Posts Tagged ‘Stephen Dupont’
THE ANTIPODEAN PHOTOBOOK – a lecture at the Vienna Photo Book Festival
Doug Spowart presenting The Antipodean Photobook at Vienna Photo Book Festival
THE LECTURE: THE ANTIPODEAN PHOTOBOOK
My lecture brief was to make an hour-long presentation about the Australian and New Zealand photobook scene. After some thought I organised my lecture content around 4 distinct areas.
1. The supporting structures
The contemporary scene was to be included covering both practitioners and the major events in AuNZ that have shaped and contributed to the development of strong network and community of practice. The key events, movers and shakers such as:
- Photobook Melbourne
- Photobook New Zealand
- Unless you will 2017 event and book reviews
- Melbourne Artbook Fair
- Sydney’s Volume Another Artbook Fair
- Zinefairs
- The Photobook of the Year Awards
- Bookshops
- Perimeter Editions
- m.33
- T&G
- Rim Books
- Remote Photobooks
- Perimeter
- Photobook Clubs
- Asia Pacific Photobook Archive
- Photobook collections
I commented also on the sources of critical discourse on photobooks in AuNZ.
The role of Libby Jeffery and Geoff Hunt of MomentoPro as patrons and supporters of all things photobook in Australia and New Zealand was acknowledged.
2. Photobook histories of Australia and New Zealand from first examples to 2000
Here are a few slides from the presentation…
I was able also to present a discussion on the challenge of commercial book production as against personal work using Wes Stacey as an exemplar.
I also spoke about the informal links that exist between the photobook and artists’ book disciplines.
3. The contemporary scene and a selection of interesting books and makers
Here are a few slides from the presentation…
4. Voices from the Antipodean scene
It was important for me that contributors to the photobook discipline in Australia and New Zealand be given an opportunity to provide their personal insights to my presentation.
I sought comments from a range of key contributors and received responses from Libby Jeffery, Daniel Boetker-Smith, Helen Frajman, Harvey Benge, Bruce Connew, Garry Trinh, Sam Harris, Ying Ang, Anith Totha, The 2018 Photo Book Wellington Committee.
Here are a few slides from the presentation…
My concluding comment was that AuNZ and the Asia-Pacific regions offer new and refreshing ideas of what a photobook could be and the stories of peoples outside of the usual Euro/Americano scene.
I invited all attendees to visit our table and view the Photobook of the Year finalists and winners and offered, as an additional incentive a copy of the Awards booklet.
My lecture was well attended by festival participants from different parts of Europe including Martin Parr, Photo historian Hans-Michael Koetzle and collectors with an interest in the AuNZ books.
After the lecture Martin Parr and I discussed AuNZ photobooks that he was aware of and commented that in my lecture he had seen many new books. Our conversation continued later that day and he, Gerry Badger, and probably most of those who attended the lecture came to our table to look at the books.
Martin Parr at the AuNZ photobook table PHOTO: Lachlan Blair
SEE ALSO
The EVENT
https://wotwedid.com/2017/06/18/aunz-photobooks-the-vienna-photo-book-festival/
The REVIEW SESSIONS
https://wotwedid.com/2017/06/18/review-panels-at-the-vienna-photo-book-festival/
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AUSTRALIAN & NEW ZEALAND PHOTOBOOKS OF THE YEAR 2015
AUSTRALIAN + NEW ZEALAND PHOTOBOOK @ MAUD GALLERY
The photobook continues to capture the imagination of not just photographers but a broader community who enjoy ‘reading’ the visual nature of photostories. Part of the enthusiasm for the photobook lies in the diversity of the discipline from hand-made zines stapled together on the kitchen table to the slick graphic design of commercially printed books. The other major aspect of interest in the photobook is it’s accessibility – anyone can make his or her own book within the diverse range of practice. How then can the best books be acknowledged, rewarded and celebrated?
