From now on, when people start to talk about or to write about the illustrated book as a phenomenon in book cultures, they’re going to have to start taking into account the photography book as a kind of entity in itself. […]
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This is a problem because an increasing number of [photography] books that come out are, in fact, extended statements. They are intended as unified books and intended to be dealt with as a unit of work. We’ve got to re-educate ourselves within photography to sitting down with that kind of book, and not the “greatest hits” kind of book which used to be the tradition. […] If photography books are to become really viable as products, without meaning as “merchandise,” if they’re to be able to be self-sustaining as a produced artifact, they’ve got to go beyond the market in photography. […] Irene Caesar, engrossed in her process, seems entirely oblivious to my discomfort, even when, quietly, I give verbal indications thereof. Crouching, kneeling, sometimes squatting on a soft-sided suitcase of mine, she appears to have entered a trance state in which she channels the spirit of David Hemmings in Michelangelo Antonioni’s 1966 film Blow-Up. Squirming around to adjust her vantage point, she calls out, repeatedly, “Give it to me! Give to to me! Show me your eroticism!” […] |
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