little surprise as we received notice that this photobook website was selected as one of the top twenty photobook sites on the web. Okay, not bad! Then I read a little further and found out that not only are we in the top twenty, we were ranked #1! Wowzerrrr!!

The group (blog.feedspot) performing the data analytics apparently perform their analysis for different kinds of interest groups on the web and apparently when they decided to analyze photobooks, there we were. And apparently they really liked what they found. Nice!

Others photobook sites also included in the top twenty were #2 photobookstore magazine (bookstore), #3 photo-eye magazine (bookstore), #6 Collector Daily (bookstore), #7 Zookbinder (binder company),  #8 Bildersturm (Thomas Schulz, book blogger, Germany, who also has a photozine blog Bildstorung, not on the list), #9 Snapfish (Print on Demand supplier), #10 My Canvas (Print on Demand supplier), #12 Elizabeth Avedon (blogger), #13 The Independent Photobook (blogger), #14 10×10 Photobooks (blogger, book publisher), #15 The Angry Bat’s Nice Photobooks (Matej Sitar, blogger). An interesting mix, but really only a few independent photobook bloggers like us.

Of course, this is interesting and a nice pat on the back, but really this site is supported by the readers, and of course the photographers whose books and publication we feature in conjunction with their publishers. Nevertheless, a very nice honor.

Also news, we have increased our social media coverage as we work towards a revised format. So in addition to our primary social media on Facebook (@thephotobookjournal) and LinkedIn, we now have as of the first of this year:

Instagram @tpbjournal

Tumblr @thephotobookjournal

Twitter @pbookjournal

So join our expanding party as we continue to look at, examine and discuss contemporary photobooks.

Cheers!

January 25, 2018

Louie Palu – Front Towards Enemy

Louie_Palu-Front_Towards_Enemy_outside_cover

Louie_Palu-Front_Towards_Enemy_covers

Photographer: Louie Palu (born Toronto, Canada & resides Washington DC)

Published by Yoffy Press: Atlanta, GA (USA) copyright 2017

Essay by Rebecca Senf and Louie Palu

Text: English

Stiff cover Zine with metal saddle stitch binding, Cards, Leporello (Accordion), soft cover Newspaper, folded without binding, exhibition insert, housed in printed chip-board folder with cover flap, four-color lithography, printed in Turkey

Photobook designer: Jordan Swartz

Notes: War. I don’t understand it and fortunately I have not had to experience it, although I live on an old WW2 bombing range, that’s another story. Louie Palu in his new multi-media publication (can we really call this a photobook?) Front Towards Enemy provides a version of a photo-documentary that resulted from a self-assignment investigation of the war conflict in Afghanistan. This is a very complex region; socially, economically, politically and environmentally that Palu has tried to emulate with an equally complex and layered print concept.

His multi-media conceptual photobook immediately reminded me of Alejandro Cartagena’s 2015 self-published Before the War, which in retrospect, I have found so complex at the time as to be visually overwhelming. There are similar aspects about Palu’s publication as well.

Palu’s photobook has four major components and then each of these break down or expand from there. Part newspaper, The Void of War, part zine, The Fighting Season, part leporello, part a pack of picture cards and finally an insert that suggests how to assemble of this into a exhibition. Wow.

Rebecca Senf in her assay discusses the parallels between Palu and W. Eugene Smith as to how Smith after his tiff with Life magazine about his Albert Schweitzer photo essay left the magazine and went independent. As Palu was self-assigned for his Afghanistan project, likewise he did not have to conform to the norms of a picture editor, but completed his project on his own aesthetic terms. We do not always see his subject but are provided indirect evidence of his subject’s presence; a cast shadow, an out of focus form, heads bowed, truncated feet, legs and arms. A photo-documentary that attempts to connect with the heart.

Newspaper; The Void of War; interior pages with images that are an impressive 8-1/2” h x 21-1/2” w; the ultrawide format of the camera lens creates a distorted visualization that echos the frequently un-nerving human situations that are in a state of progress. The photographic quality of the newsprint has low contrast with muddled blacks, typical of an area of newspapers and harken back to newspaper coverage of the Vietnam War era.

Zine; The Fighting Season, saddle stitch binding, with the essays by Rebecca Senf and Louie Palu and includes the book’s colophon. A mix of the trauma of warfare with the background of the human element, the children and adults with their animals who try to survive in the region amidst the war.