In Australia there have been awards for photographic books such as the Australian Institute of Professional Photography’s Photography Book of the Year Award, and more recently the Australian Photobook of the Year. This year for the first time, New Zealand photographers were able to enter their own Photobook of the Year Awards and have the ‘best’ books defined by a group of respected photobook judges and commentators on the art. An important contributor in the development of a critical evaluation structure for photobooks in Australia and New Zealand is the ongoing work being done by Australian print-on-demand service provider Momento Pro. Once again Momento Pro teamed up with Heidi Romano of Photobook Melbourne to sponsor and coordinate the Australian award. The creation of a New Zealand photobook award was also sponsored through Momento Pro’s local branch was coordinated with the organisers of this year’s inaugural Photobook New Zealand event in Wellington.
From April 14-22, under the auspices of the Brisbane Photobook Club, I coordinated an exhibition of the award winners and the finalists of both the Australian and the New Zealand Photobook of the Year Awards at Brisbane’s Maud Gallery. A special ‘launch’ event was followed by around a week of potential viewing time for those interested in seeing 26 of the ‘best’ books from our part of the world.
Conscious of the need to provide a ‘reading’ experience rather than the usual gallery ‘viewing’, Vicky and I installed the books within the gallery space on tables with chairs or stools. To highlight the winners, I chose to place these four books on plinths and therefore provide not only a prominent positioning within the space but also to allow a more intimate access the books without the visual ‘clutter’ of other displayed works and their readers.
The tables setup
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Around 60 people attended the launch event. It was an unusual gallery experience as attendees found a space at a table, sat down and began reading. Moving on occasionally to the next chair and the selection of books in close proximity. A group of students clustered around certain books discussing quietly amongst themselves the book design and narrative features that interested them. I had intended to present a welcome and a short talk about the books but chose not to as it just seemed that everyone was engrossed in the process of reading. The video made in one part of the evening shows the intensity of the ‘shush — I’m reading’ vibe permeating the gallery.
That evening, and over the following days, I had many conversations with those who had come to see the show. Many attendees enquired about technical production attributes of the books. Some seemed to have been expecting a collection of books that were of a more traditional bookshop nature. Readers noted the diversity of physical forms of the photobook, how the story was communicated and the themes pursued by these successful book award entrants. Most attendees enthusiastically accepted the opportunity to cast their vote for the People’s Choice Award.
ANZ Photobooks of the Year @ Maud Gallery
An interesting topic of discussion emerging from conversations with attendees related to the current categories of entry and the characteristics of the selected books. It was noted that the awarded books and finalists from both categories seemed to blur these category perceptions. This is in part because self-publishers may create ‘trade-like’ products and trade publishers may make ‘creative style products’.
Ultimately it comes down to the question ‘Did they like what they saw?’ I would say yes… although some comments related to the seriousness of selected photobooks as they often dealt with austere, conceptual themes or raw documentary – ‘Where are the happy books?’ one reader commented.
Would they come again to another Photobook of the Year showing? I would think they would. Many indicated that they would enter the next awards…
A call for entries in the 2016 Photobook of the Year Awards will be made later in the year
REPORT: Doug Spowart
WHAT FOLLOWS ARE COMMENTS ABOUT EACH AWARD AND THE WINNERS
(Edited from the Awards’ press releases)
APBOTY LOGO
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AUSTRALIAN PHOTOBOOK OF THE YEAR AWARDS 2015
The judging panel included representatives from photography, publishing and art institutions, and was co-chaired by international art consultant and curator, Alasdair Foster, and Photobook Melbourne Director, Heidi Romano. The judges assessed the physical books for excellence in photography, layout and design, and the suitability of the format for the book’s theme and purpose, resulting in a selection of 14 finalist books.
The winners were announced at the Photobook Melbourne project space, Southbank, on 25 February. “Australian photographers are continuing to embrace the book format as a means for exploring, documenting and disseminating photography, just as locally created photography books and the artists behind them are being applauded internationally,” stated Foster. “Our finalists prove that a successful photo book does not require a major capital investment or an expensive publicity machine, but it does require a strong and engaging visual narrative in a sophisticated design, as well as genuine relationships within the photo book community.”
