Justine Kurland on Mariken Wessels Taking Off. Henry My Neighbor

Mariken Wessels, Taking Off. Henry My Neighbor, Art Paper Editions. Ghent, Belgium, 2015. Designed by Mariken Wessels and Jurgen Maelfeyt.
Mariken Wessels, Taking Off. Henry My Neighbor, Art Paper Editions. Ghent, Belgium, 2015. Designed by Mariken Wessels and Jurgen Maelfeyt.

A photographer’s obsessive relationship with his wife, and the powerful yet peculiar work that resulted.

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Publisher’s Profile: Ruben Lundgren in conversation with Yuan Di, Jiazazhi Press

PublishersProfile_Featured
PublishersProfile_Featured

Ruben Lundgren speaks with Yuan Di about his independent Chinese publishing house, Jiazazhi Press

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Doug DuBois on Chris Killip In Flagrante Two

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PBR010_079

My first encounter with In Flagrante (1988) was in San Francisco, where the year it was released I made regular visits to Lawrence Ferlinghetti’s City Lights bookstore, and to the used bookstores sandwiched between the strip clubs on Broadway. It worked like this: I would go to City Lights to touch and ogle the unaffordable photobooks, read a few pages of an ever-growing list of post-structuralist or feminist literary theory and postmodern art criticism, then head over to Broadway to scour the bins in hopes of finding something more affordable (one such find was a $14.95 copy of Larry Sultan…

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Vicki Goldberg on Darcy Grimaldo Grigsby Enduring Truths: Sojourner’s Shadows and Substance

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PBR010_022

In 1826 a thirty-year-old slave escapes captivity becoming a legally free, outspoken and effective supporter of the abolitionist cause.

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Eugénie Shinkle on Adam Broomberg and Oliver Chanarin Spirit is a Bone

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PBR010_121

The images in Adam Broomberg and Oliver Chagrin’s Spirit is a Bone were made using advanced facial recognition software, which gathers data from four separate lenses and builds a model of the face according to the configuration of the skull—the spaces, unique to each face, between eyes, nose, and mouth. The resulting three-dimensional images, all depicting citizens of Moscow, are data visualizations rather than photographic portraits per se. Usually taken without the subject’s knowledge, they are euphemistically termed “non-collaborative” by the Russian engineers who designed the software used to create them. The book takes its title from Hegel’s claim, in…

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Andrew Stefan Weiner on Marcel Broodthaers Musée d ’Art Moderne, Département des Aigles, Section Publicité

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Broodthaers_3

The Belgian artist Marcel Broodthaers has long suffered from a bifurcated reception: while his work has been shunned by many, due in part to his reputation as a hermitic figure or a stylistic outlier, it has been championed by others, who see it as a pivotal threshold in the development of critical post-conceptual art. Mindful of this divide, a major international 2016 retrospective currently on view at New York’s Museum of Modern Art has sought to complicate viewers’ sense of Broodthaers’s oeuvre. The present moment seems like an apt time to reevaluate the 1995 publication Musée d’Art Moderne, Département des…

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Kristen Lubben on Zoe Leonard and Cheryl Dunye The Fae Richards Photo Archive

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Lubben_1

Kristen Lubben reflects on a collection of glamour shots, stills from movie sets, photobooth portraits, family snapshots, and typewritten captions which make up a fictional archive.

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The PhotoBook and the Archive

Michael Lesy, Wisconsin Death Trip, Pantheon Books, New York 1973 Reissued: University of New Mexico Press, Albuquerque, 2000
Michael Lesy, Wisconsin Death Trip, Pantheon Books, New York 1973 Reissued: University of New Mexico Press, Albuquerque, 2000

In what ways is the photobook a useful framing device for archival projects?

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Marco Breuer on Mike Mandel and Larry Sultan’s Evidence

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Mandel_2

Photographer Macro Breuer reflects on the lasting images in Evidence for The PhotoBook Review 010

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