Leporello (Accordion); 14 continuous panels, printed full bleed that when unfolded extends 13 feet, with the photographs on one side and the caption printed on the reverse. The physical manipulation of the leporello to look at the images and then read the corresponding caption is awkward and not meant to be an easy act. The last image (or depending on how you fold the leporello, the first image) of a seriously wounded Afghan solider in a Medevac helicopter’s blue light is incredibly haunting.

Cards, individual prints, which are printed full bleed, 11”h x 7-1/2”w, on heavy card stock. Captions are provided on the reverse side. These are tightly cropped portraits of his subjects who are soldiers that are engaged in the war in Afghanistan.  I find their eyes and gaze visually riveting.

Single page insert: Instructions and suggestions on how to create one version of an exhibition with this publication.

As one moves from one part of the publication to another, there is a feeling of messiness, an interesting feeling, perhaps a simulation of the awkward and strained social and environmental conditions that Palu is encountering. Another dimension of this body of work.

Palu has stated that although he has experienced some aspect of war, his photographs cannot provide the reader with the full experience of what this is. Similarly, this review is an attempt to describe a complex publication, but cannot provide the reader with the full experience. Highly recommended you obtain your own copy.

Other books published by Louie Palu that have been reviewed on TPBJ: Cage Call

Cheers!

Louie_Palu-The_Void_of_War_newspaper_cover

Louie_Palu-The_Void_of_War_newspaper_1

Louie_Palu-The_Fighting_Season_zine_cover

Louie_Palu-The_Fighting_Season_1

Louie_Palu-The_Fighting_Season_2

Leoperello_1

Leoperello_2

Leoperello_3

Card_1

Card_2

Louie_Palu-Front_Towards_Enemy_exhibition

January 15, 2018

Roger Ballen – Ballenesque: a retrospective

Ballenesque Cover

Artist: Roger Ballen (born New York City & resides Johannesburg, South Africa)

Thames & Hudson, copyright 2017

Introduction: Robert J. C. Young; Essays: Roger Ballen

Text: English

Hard cover with printed dust cover, sewn binding, four-color lithography, index, bibliography, collections, picture credits, printed & bound by Artron, China

Photobook designer: Sarah Praill

Notes: This massive book is indeed an extensive collection of Roger Ballen’s unique oeuvre that he has created over the past forty plus years. What may not be as well known is that this book should be considered equal amounts autobiography for the essays Ballen has written to explain his background and artistic development. Ballen’s work became better known primarily through the publication of his photobooks, thus the four chapters of this retrospective follow that linear sequence of these publications; Boyhood (1979), Drops (1986), Platteland (1994), Outland (2001), Shadow Chambers (2005), Boarding House (2009), Asylum of the Birds (2014), and The Theatre of Apparitions (2016) to name a few.

It is fascinating to observe the artistic progression of Ballen’s work, specifically the inclusion of his drawings that are best defined by discussing his attributes of line, flow, shape and mass in conjunction with his “primitive” sculptures. We can follow the transition of found-art that created a background to construct the social environmental context to eventually becoming the primary expression as the process of photography appears to become more a means of facilitation.

Roger_Ballen_Sgt_F_de_Bruin-Dep_of_Prisons_Employees_OFS-1992

Ballen philosophically expands on the reasons for his creations which might explain his dark, ambiguous, layered, complex and multi-media oriented photographs, much better than I. In his later works since his Boarding House project, I find that each photograph is so complex and layered that I can spend entire day absorbed in a single image and perhaps the reason for my delay in writing this review. I eventually had to put this book down and write.

OUTLAND 241 3F 001

One aspect that I really enjoy about this book is the inclusion of so many of the photographs from each of Ballen’s book projects presented in a way that is similar to reading the referenced book. Although this book is not meant to replace his various books, this retrospective is a very inclusive experience and a great edition to a Ballen collection.

Roger_Ballen_Five_Hands_ 2006

Roger Ballen’s Ballenesque was selected as one of the editors Interesting Photo Books of 2017 and reviews of the following Ballen books are available on TPBJ; Boarding House, Asylum of the Birds, and The Theatre of Apparitions.

Cheers!

