The PhotoBook

March 13, 2017

Bronx Photo League – Jerome Ave

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Copyright 2016 Members of the Bronx Photo League

Photographers: Bronx Photo League (Bronx, NYC)

Publisher: Bronx Documentary Center Editions, Bronx, NY

Essays: Mike Kamber, Ed Murphy

Text: English & Spanish

Hardcover book, linen covers with tipped in image, sewn binding, 93 Black & white photographs, duo-tone printing with spot varnish, captions, member biographs, printed by Fort Orange Press, NY

Photobook designer: Bonnie Briant & Katie Khouri

Notes: Jerome Ave is an investigation of a community within the Bronx of New York by a group of young, budding photojournalist that have come together as the Bronx Photo League. Their purpose and intent is not all-together different from than that of the Photo League of the 1940’s; a collective of inspired photographers who want to learn their craft in conjunction with documenting the local environmental, economic and social changes that surround them.

This hard cover book is a result of one of their recent projects; attempting to document the pending changes to an area of the South Bronx. This is currently one of the city’s poorest regions, much of it situated under the elevated “4” train, a “gritty two-mile stretch of low-slung buildings where thousands of immigrants work in small stores, factories and car repair shops.”

Their focus is principally on the individuals who work and live in this small region to narrative this study, usually including some environmental context that provides clues to the working conditions, thus creating an indirect portrait of the South Bronx. It is evident to the reader that these photographers know their subjects very well by the close and tightly composed portraits, not a quick snap-shot from an impersonal distance.

The manual process of the photographic methods is also a nice metaphor for this project and their subjects who are predominantly providing manual labor to make a living. It appears that another consistent requirement for the photographers is to pay close attention to the framing of their images keeping in mind that there will be no cropping of the negative (a luxury that will come later in their photojournalistic lives).

One nice design aspect of this book that unifies this collective body of work together by the various photographers is the image/page layout; each photograph is framed by the negative’s exterior (yes, old school Tri-X film and manual processing). This design provides a consistency in the reading of the images that I think works very well to illustrate their project.

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

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

Essays:  Preface by John Loengard

Text:  English

Copyright © 2016 John Loengard

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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Copyright © 2016 Getty Images and Paula Bronstein

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

Text:  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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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 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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December 16, 2016

David Taylor – Monuments

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Copyright 2015 David Taylor

Photographer: David Taylor (resides Tucson, Arizona)

Publisher: Radius Books (Santa Fe)

Essays: Claire C. Carter, Daniel D. Arreola, William L. Fox, Rebecca Senf (interview)

Text: English, Spanish

Hardcover book, sewn binding, four-color lithography, Document section (essay, maps, articles, Plate details), printed in Verona, Italy

Photobook designer: David Chickey, David Taylor

Notes: This photobook is an investigation of the borderland straddled by the United States on one side, Mexico the other that extends the 690 miles between the two El Paso/Juarez and Tijuana/San Diego. Marking that transition point are 276 boundary obelisks, with 52 constructed initially of stone (1883) standing 11 feet high then later 224 additiaonl were fabricated of iron (1891-1895) and slightly smaller at 6 and a half feet tall.  Taylor has photographed these boundary Monuments in a documentary and visually objective style, similar in idea to that of Bernd and Hilla Becher’s typologies. His photographic project was initiated in 2007, well before this borderland became a contested subject in the recent American presidential election and a book that probably has not been viewed in its entirety by the president-elect. This photobook project is essentially an expansion on Taylor’s 2008 Guggenheim fellowship that resulted in his earlier photobook, Working The Line, also published by Radius Books.

This is a obsessive investigation, as he has stated “the obelisks have ended up familiar figures invested with enormous meaning for me“. Each of the 276 boundary markers rests within an urban or rural landscape relative to the two respective countries. His photographs of the urban marker landscape provides a sharp visual contrast to the lives on either side of the borderland. The urban markers these are usually adjacent to a high fence or barrier to impede (or control) clandestine foot traffic. The urban photographs are in sharp contrast to the rural markers found in the mountains and large expanses of the desert, as these lonely markers provide the only evidence that a man-designated boundary occurs.

