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The Photobook: From Talbot to Ruscha and Beyond

The Photobook: From Talbot to Ruscha and Beyond

Edited by: Patrizia Di Bello, Colette Wilson, Shamoon Zamir

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The photograph found a home in the book before it won for itself a place on the gallery wall. Only a few years after the birth of photography, the publication of Henry Fox Talbot's "The Pencil of Nature" heralded a new genre in the history of the book, one in which the photograph was the primary vehicle of expression and communication, or stood in equal if sometimes conflicted partnership with the written word. In this book, practicing photographers and writers across several fields of scholarship share a range of fresh approaches to reading the photobook, developing new ways of understanding how meaning is shaped by an image's interaction with its text and context and engaging with the visual, tactile and interactive experience of the photobook in all its dimensions. Through close studies of individual works, the photobook from fetishised objet d'art to cheaply-printed booklet is explored and its unique creative and cultural contributions celebrated.

Table of Contents

Introduction | Patrizia Di Bello and Shamoon Zamir

H. Fox Talbot’s ‘Scotch Views’ for Sun Pictures in Scotland (1845) | Graham Smith

‘Art-Science’: The North American Indian (1907–30) as Photobook | Shamoon Zami

Emil Otto Hoppé, Autobiography, and Cultural Moments | Mick Gidley

Recalcitrant Intervention: Walker Evans’s Pages | David Campany

Sculpture, Photograph, Book: The Sculptures of Picasso (1949) | Patrizia Di Bello

A Kind of a ‘Huh?’: The Siting of Twentysix Gasoline Stations (1962) | Ian Walker

Beyond the Exhibition – from Catalogue to Photobook | Liz Wells

‘The book the nation is waiting for!’: One Day for Life (1987) | Annebella Pollen

A Spectre is Leaving Europe (1990): Appropriation in a Post-Communist Photobook | David Evans

The Photobook as Object of Memory and Nostalgia: Alexandrie l’Égyptienne (1998) by Carlos Freire and Robert Solé | Colette Wilson

The Eye of the Lens and the Feet of the Photographer: Eduardo Gageiro’s Lisboa no Cais da Memória (2003) | Paul Melo e Castro

Orhan Pamuk’s Melancholic Narrative and Fragmented Photographic Framing: Istanbul: Memories of a City (2005) | Gabriel Koureas

Author Info

PATRIZIA DI BELLO teaches History and Theory of Photography at Birkbeck, University of London. She is the author of Women's Albums and Photography in Victorian England (2007), and the editor, with Gabriel Koureas, of Art, History and the Senses (2010). She is currently working on photography and sculpture. COLETTE WILSON is Lecturer in French Studies and Director of the MA in Cultural Memory at the Institute of Germanic and Romance Studies, London, where she also convenes the research seminar 'Photography: Theory, Practice, Debate'. She is the author of Paris and the Commune 1871-1878: The Politics of Forgetting (2007). Her current research focuses on French representations of Egypt. SHAMOON ZAMIR is Associate Professor of Literature and Visual Studies at New York University Abu Dhabi. He has taught at the University of Chicago, York University and the University of London. He is the author of Dark Voices: W.E.B. Du Bois and American Thought (1995) and has recently completed a study of the photography of Edward S. Curtis.

Bibliographic Info

Imprint: I.B.Tauris
Publisher: I.B.Tauris & Co. Ltd.

ISBN: 9781848856165
Publication Date: 28 Feb 2012
Number of Pages: 288
Height: 234
Width: 156
Illustrations: 45 bw integrated illustrations

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