Roger_Ballen_Ballenesque_1

Roger_Ballen_Ballenesque_2

Roger_Ballen_Ballenesque_3

Roger_Ballen_Ballenesque_4

Roger_Ballen_Ballenesque_5

Roger_Ballen_Ballenesque_6

Roger_Ballen_Ballenesque_7

Roger_Ballen_Ballenesque_8

Roger_Ballen_Ballenesque_9

Roger_Ballen_Ballenesque_10

January 11, 2018

Gerard Boyer – Ser de La Cala

00-boyer

Photographer:  Gerard Boyer (born in L’Ametlla de Mar, Spain; lives in Tarragona, Spain)

Publisher:  Fuego Books, Murcia, Spain; © 2011-2016 by Gerard Boyer

Texts:  Quotes in Catalan, Spanish, and English

Zine-style, naked-bound and glued, with stiff printed wrap; 22.6 x 32 cm; 64 pages; edition of 500; printed in Spain by CeGe

Photobook Design and Art Direction:  Gerard Boyer, Ignasi López, Román Yñán

Notes: Our memories are very tricky things – they are partial, emotional, full of gaps and uncertainties, and prone to embellishment. Good ones, bad ones, and everything in between. What was, might have been, could have been, should have been? And what is our role in what we have made prominent in all of this, or shoved aside as faded bits and pieces?

Gerard Boyer is from Catalonia, an area politically part of Spain, but with its own language and proud identity. Along the eastern coast there is a certain rugged landscape by the sea and an independent spirit to go with it. This had its impact on this volume of recollections: a view of childhood and its contexts in the “La Cala” (The Cove). The book, professionally designed to make an impression of incidentally “found” detail, illustrates these feelings very well, in that it approximates how detail swerves in and out of our consciousness. The format is that of a large-size glossy magazine; the binding is “naked” (check out our discussion “Naked Bound”), and we get the impression of a past that is full of distinct yet partial memories. Some text portions with quotes are bound to the front and also internally, to evoke further associations in the viewer. There is also a map of the area, with a small window, perhaps suggesting the distant access for an outside viewer. The volume is contained in an intriguing folded, cover-like wrap-around, with an abstract design suggesting land and sea.

The images are an appropriate mix of subjects, showing childhood portraits, family members, area landscapes and other local markers, and some of the folks from the family and the community. Some of the images show a certain ruggedness and imperfection, such as large out-of-focus areas, light-struck film exposures, and faded color to parallel fading memories and thought intrusions.  Themes such as the rugged camaraderie and sensory strength among anglers and the major role of motherhood emerge. As we view this multilayered sequence of images that are presented effectively to approximate the workings of the mind as it comes up with its recollections, we are confronted with doing our own memory work, remembering things from our own childhood as well. And isn’t that precisely what an effective photobook will do, to make us also get in touch with ourselves. An innovative treatment, well done!

Gerhard Clausing

01-boyer

02-boyer.jpg

03-boyer.jpg

04-boyer.jpg

05-boyer.jpg

06-boyer.jpg

 

January 5, 2018

Nancy Rexroth – IOWA

Nancy_Rexroth-IOWA_cover

Photographer: Nancy Rexroth (born Arlington, VA & resides Cincinnati, OH, USA)

University of Texas Press, Austin

First University of Texas Press Edition: copyright 2017

Text: English

Essays: Nancy Rexroth (1977, 2016), Mark L. Power (1977, 2016), Anne Wilkes Tucker, Alec Soth

Hard cover with dust jacket, sewn binding, four-color lithography, printed in China

Photobook designer: Derek George

Notes:  I was delighted to hear about a second edition of Nancy Rexroth’s IOWA, a photobook that although I had not actually seen, was a photobook that keep coming up during various photobook discussions. The backstory is the first edition was self-published by Rexroth in 1977, which in of itself is remarkable forty years ago by today’s self-publishing standards.

While this photobook might be considered the Second edition of IOWA, it has been re-imagined and perhaps slightly resembles its original name-sake. I have been informed that 20 images removed and 22 new ones added, a stronger emphasis placed on the children and Emmet Blackburn, in conjunction with a new edit and additional essays. So with all of the changes to this photobook and in line with other publisher’s practices it is appropriate that this is a First edition of University of Texas Press, Austin. Likewise, with this much time to reflect, it makes perfect sense that a work of art might undergo some visual synthesis.

