Call for proposals for book An Anthology of Photobooks on Found Photographs. Deadline: Dec. 31, 2011

Crowd re-search & editing for

An Anthology of Photobooks on Found Photographs /

one title a person

This is a repost from Mirelle Thijsen’s highly recommendable blog, where she calls for proposals for a book on found photographs.
You can send your own work or suggest other people’s.
Hereafter comes the full call. Best of luck,
— — —
Herewith I invite you to participate in a book project and create together AN ANTHOLOGY OF PHOTOBOOKS ON FOUND PHOTOGRAPHS. The publication will be based on both the advice by experts in the field (ERIK KESSELS, JOACHIM SCHMID, MARIKEN WESSELS, PETER PILLER, ELISABETH TONNARD a.o. – providing lists with titles) and YOUR personal selection, obtained through social networks. The dead-line for this call for proposals is December 31 2011, 00.00h.

A book project without precedent: based on open access and a democratic selection. Each of you provides ONE TITLE of a photobook, zine or periodical fitting within the thematics. See the OUTLINE below. Choose one seminal photobook (from the 1970s and onwards) in which FOUND PHOTOGRAPHY is the main actor and send the title toIPhoR, by email, or in a post feedback. Depending on the research process (2011-2012), the funding and the potential interest of publishers, the result will be made public in the shape of an enhanched online publication and /or a commercial edition. Your name, as a contributor to this anthology, will be mentioned in the printed / electronic version of the final publication.


Artists strategies, photography & archives: An Anthology of PHOTOBOOKS on FOUND PHOTOGRAPHS

The research project Artists’ Strategies Photography & Archives addresses the increasing interest in the advancement of art-practice-as-research during an era when the boundaries of producing, presenting, distributing and collecting photography are shifting on a global scale. The contextualization of vernacular and art photography and genesis of images archives in contemporary artists’ practices, in some cases in order to re-construct historical narratives, in others to construct new histories, are focal points of this anthology. The selection includes contemporary case studies (ERIK KESSELS, JOACHIM SCHMID, ALEKSANDRA MIR) and photographers’ strategies regarding both collective memory and cultural identity, involving archive retrieval and re-finding both private and public documents (SUSAN MEISELAS; CHRISTIAN BOLTANSKI; PARISSA DAMANDAN), fake and constructed archives (JOHN BALDESSARI; THE ATLAS GROUP), and collections of found photographs, in both books, periodical magazines and annual reports (USEFUL PHOTOGRAPHY; OHIO; RINGIER annual report). The project focuses on the extensive changes in contemporary photographic practice, from image maker to visual historian, related to strategies by artists such as PETER PILLER and MARIKEN WESSELS.
Perspectives on the use of archives and collections of found photographs in contemporary photography are illustrated by a large selection of astute statements (found texts) from practitioners and theorists, related to the selected publications, such as Allan Sekula, Hans Peter Feldmann, Hans Aarsman, KesselsKramer, Walid Raad, Joan Fontcuberta, Lenny Gottlieb a.o. The eye-catcher of this project is an inventory of covers from reference books, monographs, zines, and self-published books on found photographs that have appeared in Western Europe and the United States since the [1970s]. File catagories will be created such as: collections of found photographs and selections of vernacular photography in books, periodicals and zines; publications that include found photographs that were then altered and re-worked; books in which found footage is juxtaposed to self-made images by the author photographer. Yet another category includes – in some cases in monumental and comprehensive publications – compiled and edited typologies, indexes and encyclopaedic grids, mapping processes of life, time and things (GERHARD RICHTER, COR DERA, BATIA SUTER). By means of these collections and re-contextualization of random photographs the artists are thus creating a way of dealing with the surplus of imagery in the modern world.

File categories

[1] COLLECTIVE MEMORY & CULTURAL IDENTITY: re-constructed historical evidence and personal narratives
[2] CONSTRUCTED histories and FAKE archives
[3] COLLECTIONS of found photographs and SELECTIONS of vernacular photography in books, periodicals & zines
[4] Re-MADE, Re-WORKED, Re-VIVED found photographs
[5] JUXTAPOSITION of found footage and SELF-MADE IMAGES
[6] Typologies, indexes, encyclopaedic grids


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s