In this new section, we will feature installation shots of selected exhibitions. If you would like to contribute your exhibition views to this section, please contact us or leave a comment.
Photobook Phenomenon, CCCB and Foto Colectania, 2017
Photobook Week Aarhus, 2014-18
ArteConTacto Workshop and Exhibition, Kairouan, 2015
…more to come… stay tuned.
The European Master of Contemporary Photography, which is going into its ninth Edition in April 2019. They offer a practical and innovative training in a unique master program, where you can develop your personal project, coached by our team of tutors and teachers of international fame: Martin Parr, Joan Fontcuberta, Simon Roberts or Andreas Müller-Pohle, to name just a few.
PRIZE: Two scholarships covering 50% of the tuition fees, equivalent to 5.375 euros.
Deadline for the receipt of works on Monday 26th of November 2018 at 18:00, Madrid time (GMT+1).
Photographic Social Vision Foundation, in collaboration with Banc Sabadell Foundation invite you to participate in the 5th annual edition of its photobook dummy award.
Summit your dummy and win 3.000 € to produce it!
Open call until october 29.
La Fundació Photographic Social Vision i la Fundació Banc Sabadell obren la convocatòria i us conviden a participar a la 5a edició del premi anual de maquetes de fotollibres DOCfield Dummy Award Fundació Banc Sabadell.
Presenta la teva maqueta i guanya 3.000 € per produir-la!
Convocatòria oberta fins el 29 de octubre
La Fundación Photographic Social Vision y la Fundación Banco Sabadell abren la convocatoria y os invitan a participar en la 5ª edición del premio anual de maquetas de fotolibros DOCfield Dummy Award Fundación Banco Sabadell.
¡Presenta tu maqueta y gana 3.000 € para producirla!
Convocatoria abierta hasta el 29 de octubre
LES BOUTOGRAPHIES IS A FESTIVAL OF CONTEMPORARY CREATIVE PHOTOGRAPHY
Open to all photographers living in Europe.
The criteria for selection by a jury of professional in the photographic field are a height creative level, originality and a coherent personal vision.
THERE IS NO THEME
How to participate
- TWO SECTIONS WILL BE PROGRAMMED
The official selection (on the walls) and the selection Jury Projection (in projection). You don’t need to choose. If you are selected by the Jury, your work will automatically be assigned to one of these two selections.
- THREE PRIZES ARE GIVEN DURING THE FESTIVAL
For the official selection
The Jury prize, for a total of 1000 € + the purchase of photos by the Town of Montpellier for a value of 2500€
The Exchange prize (an exhibition at the festival Fotoleggendo in Rome)
The Public prize (help with the production of an exhibition by our partner Photon, professional photo lab).
- THREE SPECIAL AWARDS ARE GIVEN DURING THE FESTIVAL
For the official selection
Réponses Photo (a portfolio published in the magazine, with remuneration)
For the Jury projection
Laboratory Photon (Production of images up to a value of 1000€ plus an exhibition for three months in their gallery space in Toulouse)
For either the official selection or the Jury projection
Les Jours (a portfolio published on the media website, with remuneration)
Frame & Frequency is an ongoing International Video and Sound Art Exchange program presented concurrently at VisArts in our In(Site) Project Gallery in Rockville, MD and at PLECTO Galeria in Medellín, Colombia, opening December 7, 2018.
Video, sound art (up to 8 channels), film, and new media work will be accepted: experimental, documentary, animation, narrative, non-narrative, multimedia, virtual reality, augmented reality, net art, interactive media, etc.
All foreign language moving image artworks must have English subtitles.
Deadline for submissions is November 28, 2018
- Video/Sound Art: You may submit up to 3 works. Videos must be in .mp4 file format. Maximum length of 15 minutes. Sound Art files can be either.mp3 or .wav format. Upload files below through our online platform or provide Vimeo links for video previews.
- Artist Bio (100 word max.)
- Artist Statement (100 words max.)
- $5 application fee
Transforming individuals and communities through the visual arts. From our beginning in 1987 as Rockville Arts Place operating in a converted garage to our current contemporary, state of the art facility in Rockville Town Square, VisArts has served local residents, students, art lovers, professional artists and others with an interest in the arts. Each year, VisArts welcomes more than 30,000 visitors through our doors to visit one of our four galleries, observe our studio artists on our second floor Artist Concourse, or to participate in art education classes, camp programs, and special events in our Buchanan Room.
CFP: The Photobook (Oxford, 14-16 Mar 19)
Maison Française d’Oxford, March 14 – 16, 2019
Deadline: Nov 15, 2018
Maison Française d’Oxford 2019 Photobook Conference :
The British, American and French Photobook:
Commitment, Memory, Materiality and the Art Market (1900-2019)
A conference to be held at the Maison Française, Oxford
Thursday 14 to Saturday 16 March 2019
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
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.
Conference venue :
Maison Française d’Oxford
2-10 Norham Road
Oxford OX2 6SE
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.