Her journey stated with the acquisition of a “toy” camera, the Diana, with its single element plastic lens and square images captured on 120mm film. She has stated that although the plastic lens did soften the quality of the image, the results was still too well defined for her purposes. Thus her need to slightly move (jiggle) the camera during exposure to create a little extra blur that further degrades the sharpness of the image and obtain an visual artifact that is more poetic, less exact and only hinted at what the subject might actually be. Her story telling approach was very different from her early 1970 contemporaries, such as Sally Mann, Arthur Tress, Clarence John Laughlin, Minor White, Duane Michals or Ralph Gibson and more in alignment with the narrative photographs of Linda Connor.

Her mysterious photographs that comprise IOWA still appear as fresh today as they were when the first edition of this book was published in 1977. The images are ambiguous as to location, which hint of the Midwest, the actual subject and have a timelessness quality. By now it is no secret that although the book is titled IOWA, there are only four photographs made in this state and the remainder predominantly created in Ohio. This is an investigation of faint and distant memories of a child, experiences and transcendent feelings, with photographs that are not to be taken literally. An artist book that needs to be read by the heart.

IOWA was selected as one of the Interesting Photobooks of 2017 by the editors.

Cheers!

Douglas Stockdale

Nancy_Rexroth-IOWA_1

Nancy_Rexroth-IOWA_2

Nancy_Rexroth-IOWA_3

Nancy_Rexroth-IOWA_4

Nancy_Rexroth-IOWA_5

Nancy_Rexroth-IOWA_6

Nancy_Rexroth-IOWA_7

Nancy_Rexroth-IOWA_8

December 24, 2017

Martin Parr – Autoportrait: 1996-2015

Filed under: Book Publications, Book Reviews, Photo Book Discussions — Tags: , — Gerhard Clausing @ 11:39 am

00-parr-auto-s.jpg

Photographer:  Martin Parr (born in Epsom, UK; lives in Bristol, UK)

Publisher:  Dewi Lewis Publishing, Stockport, UK; © 2015/2016

Hardbound sewn book with plastic labyrinth puzzle inlaid in cover; 144 pages with 89 full-color photographs; 11.8x16cm; printed in China by Toppan Leefung

Photobook Designer:  Ėditions Xavier Barral

Notes: Martin Parr, prominent Magnum photographer and photobook collector, as well as prolific author, editor, and curator, is an astute observer and critic of popular culture, and he has an appealing sense or humor that gives his work a bit of a lighter touch as well. It takes a top member of our photographic profession to present himself in photographic self-observation, as Parr has done here, in a playful yet rigorous way to make fun of formal and informal (self-)portraiture, somewhat analogous to Cindy Sherman presenting her skewed selfies in recent Instagram posts and in other self-created roles in the past.

A popular view is that such types of self-representation are self-deprecating. Far from it, if I may add my opinion, also on behalf of my own self-portraits. Parr presents  himself in a variety of portrait roles that popular culture “calls for” – the macho hero, the seemingly relaxed luxury vacationer, the wannabe space traveler, the know-it all explorer of exotic lands, and many other such photographic clichés. By doing so, he holds up a mirror to his viewers, some of whom may have seen or may have wished to see themselves in such roles as well. He is presenting himself in these photographic “autoportraits” or self-portrayals in the manner of an actor-photographer, and we are not seeing the photographer as himself, but rather the figure of the photographer acting out specific roles. This is an important distinction: the photographer-actor is not endorsing what he is portraying, but merely slipping into a role for each image and out of the role right afterwards.

This volume is the second edition of the successful original publication with the same title from the year 2000, increased in size by many additional pictures. They are all in color, and an amusing set to view for all ages. There are many amusing discoveries and cultural icons to connect to as one studies his survey of portraits with cultural and other icons, from wax museums and posters, and political figures are also included, of course. The thing that makes this collection all the more amusing is the similarly serious, dutiful expression we see on his face in virtually all the images. Very proper indeed, the stiff upper lip in the presence of all these impinging cultural expectations and assorted stereotypes and figures such as 007 and Putin, part of the mimicry. We can see all of the things good portraits should NOT be – flattering over-retouching, cheesy studio sets, awful fake compositions (such as merging his head with a muscle-man body). Questions of identity and self-image, wishful thinking in projecting one’s self through images, and cultural stereotypes as perpetuated by tourists are just three of the discussion topics raised by these images.

