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The photobook world: Artists' books and forgotten social objects Paul Ernest Michael Edwards full chapter instant download
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The photobook world
The photobook
world
Artists’ books and forgotten
social objects
While copyright in the volume as a whole is vested in Manchester University Press, copyright in
individual chapters belongs to their respective authors, and no chapter may be reproduced wholly or
in part without the express permission in writing of both author and publisher.
www.manchesteruniversitypress.co.uk
The publisher has no responsibility for the persistence or accuracy of URLs for any external or
third-party internet websites referred to in this book, and does not guarantee that any content on
such websites is, or will remain, accurate or appropriate.
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Contents
3 Wonder Woman and other fantasies: Joan Lyons and the photo-based
artists’ book – Jessica S. McDonald 47
4 Mothers of invention: Barbara Norfleet, Elsa Dorfman, Bea Nettles,
Clarissa Sligh and Susan Meiselas – Mary Panzer 59
Select bibliography184
Index191
Plates
27 Roland Penrose. The Road is Wider Than Long. Original ms, 1939.
Roland Penrose © Lee Miller Archives, England 2022. All rights
reserved. leemiller.co.uk.
28 Roland Penrose. The Road is Wider Than Long. London: Arts
Council of Great Britain, 1980. Roland Penrose © Lee Miller
Archives, England 2022. All rights reserved. leemiller.co.uk.
29 Roland Penrose. The Road is Wider Than Long. Los Angeles: Getty
Publications, 2003. Roland Penrose © Lee Miller Archives, England
2022. All rights reserved. leemiller.co.uk.
30 Walker Evans. ‘New Haven’, Polaroid, 11 November 1974. The
Walker Evans Archive/Metropolitan Museum of Art (1994.245.36).
2022 © Photo Scala, Florence.
31 Walker Evans. Untitled Polaroid, 1973–74. Purchase, Samuel
J. Wagstaff Jr. Bequest and Lila Acheson Wallace Gift, 1994
(1994.245.135). © The Walker Evans Archive, The Metropolitan
Museum of Art. Photo © 2022 Scala, Florence.
32 Walker Evans. Untitled Polaroid, 1974. © The Walker Evans Archive,
The Metropolitan Museum of Art (1994.245.32). Photo © 2022 Scala,
Florence.
Figures
12.2 London Bulletin (June 1939). (Coll. The Penrose Collection.) Roland
Penrose © Lee Miller Archives, England 2022. All rights reserved.
leemiller.co.uk.170
12.3 Maritza (Maria Tănase) the famous folk singer recording with
Hari Brauner, Bucharest University 1946. Photo by Lee Miller.
(Coll. Lee Miller Archives.) Roland Penrose © Lee Miller Archives,
England 2022. All rights reserved. leemiller.co.uk.171
Contributors
Briony Anne Carlin lectures in Museum Studies at Newcastle University and Art
History at the University of Sunderland. She was awarded her PhD in 2022 for her
xiv List of contributors
thesis, entitled ‘Bindings, Boundaries and Cuts: Relating Agency and Ontology in
Photobook Encounters’. The project addresses the affective materiality and social
agency of photobooks. With a background in foreign languages and photography,
her research interests include the interpretation and multi-sensory translation of
meaning in artworks and how perception and response to images are altered by
context.
Briony previously held the role of Assistant Curator of Photographs at the
Victoria and Albert Museum, contributing to exhibitions including Into the
Woods: Trees in Photography (November 2017–April 2018), the inaugural hang
of the V&A Photography Centre (October 2018), and White Heat of British
Industry: Photographs by Maurice Broomfield at FORMAT Festival (Derby
Museums and Art Gallery, March–May 2019). Briony is currently developing her
first monograph based on her doctoral research.
Paul Edwards is associate professor at Université Paris Cité and research asso-
ciate at the Maison Française, Oxford, having previously taught the history of
photography at NYU Paris. His research interests are in Photobook Studies,
Photoliterary Studies, Decadence and Punk. Publications include Disorder:
Histoire sociale des mouvements punk et post-punk, Éditions Seteun, Paris, 2019
(co-editor); Perle noire. Le photobook littéraire, Presses Universitaires de Rennes,
Rennes, 2016; Soleil noir. Photographie et littérature. Des origines au surréalisme,
PUR, Rennes, 2008; Je hais les photographes! Textes clés d’une polémique de
l’image 1850–1916, Anabet, Paris, 2006; Collected Works of Alfred Jarry, Atlas
Press, London, 2001, 2007. He curated ‘From Studio to Selfie’, Bodleian Library,
Oxford, 2020 (in collaboration with Kathrin Yacavone) and ‘Early Literary
Photobooks’, Charles E. Young Research Library, University of California Los
Angeles, 2016.
