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PhotoBook Review 002, The European Edition

 

Issue 002 Editor of Markus Schaden sends us his snaps of The PhotoBook Review lounging at the Kassel Fotobook Festival, Paris Edition.

 

This issues features text contributions by festival co-founders Dieter Neubert and  Thomas Weigand, French bloggers Marc Feustel, Remí Coignet and Laurence Vecten, editors and curators Susan Bright, Gerry Badger, Tate Shaw of the Visual Studies Workshop, Alan Rapp, Darius Himes, James Crump, Ivan Vartanian, Thomas Seelig from Fotomuseum Wintherthur, Ramón Reverté, Paul Moakley, FOAM’s Marcel Feil, Tamara Berghmans from the FotoMuseum Antwerp, Aperture’s own Denise Wolff, and photographers Ken Schles, Christian Patterson, Joachim Brohm, Machiel Botman, and Danny Lyon

 

Copies will also soon be available through our distribution partners, namely the Milan Image Art Fair, the School of Visual Arts, and the Cleveland Museum of Art, when they open their exhibition DIY: Photographers & Books.

 

And, don’t forget: if you are an Aperture magazine subscriber, you’ll get a copy along with the May issue! It’s not too late to subscribe now to get both a great magazine and your biannual issue of PhotoBook Review.

 

Lastly … sign up above to be notified of the U.S. launch at Aperture gallery soon!

 

Clockwise from top left: Laurence Vecten, Tamara Berghmans, Gerry Badger, Sebastian Hau, Dieter Neubert, Le Bal Cafe. Photos by Markus Schaden

 

 

 

 

 

 

 

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The second issue of The PhotoBook Review, edited by the inimitable Markus Schaden, is just about out the door!

 

In addition to being available at Aperture Gallery and at our partner venues, this issue will be shipped with the next issue of Aperture magazine … so if you’re already subscriber, you can look forward to a complimentary copy with the May issue. If you’re not yet a subscriber, it’s not too late! Subscribe by April 25, and you’ll still be in time to get your first copy AND a copy of The PhotoBook Review 002.

 

Click here to see round one of the front cover!

 

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Jacqueline Hassink and designer Irma Boom stopped by last week to show off the limited-edition version of The Table of Power, Volume 2 (hint, it has a wooden cover!), a continuation of Hassink’s 1995 project to map the ineffable structures of economic power.

 

Wallpaper magazine did a nice piece on the project, including a fairly extensive gallery and an interview with the artist in which she talks about the questions and research that led to the amazingly informative and striking indexes and graphs contributed by the outstanding Irma Boom.

 

They also got a sneak peek at the first printed F&Gs (folded-and-gathered sheets) of The Dutch Photobook by editors Frits Giertsberg and Rick Suermondt, copublished by NAi and Aperture (in the U.S. and U.K.) to accompany an exhibition “Celebrating the Photobook: The Dutch Photobook since 1945″ at the Netherlands Fotomuseum in Rotterdam. (More on that to come …)

 

 

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In 2007, a group of photographers, editors, and scholars met in Saõ Paolo to discuss the state of Latin American Photography. One result: a committee dedicated to the research of Latin American Photography in Print, led by the author of Fotografia Publica: Photography in Print 1919-1939, Horacio Fernandez. The second result, a fantastically researched book originated by Spanish-language publisher Editorial RM, copublished with French-publisher Images En Manoeuvres, Cosac Naify in Portugese, and Aperture for the English-language translation.

 

Thirdly, tonight in Paris, we launched Photo/Gráfica, curated by Horacio Fernandez—an exhibition at Le Bal that stems from the past five years of research. A rich mixture of vintage and modern prints, of design sketches, video projections, and the films themselves. A few pix here … but don’t worry if you’re not in Paris for the next few weeks; the show will travel next to Madrid, then to Aperture (November 2012!) before traveling to Rio, Saõ Paolo, and other venues. Big congratulations to all!

 

Above: Horacio Fernandez, Paris, January 19, 2012

 

 

 

 

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Hello from Paris, where I will soon be posting photos from the opening of the Latin American Photobook Exhibition at Le Bal. Thanks to everyone for your feedback regarding Zinio and our foray into a digital edition with Issue 001. Sadly, not everyone is in love with the viewing and reading options of the interface.

 

Please be assured that are taking all of the comments into consideration as we design future issues: DRM, legibility, resolution — all of these are things we’re wrestling with as we try to extend our readership beyond those of you who are able to come to either New York or Paris to pick up a copy.

 

Stay tuned as we wrangle with these concerns and work to find the right solution — as mentioned, we are hard at work on Issue 002 and will be taking into account all of the comments and frustrations as we plan for the next PhotoBook Review.

 

And remember, all Aperture magazine subscribers will receive the print version of The PhotoBook Review #002 along with the Summer issue. Additional venues to be announced.

 

LAM

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Hello! It’s been just under a week since we launched our digital edition on Zinio; thanks to everyone who has downloaded this first trial digi-version of the Review – and for those who have sent on feedback about the experience.
 
First, it’s great to see that the demand for the print edition remains so strong. Unfortunately, we aren’t able to sell them at this time, but if that changes, our PBR mailing list will be the first to know!
 
Second, for those of you who have downloaded the first issue via Zinio, thank you! There have been a number of queries about the legibility of the texts in this format. It’s true that the PDF is fixed, but did you know that you have the option to read the articles as text only? The button at the bottom of the first page of every article allows you to access the text, set apart from the design, for a better reading experience on the iPad, iPhone, and other devices.
 
Others have commented on a lack of sharpness on the PDF – please note that one factor that can impact sharpness of the PDF is the speed of your connection if you’re viewing it online. Sometimes the pages can take longer to load, and for the type to render sharply. However, once the publication has fully downloaded onto your tablet device, this should not take more than a few seconds. For offline reading on the computer, please make sure to download Zinio’s free Reader 4.
 
We are hard at work on Issue 002; details to be announced shortly. We are working to figure out the best way to get PBR into the hands of everyone who wants it — both hard copy and digital edition. We’ll figure it out, step by step – and all of your input helps us to do so. So thanks again for your interest—and thanks for your patience as we iron out the kinks on this new venture!
 
Sincerely,
Lesley and the PBR team

P.S. Stay tuned in February as we start to add more content on a regular basis to this site.

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What is The PhotoBook Review?

The PhotoBook Review is a publication dedicated to the consideration of the photobook—focusing on the best photography books being published, from the coffee-table book to the handmade artists’ edition, and on creating a better understanding of the ecosystem of the photobook as a whole. This first issue is launched to coincide with Paris Photo and the launch of the Paris Photo Book Prize 2011.

Who is The PhotoBook Review for?

We hope that The PhotoBook Review will be enjoyed by everyone interested in photography, as well as those with an established interest in the particular form of the photobook. We are interested in cultivating the values of the true connoisseur: one who seeks out deep knowledge on a topic—the better to understand its context and relevance — not just for the sake of their own enrichment, but in order to contribute to a shared body of knowledge.

Who is behind The PhotoBook Review?

The PhotoBook Review is an initiative of Aperture, a not-for-profit foundation that sets out to connect the photo community and its audiences with the most inspiring work, the sharpest ideas, and with each other—in print, in person, and online.

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