Even after this season of gift-giving, this volume would be a nice little present. Not only can you study lots of wacky and idiosyncratic portraits (imitation not necessarily recommended!), but you can also try the puzzle embedded in the cover that lets you jiggle two small balls toward the center portrait of the author himself … good luck!

Happy Holidays, Everyone!

Gerhard Clausing

01-parr-auto-s.jpg

02-parr-auto-s.jpg

03-parr-auto-s.jpg

04-parr-auto-s.jpg

05-parr-auto-s.jpg

06-parr-auto-s.jpg

07-parr-auto-s.jpg

 

December 21, 2017

LA Art Book Fair – Update

Filed under: Photo Book NEWS — Tags: , — Doug Stockdale @ 2:27 pm

For 2018 it was just announced that there will not be a LA Art Book Fair, which is some sad at the end of the year news for the left coast. This has a been a popular event in LA, extremely well attended and a fair that is notable for its diverse publications for sale. I had been looking forward to this event and thus I am very disappointed, but I understand why. Thus now looking forward to the 2019 event!

Here is the press release from Printed Matter, the fairs sponsor;

Dear Friends and Colleagues,

I regret to announce that Printed Matter’s 2018 LA Art Book Fair has been cancelled due to the unavailability of The Geffen Contemporary at MOCA, the Fair’s venue of the last five years, and the tragic and unexpected passing of our friend and Fair Curator Shannon Michael Cane.

Over the years, the LA Art Book Fair has grown to become one of the art publishing world’s largest gatherings—a community-driven celebration of innovation and creativity, as well as a rich educational forum for engaging with all facets of art book publishing. We are greatly disappointed that we are unable to mount the Fair in 2018.

The LA Art Book Fair will definitely return in 2019 with renewed energy. Thank you for your understanding and support, and we hope to see you at our NY Art Book Fair at MoMA PS1 in the fall.

December 17, 2017

Matthew James O’Brien – No dar papaya

00-papaya

Photographer:  Matthew James O’Brien (born in San Mateo, California; resides in San Francisco, California)

Publishers:  Icono Editorial, Bogota, Colombia and Placer Press, San Francisco, California; © 2014; introduced in the United States in 2016

Essays:  Juan Alberto Gaviria Vélez; Matthew James O’Brien

Text:  English and Spanish

Hard cover, sewn binding, four-color printing; 129 numbered pages; 190 photographs with time and location identification and map; 9.5×12 inches; printed and bound in Spain by Artes Gráficas Palermo, Madrid

Notes:  The Spanish phrase “No dar papaya” has a special meaning in Colombia, something like “Don’t be an easy target.” In a country that has seen much strife and turmoil and has only slowly come to a more reasonable overall existence, this is good advice, as the photographer Matthew O’Brien describes in his essay “Expect the Unexpected,” based on his own experiences in that country. As the gallery owner Juan Alberto Gaviria Vélez states in the introduction, the people of Colombia have a collective desire to live in peace one day. O’Brien’s overall approach focuses on the positive; this volume can be considered a love affair with Colombia’s people, who in general seem very welcoming and approachable.

O’Brien visited Colombia a number of times, as a student, photographer, and as a teacher of photography, during the years 2003-2013. He decided that the softer, somewhat dreamy look of vintage color Polaroid was the ideal vehicle for presenting a more optimistic view of a people striving for a better future. At one time, when there still was a more plentiful and affordable supply of these materials (manufacture of this specific Polaroid material ceased in 2008), he could also take a second shot and give it to his subjects on location as a memento. In any case, this medium requires a more considered approach.

The book presents many contrasts: country and desert scenes and seashore settings, cityscapes and many activities observed in all these varied locations, as the country itself is full of variety and contrasts – cities vs. countryside, jungles and deserts, agriculture and fishing, religion, the sensuous vs. the intellectual, the varieties of ethnic groups. The generously laid out and juxtaposed images are not always obvious as to their meaning; our interpretations can be given free reign, and perhaps that is a good thing, up to a point. On the other hand, I found O’Brien’s stories and anecdotes also very enlightening, especially regarding his personal experiences with the individuals depicted and referenced, and I would have liked even more of those personal and cultural notes to go with the images presented. The author is an excellent storyteller, both visually and verbally, and should not shy away from expanding the verbal explanations in a second edition or in future projects; it would be nice to have such further cultural enrichment to go with his images. The appendix contains a map of Colombia, as well as a complete list of the location and year each image was taken. One is reminded of the work of August Sander; this is a kind of “Colombians of the 21st Century” project, with the people portrayed facing the camera without pretense. The shots are well composed and pleasant to survey. The chronological presentation of images gives the book the feel of a family album, and perhaps that was the intent for this supportive portrayal of the people O’Brien encountered.

