The PhotoBook Review’s Publisher Profile

PBR9_VanZoetendaal04
PBR9_VanZoetendaal04

Willem Van Zoetendaal selected five books from his collection that, together, as told to Arjen Ribbens, tell the story of his publishing house.

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The PhotoBook Review: Photobooks After 3/11

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PBR8_011_Kesengawa_3

The destruction the Great Tohoku Earthquake and tsunami waves created have profoundly impacted the way art is both made and received in Japan.

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The PhotoBook Review: Collecting the Japanese Photobook, Part Two

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PBR8_031_KazumaOgawa_2

A conversation with Manfred Heiting from The PhotoBook Review 008.

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On Philip Gefter’s Wagstaff: Before and After Mapplethorpe

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PBR8_GefterWagstaff

Philip Gefter’s new biography of Sam Wagstaff examines the life of the influential curator and collector, and his romantic relationship with Robert Mapplethorpe.

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Review: On Max Pinckers’s Will They Sing Like Raindrops or Leave Me Thirsty

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PBR8_021_MaxPinkers_4

Mira Jacob reviews Max Pinckers’s self-published photobook, “Will They Sing Like Raindrops or Leave Me Thirsty”

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If You Came Here to Have Fun, You Will

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PBR8_194

Jason Fulford and Aperture editor Denise Wolff discussed the parallel lives of a book through its events, and the event as intersection of artist and viewer.

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Collecting the Japanese Photobook

CollectingJapanesePhotobook
CollectingJapanesePhotobook

Ivan Vartanian spoke to Ryuichi Kaneko about how he became one of the first and most enduring champions of the Japanese photobook.

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Editor’s Note: Ivan Vartanian

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In 1995, I began an editorial internship at Aperture. (Just one week before, Lesley Martin had started one, too). While I was there, Daido Moriyama sent in a copy of his publication Hysteric Daido. It was the most bizarre specimen of a photobook I had ever seen: large and softcover, with magazine-like paper, black ink everywhere, and a putrid purple bar on the cover. The images were presented in a scattershot fashion, running into the gutter carelessly without white margins, captions, or any other type of structure. It did not in any way, shape, or form resemble the organized bookmaking…

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Publisher’s Note: Lesley A. Martin

The PhotoBook Review 008 coincides with the Summer 2015 issue of Aperture magazine, “Tokyo” (#219), as well as with Shashin, a symposium and festival for Japanese photography that takes place on April 24 and 25 at the New York Public Library. All three have been shaped, in part, through consultation with Our Man in Tokyo and this issue’s guest editor, Ivan Vartanian of Goliga. Several threads in these pages wend their way back to an event that took place at Aperture Gallery in November 2011, Printing Show—TKY, by the Japanese master bookmaker and photographer Daido Moriyama. This event, organized by…

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