The PhotoBook

July 1, 2016

Mara Dani – Almost Bari

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Copyright 2015 Mara Dani

Photographer: Mara Dani (born in Brindisi and resides in Bari, Italy)

Self-published

Essays: Gian Luigi Sylos Labini and Alessandro Crilillo

Text: Italian and English

Hardcover book with exposed boards and spine, belly band and elastic band closure, two-color offset printing with sewn binding, various papers, pagination and captions, printed by Presso Grafica & Stampa in Italy

Editor and designer: Alessandro Cirillo

Notes: This is a topological body of work, exploring one small region of Italy, which is a subject that also happens to be the city where Dani lives.

Dani’s urban landscape is a black and white photographic investigation using a documentary style of a city situated on the coast of the Mediterranean Sea. She pays attention to the diverse architectural diversity found here but appears to be critical of the post-modern style, with the spaces in between appearing sterile and devoid of individuals. Likewise, perhaps due to her black and white medium, the appearance of the structures are seemingly functional but cold, gray and monotonous. I am reminded of the New Topographic’s work of Robert Adams, Lewis Baltz and Nicholas Nixon.

One of my few objections is that the tight binding does not allow the book to lay flat, but I was not going to break the binding to ensure flat surfaces to re-photograph the interior pages. Thus, no book was harmed in the writing of this review!

This body of work by Dani further exemplifies why it is not necessary to travel far to create an engaging photographic project.

Cheers

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June 23, 2016

Lorne Resnick – CUBA

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Copyright 2015 Lorne Resnick

Photographer: Lorne Resnick  (born Toronto, Canada, resides Los Angeles, CA, USA)

Publisher: Insight Editions (USA)

Essays: Lorne Resnick, Brian Andreas, Pico Iyer, Gerry Badger

Text: English

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

Photobook designer: Leah Bloise

Notes: In conjunction with the opening of travel by the United States into Cuba, a Caribbean island which due to trade embargos has an economy and physical infrastructure that appears to be frozen in time, there is suddenly an overflow of photographic books that attempt to investigate this charming island.

Resnick is not a stranger to Cuba having started his 50 or more visits to Cuba in 1995. This thick monograph of lyrical photographs by a veteran street photographer using a documentary style has an interesting mix of color and black white photographs. His subjects are a mash up for portraits, landscape, details and social events. I have extensively worked as well as vacationed in the Caribbean, thus I find Resnick’s investigation appears to reveal similarities to but yet awkward differences with its Caribbean island cousins. In attempting to provide a wide view of Cuba, he occasional treads close to some potential Cuban clichés while yet infusing his book with humor, potency, intimacy and the exuberance portrayed by his subjects. Included is a nice book element with poetic text printed on translucent pages that intermittently layers his photographs.

Resnick also has a limited edition version of this book that includes a 60-song Cuban music collection. nice.

Cheers

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June 17, 2016

Sara Terry – Elvis in the Tree

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Copyright 2016 Sara Terry

Photographer: Sara Terry (b. Detroit and resides in Los Angeles, USA)

Self-Published: 10 (X) Editions

Text: English

Hardcover artist book (boards with hand stamp and hand inscription on cover) with elastic belly band, leporello interior design, pigment ink prints with clear corner stays, hand-printed, limited edition book of 10.

Photobook designer: Sara Terry

Notes: Sara Terry’s hand-made artist books in her 10 (X) series are a delight to hold and read. I have known Terry as the founder, artistic director and publisher of the Aftermath Project and her annual War is Half the Story stiff-cover books and that she received a Guggenheim Fellowship in 2012 to support the publication of artist book Forgiveness and Conflict: Lessons from Africa. These are all very serious documentary style projects. What I was not aware of was her wonderful 10 (X) Editions until we had adjacent tables at Photo Independent last month. I found out about the not-so-serious side of Sara Terry!

I also quickly found that Terry is very particular about her books when I inadvertently did not place the elastic belly-band back on this book in the right place. Likewise she pays careful attention to the design details and production of her books; they are very well constructed and reading is a fun and enjoyable experience, especially as the leporello design unfolds the interior prints in your hands. For Elvis in the Tree, Terry states “It’s about trees. It’s about visual puns. And yep, it IS about Elvis in the tree.”

A simple but yet elegant book object that is well executed. Recommended.

Cheers

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June 10, 2016

Aline Smithson – Self & Others

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Copyright 2015 Aline Smithson

Photographer: Aline Smithson (born & resides Los Angeles, CA, USA)

Publisher: Magenta Foundation (Canada)

Essays: Paula Tognarelli, Karen Sinsheimer & Aline Smithson (A.S.)

Text: English

Hardcover book, sewn binding, four-color lithography, printed in China

Photobook designer: Office of Gilbert Li

Notes:  This monograph is a wonderful mid-career touch-point (as I know that just about every artist is loath to have a “retrospective” published while still in the midst of developing new work) that chronologically encompasses her early black and white analog projects, then a period of hand-coloring silver gelatin prints and currently exploring portraiture with the color photographic medium.