List of contributors xv
Antony Penrose, the son of Lee Miller and Roland Penrose, is the founder and
co-director of The Lee Miller Archives and The Penrose Collection at the former
family home, Farleys House and Gallery in Sussex, now open to the public. He
is a sculptor, film maker and author, and for the past forty years he has worked
on disseminating his parents’ work in exhibitions, plays and film, as well as
contributing to radio and television programmes. His published work includes:
The Lives of Lee Miller (London: Thames & Hudson, new edition 1988 [1985]);
Lee Miller’s War, edited by Antony Penrose; Foreword by David E. Scherman
(London: Thames & Hudson, 2014 [1992]); The Home of the Surrealists (London:
Frances Lincoln, 2001; Chiddingly: Penrose Film Productions Ltd, 2015); Roland
Penrose, The Friendly Surrealist (Munich: Prestel, 2001); The Boy Who Bit Picasso
(London: Thames & Hudson, 2010); Miró’s Magic Animals (London: Thames
& Hudson, 2015); Surrealist Lee Miller (Chiddingly: Farleys House and Gallery
Ltd, 2019).
Andy Stafford is a critical theorist and a specialist of the work of Roland Barthes.
He has published a book on the French photo-text of the 1990s (Liverpool
University Press, 2010), as well as articles on Raymond Depardon, André Bazin,
Leïla Sebbar and Marc Garanger, and most recently on the photo-text in the work
of Gérard Macé (Le temps qu’il fait, 2018). He is senior lecturer at the University
of Leeds and was visiting professor at the University of Paris-13 in 2019.
List of contributors xvii
This volume is the result of a two-year project at the Maison Française in Oxford,
funded by the Centre National de la Recherche Scientifique (CNRS). I am par-
ticularly grateful for the assistance given by the staff for their help in the logistics
of hosting both the ‘Photoliterature and Photobook’ Seminar and the Photobook
Symposium; my warm thanks go to Anne-Sophie Gabillas, Nathalie Maillot and
Claire Stevenson. I would like to express my deep gratitude to the MFO director,
Frédéric Thibault-Starzyk, for his encouragement in establishing scholarship in
photography as a long-term project at the Maison Française.
My grateful thanks are also extended to the Friends of the Princeton
University Library, who generously offered a grant to consult photobooks at the
Firestone Library in 2018.
The publication was supported by a grant from the Laboratoire de Recherches
sur les Cultures Anglophones (LARCA UMR 8225), Université Paris Cité.
Introduction: the photobook as
confluence
Paul Edwards
With the new millennium and the dominance of digital photography came an
unprecedented interest in photography books. The ‘photobook’, as the phenom-
enon came to be called, became an art object, and its definition was tailored to
suit a burgeoning collector’s market which placed the photographer at the van-
guard of the enterprise: this was a sudden valorisation for photographers, but it
misrepresents the history and dynamics of publishing. Resistance to the narrow,
art-world definition grew in academic circles. Photo-historians expressed their
bafflement at the exclusion of certain titles from the canons that were being drawn
up in coffee-table books (mentioning omissions can quickly become a running
gag at symposia). No overview, no history, however wide-ranging could possibly
encompass the variety of interactions between photography and book history
since the early 1840s (Shannon 2010). There remains a problem with the defini-
tion and use of the word ‘photobook’, which this volume seeks to address: not by
distinguishing auteur photobooks from illustrated books, but by acknowledging
the collective nature of all photography book projects.
The phenomenon took off at the turn of the millennium. Photobooks have
been showcased in photography art fairs, there have been major exhibitions in
European capitals, and coffee-table books have been devoted to the comparatively
unknown history of the photobook. While we can document this growing appeal,
we must also acknowledge that the effervescence has not resulted in enthusiastic
sales figures. This apparent paradox has been noted by American novelist Teju
Cole, who contrasts the limited distribution of photobooks with the plethora
of single images in the media and online: ‘In the world of deafening images, the
quiet consolations of photobooks doom them to a small, and sometimes tiny,
audience. They are expensive to make and rarely recoup their costs. In this way,
they are a quixotic affront to the calculations of the market. The evidence of a few
bestsellers notwithstanding, the most common fate of photobooks is oblivion’
(Cole 2020). Likewise, an academic survey of the photobook market concludes
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V.