Generation AK: The Afghanistan Wars, 1993 – 2012 by Stephen Dupont
TRADE PUBLISHED
Winner – Generation AK: The Afghanistan Wars, 1993 – 2012 by Stephen Dupont, Steidl –
Commended – Belanglo by Warwick Baker, Perimeter Editions, Dan Rule –
Commended – Birdland by Leila Jeffreys, Hachette
Finalists
+ The Middle of Somewhere by Sam Harris, Ceiba Foto
+ Arc by Zoe Croggon, Perimeter Editions, Asia Pacific Photobook Archive
+ Limits to Growth by James Farley, Currency Editions
SELF-PUBLISHED WINNER – Red Herring by Jordan Madge
SELF PUBLISHED
Winner – Red Herring by Jordan Madge
Commended – Your love is not safe with me by Ailsa Bowyer –
Commended – LA – NY by Sam Wong and Jack Shelton –
Finalists
+ By the River by Ian Flanders
+ The Smell of Narenj by Hoda Afshar
+ Magic City #2 by Chloe Ferres
+ The Moon Belongs to Everyone by Stacy Mehrfar
+ STAN by Christian Belgaux and Jack Pam
People’s Choice – The Middle of Somewhere by Sam Harris, Ceiba Foto
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NZPBOTY LOGO
THE NZPBOTY WINNERS
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NEW ZEALAND PHOTOBOOK OF THE YEAR AWARDS 2015
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The judging panel, chaired by David Cook, a Senior Lecturer in photography at Massey University, Wellington, selected 13 finalist books that presented excellence in photography, layout and design, and whose format complemented the book’s theme and purpose.
“The best works presented a carefully edited selection of images, in an engaging visual narrative, with sophisticated design that didn’t overwhelm the imagery,” stated Cook, “Age and experience weren’t the defining characteristics, it was the skill of visual storytelling and the ability to combine photos with graphics, text and materials to enhance the story told by the images, to create a new artwork in its own right.”
Winner – From Certainty to Doubt by Mark Purdom
Trade Published
Winner – From Certainty to Doubt by Mark Purdom, Ramp Press
Commended – Creamy Psychology by Yvonne Todd, Victoria University Press
Commended – Vernacular by David Straight, Potton & Burton
Finalists
+ New Zealand Photography Collected by Te Papa Press
+ Karakia by Ben Clement, Sallyann Clement, Bloom Publishing
+ The Imperial Body by Fiona Amundsen, split/fountain
F.16 G3 20/25/30 by Solomon Mortimer
Self Published
Winner – F.16 G3 20/25/30 by Solomon Mortimer
Commended – Cascade by Shelley Jacobson
Commended – The Inbetween by Georgia Periam
Finalists
+ Some kind of life in dying by Shelley Ashford
+ The Reality Principle by Yvonne Shaw
+ Waipureku by Conor Findlay
+ When the sun sets your eyes change colour by Solomon Mortimer & + Zahra Killeen-Chance
People’s Choice – Waipureku by Conor Findlay
A PDF Catalogue of the New Zealand Awards is available NZPOTY 2015 Exhibition Brochure
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All photographs of books and the individual awards text supplied by Momento Pro.
Photographs @ Maud Gallery and introductory text ©2016 Doug Spowart
PUMPING-UP the VOLUME on PHOTOBOOKS
Screen dump on Volume site
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I attended Volume: Another Art Book Fair in Sydney on the weekend of September 11+13, 2015. The event was a collaboration between Artspace, Perimeter Books and the American artists’ book not-for-profit book shop Printed Matter. Packed into the Artspace building in Woolloomooloo were around 100 ‘Art Book’ makers, publishers and sellers all vying for the attention of potential purchasers. The table holders had spread before them all things book – let’s not try and get into discussions around what an ‘art book’ is, but rather celebrate the range of published products from thin stapled zines and comics, to self-pub photobooks, artists’ books and gallery catalogues, and further to trade-styled ‘fine art’ books and livre d’artiste productions.
