The British, American and French Photobook: Commitment, Memory, Materiality and the Art Market (1900-2019)
Maison Française d’Oxford
2-10 Norham Road
Oxford OX2 6SE
March 14 – 16, 2019
Deadline: Nov 15, 2018
The Maison Française conference committee invites proposals on the social history of the British, American or French photobook from 1900 to the present. Papers will address: commitment or explicit political engagement; memory, commemoration and the writing of history; materiality (whether real or virtual), and how material form affects circulation, handling, critical responses and the social life of the photobook. We invite contributors to analyse these topics with respect to the growth of the market for the photobook as a commodity and an object of bibliophilic attention. Proposals focusing on contemporary productions are particularly welcome.
Recent illustrated anthologies in the vein of The Photobook: A History (Gerry Badger and Martin Parr, 2004, 2006, 2014) have established three things: firstly, the photobook-photographer is an editor and an author, or auteur (in the cinematographic sense, but applied to “directing” the production of a book); secondly, the photobook is an autonomous work of art, and a collectible object of connoisseurship; thirdly, the photobook “art world” now exists and can be studied.
This conference will concern itself with the social history of the photobook, whether photographer-driven, writer-driven, editor-driven, or publisher-driven. For the purposes of this conference, the definition of the photobook will be extended to include all photographically illustrated books, regardless of subject matter or the proportion of text to image, or indeed whether or not the images are “illustrative” in the strict sense of the word.
Three major questions arise concerning the photobook as a medium:
- Firstly, what place is there for literary fiction or imaginative picture-making in photobooks committed to documentary truth-telling or historical accuracy? In a word, how do fact and fiction, objectivity and subjectivity, cohere?
- Secondly, to what extent does the self-fashioning of the photographer in the art market interfere with the narrative meaning of a photobook? What is the influence of the art market on the photobook or on the writing of photobook histories? And how has the art market for photobooks changed since the bibliophilic creations of the early twentieth century?
- Thirdly, unlike individual prints that become unmoored without their captions, and which can be appropriated and re-used against themselves, can a photo-text shore itself up against appropriation? Is it a privileged pedagogical medium? A self-sufficient medium? This leads to a related question: how have certain photobooks changed with time? How have famous or reprinted photobooks been differently interpreted by different audiences? What has been the afterlife of politically committed photobooks? How, and in what circumstances, have certain photobooks contributed to writing or re-writing local memory or “collective memory”, at the time of their publication and over time?
To answer these questions, specialists in the history of photography, book studies and visual studies are invited to dialogue with researchers in such disciplines as sociology, anthropology, critical race theory, queer theory, gender studies, post-colonial studies and comparative literature. Papers may be disciplinary or multidisciplinary.
Papers shall be given in English.
Proposals are due by 15 November 2018.
Send 300-word abstracts (as an email attachment in Microsoft Word format, RTF, or PDF) along with a one-page CV to email@example.com
Roundtable sessions of 60 to 90 minutes may be proposed. They should be pre-organised, and include 3 to 5 panellists. To propose a roundtable, the discussion moderator will send a single 300-word abstract describing the chosen topic, as well as supplying the full details of each panellist, namely their contact information (email and phone number), affiliation and a one-page CV for each. Please be sure to confirm the participation of all panellists before submitting an abstract.
Roundtable proposals are due by 15 November 2018.
Confirmation of acceptance will be sent by 15 January 2019.
One-page/500-word abstracts must be sent by 15 February 2019.
Paul Edwards (MFO, CNRS/LARCA, Université Paris Diderot)
AUER M. et M. (2007), Photo Books from the M+M Auer Collection, Hermance, Editions M+M.
BOOM Mattie and SUERMONDT Rik (1989), Photography between Covers: The Dutch Documentary Photobook after 1945, Amsterdam, Fragment Uitgeverij.
BOUQUERET Christian (2012), Paris. Les livres de photographies des années 1920 aux années 1950, Paris, Gründ.
DI BELLO Patrizia, WILSON Colette and ZAMIR Shamoon (eds) (2012), The Photobook: from Talbot to Ruscha and beyond, New York, I.B. Tauris.
EDWARDS Elizabeth and HART Janice (eds) (2004), Photographs Objects Histories: on the Materiality of Images, London, Routledge.
EDWARDS Paul (2016), Perle noire. Le photobook littéraire, Rennes, Presses Universitaires de Rennes.
FERNÁNDEZ Horacio (2011), The Latin American Photobook, New York, Aperture.
FERNÁNDEZ Horacio (2014), Photobooks Spain 1905-1977, Madrid, Museo Nacional Centro de Arte Reina Sofía/RM/Acción Cultural Española.
FERNÁNDEZ Horacio (2017), New York in Photobooks, Barcelona, Editorial RM/Centro José Guerrero.
GIERSTBERG Frits and SUERMONDT Rik (2012), The Dutch Photobook, New York, Aperture.
KANEKO Ryuichi and VARTANIAN Ivan (2009), Japanese Photobooks of the 1960s and 70s, New York, Aperture.
KARASIK Mikhail and Heiting Manfred (2015), The Soviet Photobook 1920-1941, Göttingen, Steidl.
MEIZEL Laureline (2018), “Inventer le livre illustré par la photographie en France 1876-1897”, DPhil, Paris I University.
NEUMÜLLER Moritz and MARTIN Lesley A. (eds) (2017), Photobook Phenomenon, Barcelona, Centre de Cultura Contemporània de Barcelona/Fundació Foto Colectania/RM Editores.
PARR Martin and BADGER Gerry (2004, 2006, 2014), The Photobook: A History, 3 vols., London, Phaidon.
PARR Martin and WASSINKLUNDGREN (2016) : The Chinese Photobook: from the 1900s to the Present, New York, Aperture.
PFRUNDER Peter (2011), Swiss Photobooks from 1927 to the Present, Zurich, Lars Muller Publishers.
RITCHIN Fred and NAGGAR Carole (2016), Magnum Photobook, London, Phaidon.
ROTH Andrew (2001), The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, New York, PPP Editions/Roth Horowitz.
ROTH Andrew (ed.) (2004), The Open Book: A history of the photographic book from 1878 to the present, Gothenburg, Hasselblad Center.