KIRJEVAIHTOA VIELÄKIN.
Sano tuolle kunnon miehelle, että sinä nyt itse haluat hoitaa
raha-asiasi. Ja kun se tapahtuu, niin paina tarkkaan mieleesi
kehoitukseni menetellä aina viisaasti ja harkitsevasti.
Lorentz Rainerilta.
J.K. Äitisi kirjoittaa erikseen. Hän on melkein mieletön surusta
sen tähden, että meidän syksyllä täytyy muuttaa Tidanäsistä, mikä
toistaiseksi luonnollisesti on syvin salaisuus.»
*****
»Kiltti Viktorineni!
Mutta, rakas Viktorineni, tästä lähtien saat olla niin kiltti, ettet
vaivaa minua, sillä tänä talvena olen vähän huolissani mitä tulee
raha-asioihin.
Clas H.
VI.
YLLÄTYS.
Nykyään puhui hän niin harvoin, että teki mieli luulla häntä
mykäksi. Hän ei myöskään pukeutunut enää niin tuhlaavan
komeasti, kuin oli tottunut.
*****
»Jatka sinä!»
»Herra W:ltä.»
»Huonekalukauppias.”
»Huonekalukauppias?»
»Niin!»
»Poika sanoo, että hänen piti tulla tänne.» Vielä kerran katsoi
Wilhelm papereita ja näki oman nimensä ylimmäisenä.
Mutta tämä kirje sisälsi varmasti jotain merkillistä, sillä hän oli
tuskin silmännyt sen läpi, ennenkuin hän, pudottaen sen pöydälle,
heitti niin suuttuneen katseen vaimoonsa, että tämä sen sijaan oli
vähällä kaataa kahvikuppinsa pelästyksissään.
»Paras vävyni!
Heloise H.
Niin pian kun hän oli lopettanut lukemisen, nousi hän tavattoman
kiivaasti, soitti ja pyysi hattuaan ja turkkiaan.
»Niin tietysti! Minun täytyy mennä äidin luo — näethän, että hän
kärsii. Hän tulee ehkä aivan köyhäksi.»
»Entäs me sitten!»
»Mekö?»
»Mitä tarkoitat?»
»Kun?»
»Kumman on syy?»
»Ah!»
Mies suorastaan häpesi, että oli mennyt niin pitkälle, että hänen
vaimonsa tarvitsi puolustaa itseään häntä vastaan — joka oli vaimon
luonnollinen puolustaja — ja hän tuli liikutetuksi siitä todistuksesta
minkä vaimo samalla antoi hänelle tunteestaan.
Niin, mitä hänellä oli vaimolle tarjottavana muuta kuin kaikkea sitä,
mitä tällä ei ollut voimaa eikä rohkeutta kantaa.
»Oi, jätä se siksi kun tulen takaisin!» kuiskasi nuori vaimo vienosti
ja pyytäen.
*****
Ei, Wilhelm Reinerissä ei vielä ollut niin paljon voimaa, että hän voi
suuttua.
*****
Mutta seuratkaamme nyt Viktorinea hänen tuskaisella matkallaan
äitinsä luo.
»Pahempaa?»
»En, hän sanoi, että se olisi parasta ja oikeimmin, sillä meillä ei ole
yhtään mitään, millä elämme.»
»Onko ihminen mieletön — entä hänen isänsä suuret rikkaudet:
Tidanäs, puolen miljoonan arvoinen maatila…»
»Minä en ymmärrä kuinka asian laita on, äiti, mutta mielestäni hän
sanoi, että hänen isänsä asiat eivät ole paremmat kuin isänkään ja
että meidät molemmat oli uhrattu.»
»Jos voisin luulla, että meitä olisi narrattu niin halpamaisesti, jos
voisin luulla jotain niin inhottavaa, niin…»
»Äiti kulta, älä ole tuon näköinen — minä pelkään niin kauheasti…
Wilhelm sanoi myöskin, ettemme voi moittia toisiamme
kummaltakaan, puolen.»
»Vai niin, hän sanoi niin, tuo alhainen olento tuo laiskuri, tuo
heittiö, joka on mennyt naimisiin sinun kanssasi rahojen tähden ja
nyt tahtoo lähettää sinut kotiin, kun hän huomaa pettyneensä… Oi,
minä tahtoisin, minä tahtoisin…»
»Hyvä äiti, älä toki ole niin vihainen — minä en suinkaan jätä
häntä.»