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Some of the Volume Art Book Fair table participants included:
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Shannon Michael Cane from Printed Matter
Cameron Cope
The Perimeter Books table
Bloom Publishing Lloyd Stubbers + Jay Dymock
Bloom Publishing: Lloyd Stubbers + Jay Dymock
Richard Tipping and Max Ernst (David Dellafiora)
Thorny Devil Press: Richard Tipping
George Voulgaropoulos
Pneuma Publishing: George Voulgaropoulos
Deanna Hitti
Libby Jefferies MomentoPro after a long day on Sunday
Anita Totha Remote Photobooks NZ
Kate Golding
John Ogden Cyclops Press
Helen Frajman – m.33
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Selling books to interested collectors and lovers of books is one thing but as is the case with the emergent trend in self-pub everyone wants to have their own book. To cater to this growing group of keen makers the program included many free forums, workshops and lectures by a variety of key makers and commentators on various aspects of the disciplines of writing and self-publishing (self-pub).
Why Publish panel
As my interest is in topics related to photobooks I attended two sessions: Why Publish and Designing Photobooks. The why-pub panel consisted of Helen Frajman (m.33), Daniel Boetker-Smith (Asia-Pacific Photobook Library), Brad Haylock, Jack Harries and Geordie Cargill and Shannon Michael Cane from Printed Matter. Attendees, of which there were around 30, heard discussions relating to the usual issues of publishing, getting a designer, edition numbers, marketing, selling and getting your work into the right hands including the international market. Brad Haylock suggested the key themes for photobooks were:
- Technologies and organizational forms
- Social relations
- Institutional and administrative arrangements
- Production and labor processes
- Relations to nature
- The reproduction of daily life and the species
- Mental conceptions of the world
Ultimately the overall message seemed to be ‘Give it a go’!
The Designing for Photo Books panel
Associate Professor Christopher Stewart from University of Technology Sydney chaired the Designing for Photobook panel. Each speaker showed examples of their work and discussed design concerns associated with their books. Heidi Romano from Unlessyouwill spoke of her history in design, her passion for the photobook and her experience of the international world of book design. She cited her interest in advancing Australian photobook design as being a driver for her establishment of Photobook Melbourne. Esther Teichmann, and artist from the UK discussed her exhibition work and the challenge of bringing wall-work into the space of the book as well as her experiences, not always pleasant ones, with book designers. Tom Evangeledis, Black Eye Gallery described his interest in encouraging exhibitors at his gallery to consider a book to support the exhibition but also to enhance the opportunity for the artist’s work to be extended beyond the exhibition dates. Chloe Ferres, probably kept the most on track with the topic of book design by presenting a range of works that in some ways subvert the idea of the book being a vessel to hold photographs that express a narrative – she considers the book structure as also important to the narrative and uses a range of design interventions to disrupt the preciousness that many photographers seem to consider important when they make books.
Christopher Stewart posed questions to the panelists to draw out aspects of the topic but when asked if there were questions from the floor Daniel Boetker-Smith asked about how we can make photobooks that are more about the ‘fetish’ of the book – ‘some books all look the same – I’m interested in all kinds of books. A young photographer in Myanmar stapling a bunch of photographs together to make a book is just as important to me as some “coffee table tome”!’ An attendee agreed and responded that books often look the same as they as designed from a dummy where all decisions about the book are considered at the beginning and immutable – whereas another less formal method is the development of a book in a process where opportunities for review and discovery are made along the way allowing the book to be like a collaborator with the artist…
Bella Capezio making Insta Photobooks for APPA
Make your own Photobook with Garry Trinh
While some attendees attended these lecture sessions others were busy making books. The print-on-demand company BLURB offered bookmaking workshops over the weekend led by photobook self-publisher Garry Trinh. Asia-Pacific Photobook Archive presented a selection of their books at the event and founder Daniel Boetker-Smith and Bella Capezio led photobook-making sessions as well.
Victoria Cooper and Ruyin Yang
The biggest book-making venture over the weekend was a special project coordinated by Onestar Press who, with Artspace and other supporters including Surry Hills Print & Design Konica-Minolta, design students from University of New South Wales – Art &Design. The project, entitled ‘Book Machine’, brought together a designer with a ‘content provider’ (artist or photographer), and over the course of 3.5 hours the two work together to design a book. Overnight the book was printed and made available to its collaborative participants.
