The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot's "The Pencil of Nature" heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication.
The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot's "The Pencil of Nature" heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers across several fields of scholarship share a range of fresh approaches to reading the photobook, developing new ways of understanding how meaning is shaped by an image's interaction with its text and context and engaging with the visual, tactile and interactive experience of the photobook in all its dimensions. Through close studies of individual works, the photobook from fetishised objet d'art to cheaply-printed booklet is explored and its unique creative and cultural contributions celebrated.
The Authors Picture Credits (images and captions to come)
Aknowledgements Introduction by Patrizia Di Bello and Shamoon Zamir Graham
Smith, H. Fox Talbots Scotch Views for Sun Pictures in Scotland (1845)
Shamoon Zamir, Art-Science: The North American Indian (1907-30) as
Photobook Mick Gidley, E. O. Hoppé, Autobiography, and Cultural Moments
(1927) David Campany, Recalcitrant Intervention: Walker Evans Pages Patrizia
Di Bello, Sculpture, Photograph, Book: The Sculptures of Picasso (1949) Ian
Walker, A Kind of a Huh?: The Siting of Twentysix Gasoline Stations (1962)
Liz Wells, Beyond the exhibition - from catalogue to photobook Annebella
Pollen, The book the nation is waiting for: One Day for Life (1987)David
Evans, A Spectre is Leaving Europe (1990): Appropriation in post-communist
photobooksColette Wilson, The Photobook as Object of Memory and Nostalgia:
Carlos Freire and Robert Solés Alexandrie lÉgyptienne (1998)Paul Castro,
The Eye of the Lens and the Feet of the Photographer: Eduardo Gageiros
Lisboa no Cais da Memsria (2003) Gabriel Koureas, Orhan Pamouks Melancholic
Narrative and Fragmented Photographic Framing - Istanbul: Memories of a City
(2005)Select Bibliography (Index to follow)
PATRIZIA DI BELLO teaches History and Theory of Photography at Birkbeck, University of London. She is the author of Women's Albums and Photography in Victorian England (2007), and the editor, with Gabriel Koureas, of Art, History and the Senses (2010). She is currently working on photography and sculpture. COLETTE WILSON is Lecturer in French Studies and Director of the MA in Cultural Memory at the Institute of Germanic and Romance Studies, London, where she also convenes the research seminar 'Photography: Theory, Practice, Debate'. She is the author of Paris and the Commune 1871-1878: The Politics of Forgetting (2007). Her current research focuses on French representations of Egypt. SHAMOON ZAMIR is Associate Professor of Literature and Visual Studies at New York University Abu Dhabi. He has taught at the University of Chicago, York University and the University of London. He is the author of Dark Voices: W.E.B. Du Bois and American Thought (1995) and has recently completed a study of the photography of Edward S. Curtis.
