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Doug DuBois on Chris Killip In Flagrante Two

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

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

The images in Adam Broomberg and Oliver Chanarin’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

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

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 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 artist’s edition, and on creating a better understanding of the ecosystem of the photobook as a whole.

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