Alexie Glass-Kantor – introduces the Book Machine commentators
Late on Sunday afternoon the Artspace coordinators drew together a distinguished panel of erudite book critics and commentators including Brianna Munting – NAVA, Simon Barney Artist, Alexie Glass-Kantor – Executive Director Artspace, Maddalena Quarta – One Star Press, Bella Capezio – Asia-Pacific Photobook Archive, Philip Keir – publisher and artists’ book collector and Nicholas Tsoutas – Curator and Art management executive. A crowd gathered to hear this discussion and celebrate this unusual project.
Book Machine
Towards the end of the day on Sunday I rushed around to catch up with people that I still hadn’t spoken with and books not yet seen. I felt something of the heightened energy levels with which these table holders had been operating in the preceding days. Did they sell enough books…? Did they make contacts with people who will do future business with them or provide content for future books…? Did they get a chance to check out what everyone else was doing…? Did they get to do a Book Machine project…? Buy a pie at Harry’s Cafe de Wheels or take-in the harbor, the Finger Wharf and the view of naval ships at Garden Island.
Harry’s Cafe de Wheels
Volume: Another Art Book Fair was a major undertaking for the visionaries who conceived it and then brought it into fruition. There were so many activities, add-on events, presentations and booksellers and books available for artbookophiles in which to luxuriate. There was a real sense of community created in this art book fair that can only advance the disciplines associated with it. One thing is for certain, at least for me, is that I know I have just attended one of the most significant art book fairs to be held in this country to date. When, and where the next one will be is something we’ll await with much anticipation…
Doug Spowart
14 September 2015
DOING IT BY THE BOOK: Judging the 2015 Momento Pro Australian Photo Book Awards
The 2014 Australian Photobook of the Year Finalists stack
On the 30th of January six identities from the Australian publishing and photography scene gathered in Sydney to review a selection of the best photo books from Australian authors and to select a recipient for the title Momento Pro Australian Photo Book of the Year. Prior to this event 100 books had been submitted in the award by Australian photographers working in a wide range of book forms that employ photography.
The judges for the award were: Shaune Lakin (Curator of Photography @ National Gallery Of Australia), Diana Hill [Publisher @ Murdoch Books), Sonya Jeffery (Books at Manic), Kim Hungerford (Art and Design Consultant and Buyer @ Kinokuniya), Michael Howard (Joint Art Director @ Sydney Morning Herald) and Doug Spowart (Research Fellow – Australian Library of Art, State Library of Queensland).
The judges deliberating PHOTO: Doug Spowart
The process started 10 days earlier when the judges were sent a USB drive containing the 100 PDF files. Within a few days the judges were to review the files and select their top 12 books. These results where then collated by the Momento Pro team to give 15 finalists. They were:
- Gold Coast Ying Ang
- Nonna to Nana Jessie + Jacqueline DiBlasi
- Typhoon Stephen Dupont
- Better Half Jackson Eaton
- Lover of Home Odette England
- The Beginning Brendan Esposito
- The Kings of KKH Andrea Francolini
- Bedrooms of the Fallen Ashley Gilbertson
- Tribal PNG David Kirkland
- In the Folds of Hills Kristian Laemmle-Ruff
- Don’t Just Tell Them, Show Them Jesse Marlow
- SALT Emma Phillips
- Nauru: What was taken and what was given Kelvin Skewes
- We Met a Little Early But I Get to Love You Longer Raphaela Rosella.
- Fibro Dreams Glenn Sloggett
Of these finalists, one book was published by an academic institution, three were published through an independent publisher and two were unpublished – the remaining books were self-published. The diversity of subject matter covered by the books included a portraiture and documentary cookbook, ethnographic documentary, social documentary, conceptual projects about human relationships of place and memory, books about irony and humour or glimpsed juxtapositions of subjects seen and photographed in the street. The books mainly fitted the conventional codex model and were trade printed and bound. One ‘photo book’ was a newspaper styled publication, and another was a deluxe artists’ book laparello of an exceptionally large size.