This volume is a refreshing and positive new view of a country about which we have received many decades of bad reports, and it allows us glimpses of all the good people who live there and are longing for a better future.

Gerhard Clausing

01-papaya.jpg

02-papaya.jpg

03-papaya.jpg

04-papaya.jpg

05-papaya.jpg

06-papaya.jpg

07-papaya.jpg

08-papaya.jpg

 

December 15, 2017

Robert Lyons – Pictures From The Next Day

Filed under: Book Reviews, Photo Book Discussions, Photo Books — Tags: , , — Doug Stockdale @ 3:05 pm

Robert_Lyons-Pictures_From_the_Next_Day_cover

Photographer: Robert Lyons (born Malden, MA & resides in Portland, OR and Berlin, Germany)

Published by Zatara Press (250): Richmond, VA USA copyright 2017

Text: English

Hardcover, Leporello design with glued binding, four-color lithography, printed by Wanderer Drucker, Germany

Photobook designer: Zatara Press

Notes:

The ephemeral nature of life is inclusive of the final days, something that is never thought about in our youth, maybe there are hints as one thinks about opportunities yet to achieve in light of recent accomplishments in middle age, until when the concept really sets in as parents become deathly ill or friends and acquaintances unexpectantly pass away. The former was the situation for Robert Lyons’s return from Europe in the summer of 2008 when his mother’s health was failing and his brother needed assistance in caring for her. Lyons was inspired to capture his mother’s likeness as a personal memorial, but she forbade him to photograph her in her remaining days.

What appears as serendipity is an introduction to Walter Niemiec, the uncle of his studio assistant, Erica Ann Flood. Niemiec, who like his mother, was in his advanced years but he was open to Lyons photographic investigation. The resulting photobook Pictures From The Next Day is part environmental portrait, part visual metaphor and part investigation of the ephemeral end of life.

I will have to admit that this book struck an emotional cord regarding the failing health of my mother. Regretfully due to the later stages of Alzheimer’s, she no longer resembled the woman or mother that I knew, thus leading to my other artist projects that investigate her and our relationship. Likewise, Lyons gracefully acquiesce to her wishes not to be photographed (remembered) at this stage of her life and thru Niemiec, he was given an opportunity to “glimpse into my own mortality and aging, something I had not really given much thought to prior

Lyons has attempted to create a visual biography that would speak for who Niemiec is (and was) in the many still life documents. We are introduced to his subject’s various interests, someone who liked to fish, root for his favorite baseball team, the Red Sox, and an interest in building model airplanes. The home appears as a time capsule; dated chairs and lamps, usually in disarray, a typewriter harkening to a pre-computer era, a dust covered VHS unit, portable radios, a not so modern kitchen that includes a telling line-up of now essential medication bottles.

I was also intrigued by the books layout using a leporello design as another metaphoric layer for this environmental portrait. The continuous fold-out of the page-spreads are symbolic of the continuity of a person’s essence, that the various aspects of someone’s life is complex and interrelated, not defined by one particular defining moment. An interesting and well thought out design element, one that I think we will be seeing more of in the future.

This book was selected as one of Interesting PhotoBooks of 2017.

Cheers!

Douglas Stockdale

Robert_Lyons-Pictures_From_the_Next_Day_1

Robert_Lyons-Pictures_From_the_Next_Day_2

Robert_Lyons-Pictures_From_the_Next_Day_3

Robert_Lyons-Pictures_From_the_Next_Day_4

Robert_Lyons-Pictures_From_the_Next_Day_5

Robert_Lyons-Pictures_From_the_Next_Day_6

Robert_Lyons-Pictures_From_the_Next_Day_7

 

Robert_Lyons-Pictures_From_the_Next_Day_8

Robert_Lyons-Pictures_From_the_Next_Day_9

« Newer PostsOlder Posts »

Blog at WordPress.com.