In terms of current social-political discussions about borders, especially as one contemplates the lonely markers high in the mountains or in the open desert, these photographs beg the question about what does a border really means?  Is a location/site more “American” or more “Mexican” ten feet, or even one thousand feet, on either side of the marker?

This is a large and thick volume, beautifully designed and printed, which results in a book object that is a pleasure to read.

Note: As one of the photobook judges earlier this year for Photo Book Independent, I had juried Taylor’s Monuments submission into the subsequent exhibition.

Cheers!

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December 8, 2016

Kenneth O’Halloran – Bing, Bing, Bong, Bong, Bing, Bing, Bing

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Copyright 2016 Kenneth O’Halloran 

Photographer: Kenneth O’Halloran (born Corofin, Country Clare, resides Dublin, Ireland)

Self-published (Ireland)

Essay: Presidential Announcement speech, 2015

Text: English

Hardcover book with printed belly-band, sewn binding, four-color lithography, edition of 500, printed by Mirex, Gdansk (Poland)

Photobook designer: Mac & Ken

Notes: This documentary style project occurred in Los Angles on Hollywood Boulevard in the summer of 2016 during the United States presidential election. O’Halloran’s perspective was that of an outsider looking into an on-going political process, visiting this Southern California region from his native Ireland.

O’Halloran documented the raw emotional reaction of his subjects when confronting the name of one of the candidate’s bronzed in the sidewalk. His portraits of his subjects are tightly composed which appears to add an additional layer of tension to the emotional charged environment surrounding this location.

It might be an understatement that most of his subjects did not appear to react favorably to this landmark, as this candidate went on to lose the popular vote in the election by over two and half million votes as of this writing, while still becoming president-elect.

Best regards, Doug

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November 5, 2016

Alex Van Gelder – Mumbling Beauty Louise Bourgeois

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Photographer:  Alex Van Gelder (now based in Paris)

Publisher:  Thames & Hudson, New York, NY, 2015

Essays:  Foreword by Hans Ulrich Obrist: “Ever Louise” / Introduction by Alex Van Gelder

Text:  English

Hardcover book with 112 pages, not numbered; 81 color photographs without captions; sewn binding; cloth cover with dust jacket, printed and bound in China.

Photobook designer: Béatrice Akar

Notes: This photobook presents 81 extraordinary collaborative images taken during the last three years of life of the French-American artist Louise Bourgeois (1911-2010), who came to the US in 1938 and was primarily known for her sculptures and installations, but also for her paintings and prints. Her art received the most attention from the 1970s on, and she was also a strong fighter for artistic freedom and social justice. Alex Van Gelder, the photographer now based in Paris, became her friend and, from 2008 to 2010, was repeatedly invited to her home in New York City in order to participate in the creation of this personal yet public reality of a highly creative and spirited individual. As Van Gelder says in the foreword, “She became a consummate performer in front of the camera.”

In viewing the images, we can literally experience the joy of the artist in the process of creation, as well as the pain of aging, perhaps foremost among them her inability to move around as freely as possible, as she was paralyzed from the hip down. The photographer uses a variety of techniques to show the difficulties of both artistic creation and old age, such as distortions and long exposures with the resulting blurred appearances: self-reflection through visual ambiguity. The viewer is not only reminded of the work of John Coplans, but also of Cindy Sherman: Louise Bourgeois here assumes many roles (some with disguises) in a number of settings within her house. A very creative look at the last few years of this artist as a result; she is shown working in her studio on paintings, posing with some small sculptures, as well as in mundane settings of everyday life.

This book confronts the viewer with his or her own aging process and creativity. It is a stark yet supportive and positive, even optimistic presentation, at times with some humor as well. As the artist is shown active even at the very end, we get the idea that she is creative and hopeful in spite of it all. Since Louise Bourgeois considered much of her work autobiographical, based in part on childhood traumas, these portraits give us a glimpses of the relationships between the artist and her art, and many other dimensions to reflect on as well. The human body, with its fragile and temporary nature, was a main theme in her art, and this is certainly well represented in this visceral yet elegant collaborative photographic study.

Gerhard Clausing

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