More debating … PHOTOS: Doug Spowart
As the judges came together at the Momento Pro facility in Chippendale they introduced themselves and participated in briefings conducted by Chairman of Jurors Heidi Romano, Director of Photo Book Melbourne and Libby Jeffery from the award sponsor Momento Pro. Then each judge engaged with the books – turning pages, cracking spines, smelling paper and inks, looking, reading, touching and connecting with the narrative and the experience that each book may contain. As all books were originally seen as digital images on screen there were some surprises as the digital version presented quite different experience to the physical printed book.
At this time individual conversations took place, ideas and responses to books shared. Opinions about photo books expressed and probed. Some of the key discussion points related to questions like ‘What is a photo book?’, and the validity of certain book topics and forms like cookbooks, newspapers, grand artists’ book productions – were they able to be considered as photo books? This part of the process was useful as it enabled a range of ideas to emerge from the broad views and experience of the judging panel.
The six judges then gathered around a large table – each book was presented for discussion at the end of which a vote was made as to whether it would be held-over in a ‘for further consideration’ stack or not. The discussions enabled each judge to express their experience of the book, opinions about narrative, sequencing, design and typography, production values as well as how the books ‘fitted’ with the idea of the photo book. One interesting consideration was the suitability of the book’s format, design and structure as a container to hold and present the narrative.
Some of the other discussion points that emerged included:
- A trend which is emerging where the cover of the book has no photograph on it or minimal text to identify it;
- The absence of the author’s name on the cover of the book;
- The length of the book – many books the judges felt were just too long;
- The editing and sequencing of images – many judges felt that they’d like to have done a review of the book to give an opportunity for the great photos and story to be more effectively told;
- Texts within books need quality editing as well;
- Aspects of book size and binding – a concern was ‘whether the physical nature of the book gets in the way of its storytelling potential’;
- Design features that do not support the narrative; and
- Ethics in documentary photography in relation to what level of personal information about the subject is OK to disclose in a book.
As a result of this judging segment the 15 finalists were reduced to six books. These books were interrogated further with particular attention being paid to the expectation that a great photo book should create, as it is activated by the viewer/reader, a moment where the book’s design, photographs, texts, layout, sequencing all combine to express a powerful statement, narrative or emotional response.
Of these six books selected Heidi Romano was to comment that ‘they were equal to any of the world’s current great photo books’. One final review and discussion needed to follow to select the ultimate title winner. This was preceded with discussion regarding the message that awards like these make to the photo book community about what constitutes exemplary work. The participating judges recognized the importance of this aspect of the final award selection. Ultimately all of the books were given highly commended awards with Kelvin Skewes’ Nauru: What was taken and what was given being awarded the title of Runner Up. First prize was awarded to Raphaela Rosella’s We Met a Little Early But I Get to Love You Longer book. Although unpublished the book had been printed and bound by the Momento Pro team to the author’s specifications. It featured personal narratives written by young mothers, the design and page-turning/text sequencing, powerful imagery and the inclusion of personal notes and letters extended the story and loaded the emotional response potential for the viewer.
We Met a Little Early But I Get to Love You Longer Raphaela Rosella
Images and words from this book are available HERE: RAPHAELA_ROSELLA-We_met_Book
Nauru: What was taken and what was given Kelvin Skewes
The details of this book are available HERE
MORE DETAILS ABOUT THE BOOKS AND JUDGES COMMENTS ARE AVAILABLE HERE
The award winners receive:
Winner – $1,500 cash + $8,000 Momento Pro credit
Runner Up – $1,500 Momento Pro credit
People’s Choice – $500 Momento Pro credit
An additional award will be the ‘peoples choice’ from votes received during the exhibition of the books at the Asia Pacific Photobook Archive at the Photo Book Melbourne event.
This award helps to define what great Australian photobooks can be is and has rewarded great Australian photobooks. Additionally it will continue to fuel commentary and debate around the nature of the practice in Australia and serve to extend interest in and recognition of the discipline and the practitioners of the discipline in Australia.
Doug Spowart
February 12, 2015
wotwedid 