She has learned to masterly fill the square frame with her subjects, frequently her family as well as family of friends and make excellent use of her training as a painter in creating the accompanying background sets. One can see the early influence of the ambiguous style of Keith Carter or the family in masks of Ralph Eugene Meatyard, evolving to when her vision becomes more uniquely her own with her hand-colored photographs and subsequent color portrait projects. Portrait as Autobiography is thus a very apt subtitle to Smithson’s book Self & Others, an on-going collection of portraits by the photographer.

The late Karen Sinsheimer states in the forward; “Smithson manages to explore and explicate larger questions and issues as she remains true to who she is. She does not flinch from unpleasant or painful memories, nor does she shy away from an honest assessment of her work. Smithson maintains a sense of humor as well as a humanity; her photographs reflect her kind nature. One never senses meanness nor voyeuristic “gotcha” moments. She is unafraid of trying new ideas as she is of failing; she simply learns from and analyzes the experience and stores it in her memory for future reference.”

Cheers!

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June 7, 2016

Portfolio Reviewer at LACP Exposure 2016

Filed under: Photo Book NEWS — Tags: , — Doug Stockdale @ 11:41 pm

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Susan Burnstine, a Portfolio Reviewer for LACP Exposure 2016

I will be among the 19 Portfolio Reviewers, joining Susan Burnstine, Aline Smithson, Julia Dean, Kirk Pederson, Sarah Lee, Chris Davies to name only a few, for the Los Angeles Center of Photography’s (LACP) “Exposure 2016” event being held at the end of July at Santa Monica’s Bergamont Station.

The LACP’s “Exposure 2016” is a great opportunity to have your work seen by a diverse group of portfolio reviewers; see all of the bio’s here.

I am recommending that photographers who are interested in feedback on a portfolio that has been edited for potential publication may want to consider me for a review session. I am also recommending that if the photographer/artist has a book dummy in addition to a print portfolio, it would be a great opportunity to get some constructive criticism on that as well. The issue as always for these events is that you only have a 20 minute window to spend with each reviewer, so it really helps to know what exactly you want from this brief exchange.

Although this is a two day event; Saturday, July 30, 10 am – 5 pm + Sunday, July 31, 10 am – 5 pm, regretfully I will be available only on Sunday, July 31st. So I’m a bit limited for availability. Thus I suggest if you want to have my review, you will probably want to sign up as soon as possible.

For more details on “Exposure 2016”, including on how to sign-up, head over to: here.

Currently early bird pricing is still available until July 1st, so check it out now ;- )

Exposures 2016 event adress: dnj Gallery, Bergamot Station, 2525 Michigan Avenue, Suite J1, Santa Monica, California, 90404, (United States).

Cheers!

June 3, 2016

Kurt Simonson – Northwoods Journals

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Copyright 2015 Kurt Simonson

Photographer: Kurt Simonson (born St Paul, MN, resides Long Beach CA, USA)

Publisher: Flash Powder Projects (USA)

Essay by George Slade, Poem by Franz Wright

Text: English

Hardcover book, sewn binding, multiple gate-folds, tipped-in tri-fold page, four-color lithography, printed by Bigger Dot in South Korea

Photobook designer: Kurt Simonson, David Bram, Jennifer Schwartz

Notes: Kurt Simonson’s Northwoods Journals was one of the immediate standouts while I was judging the Photo Independent Book Competition last month. Even now after the first impressions formed during the book judging process have faded, I find his body of photographs to appear both factual, in a documentary style, as well as mysterious, as to the potential content, creating an interesting, although at times dark narrative. I realize that Simonson’s ambiguous photographs allow me the room to fill in some spaces from my own Midwest upbringing, a personal layer that I can add onto to his story. I like when that happens.

The body of work opens with a photograph that might be his grandmother’s envelop and unopened letter, a sly node to the late Roland Barthes. Simonson follows with a playful twist to include a tipped-in tri-fold page with a photograph of a hand-written text that contains his own introduction, as a surrogate of his grandmother’s letter, which may also have been hand-written, similar again to Barther’s photograph of his mother; we don’t know. Nor does it really matter.

Playful, mysterious and a ample ambiguity that allows the reader to make the story their own. Nice.

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May 12, 2016

My take-away from Photo Book Independent

Books acquired Photo Book Independent 2016

copyright the photographers, 2016 Douglas Stockdale

A quick shout out of thanks to all of the photobook photographers & artist at Photo Book Independent. Above is a photo of my book acquisitions, trades & gifts. Not in any particular order, these include:

Aline Smithson’s Self & Others, published by The Magenta Foundation (lucky me, I have been coveting this book since it publication last year)

Kurt Simonson’s Northwoods Journals, published by Flash Powder Projects (very short meet up with Kurt, but as he is local in Long Beach, I may get an opportunity to meet-up and discuss his book project in more detail)

Ara Oshagan’s Mirror, self-published (has incorporated an interesting technology that links to music video composed by his subject, Cor Mkhitarian)

Choi Young-hwan’s two books, BABEL and REQUIEM, self-published

Sara Terry’s two artist books, Elvis in the Tree (10X Editions) and from her 2012 Guggenheim fellowship, Forgiveness & Conflict: Lessons from Africa, composed of an interesting assortment of six artist books and one film DVD, self-published. (Really lucky me to have Terry’s limited edition Guggenheim project in my collection!) btw, if you are interested in Terry’s Guggenehim artist book, you need to act fast as these are going quickly.

Kurt Simonson’s and Aline Smithson’s photobooks were juried into the Photo Book Independent book competition (which I was one of the judges).

I enjoyed participating and meeting up with all of these photographers as well as the many folks who stopped by my exhibition table to discuss photobook projects.

More about these books in the months to come.

Cheers!

May 5, 2016

Jan Brykczynski – Boiko

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Copyright 2014 Jan Brykczynski

Photographer: Jan Brykczynski   (born & resides Warsaw, Poland)

Self-published (Poland) with support by Sputnik Photos

Essays: Taras Prokhas’ko

Text: English on a double-gate spread with Polish and Ukrainian text insert

Hardcover book, embossed cover with magnetic closure, sewn binding, four-color lithography, printed in Poland.

Photobook designer: Ana Natecka, Tapir Book Design

Notes: Brykczynski has uses a documentary style to photograph a small village in the Ukraine that is composed of a Boiko culture. This is a primitive region where sleds and sleighs are drawn by horses, animals are slaughtered on open tables exposed to the harsh elements, the floors of homes are mostly dirt and fields of grain are cut by hand. The portraits of those who live in the region portray a warmth and strong religious belief that belies the struggling economics. It appears that this region is in a transitional phase of old beliefs mixed with the new technology of electrical lighting, automobiles and contemporary clothing. A poignant study of an old culture battled by contemporary elements.

Cheers

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April 22, 2016

Brad Temkin – Rooftop

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Copyright 2015 Brad Temkin

Photographer: Brad Temkin  (born & resides Chicago, IL)

Publisher: Radius Books (USA)

Essays: John Rohrbach, Steven Peck, Roger Schickedantz

Text: English

Hardcover with glued boards and accompanying perfect-bond booklet (essay and list of plates), Lucite slipcase, sewn binding, four-color lithography, printed in Verona, Italy

Photobook designer: David Chickey and David Skolkin

Notes:

The rooftops of industrial buildings could well be one of the last frontiers for ecological exploration, usually a place that is a maintenance crew’s worst nightmare as a source for water leaks. This no-man’s landscape has more recently been envisioned as a potential location for huge panels for solar energy with an eye towards reducing electrical cost in conjunction with reducing the carbon footprint. Likewise, a relatively new concept for industry is the green roof, which Temkin has investigated in his book Rooftop. The concept is not entirely new as the top of many apartment complexes have for generations’ harbored gardens and other green sanctuaries.

Temkin has found these industrial oasis in the midst of heavy commerce and high rise commercial complexes, an otherwise sea of concrete, steel and glass. What is not apparent is that these green places are usually meant for popular use or even by those who inhabit the commercial space just below these beautiful vistas. Temkin has framed many of his images in a manner that makes the location ambiguous, even to the point of recognizing that the location is on top of commercial building. One poignant exception is the photograph that captures both the natural habitat on the roof and the stark contrast of the business personnel boxed inside the building below, attentive to their computer monitors and headsets. Nevertheless, Tempkin’s clearly seen photographs offers hope as to our industrial future.

Additional Footnote: I was part of the 2016 PhotoBook Competition jury during which we selected Tempkins’ photobook Rooftop as one of the three Best in Show.

Cheers

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April 21, 2016

Curatorial walk thru at Photo Book Independent

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The schedule for talks, book signings and curatorial discussions has just been posted for Photo Book Independent, a part of Photo Independent later this month in LA (Hollywood)

I am honored to have an opportunity to provide two curatorial walk-through’s to discuss the photobooks that were recently juried-in for the book competition as well as those that are being exhibited by the participating photographers.

The first curatorial walk will be held first on Friday night at 6pm just prior to the VIP opening of the exhibition space at Raleigh Studios (yes, a functioning sound stage in the midst of the film capital). The second walking discussion will be on Sunday morning at 10:30 am just prior to the opening for the general public. I am planing on an hour discussion, but be prepared, it could last a little longer depending on the questions and answers.

For the juried-in photo books, since I was part of the judging and had developed the judging process, I am planning to provide a little back-ground on the judging criteria. How did we decide which books were interesting and provocative and which did not seem to past muster and capture our attention?

The good news, my curatorial discussions are free to participate, but the space is limited and if you want to join for what I hope is an interesting, fun and informative event, you need to sign up for it NOW: http://photoindependent.com/talks-and-book-signings/

Leave a comment if you have any questions.

Cheers!

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