— 10×10 Photobooks

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As part of 10×10 American Photobooks’ NYC Sneak Preview at the Ten10 Studios, May 3-5, 2013, we have been featuring on our website selections made by our reading room and online English language specialists. Each specialist has been asked to suggest 10 American photobooks from the past 25 years for a total of 100 photobooks in the reading room and an additional 100 books online: 10×10 (x2). Join the discussion on 10×10 American photobooks here.

10×10 Online Day #10.
James Pomerantz / The New Yorker

My selection of books is made up of those that have had an impact on me as a photographer and that I still return to for inspiration even with The New Yorker magazine’s ever-growing library of photobooks at my disposal.

James Pomerantz’s selection for the 10×10 Online:

  • Roger Ballen. Outland. (London: Phaidon Press, 2001).
  • Robert Bergman. A Kind of Rapture. (New York: Pantheon, 2008).
  • Jason Eskenazi. Wonderland: A Fairytale of the Soviet Monolith. (Millbrook, NY: de.MO, 2008).
  • Katy Grannan. Boulevard. (San Francisco: Fraenkel Gallery and New York: Salon 94, 2011).
  • Chauncey Hare. Protest Photos. (Göttengen: Steidl, 2009).
  • Tim Hetherington. Infidel. (London: Chris Boot Ltd., 2010).
  • Leigh Ledare. Pretend You’re Actually Alive. (New York: PPP Editions and Andrew Roth, 2008).
  • Ryan McGinley. The Kids are Alright. (New York: self-published, 2000).
  • Stephen Shore. A Road Trip Journal. (London: Phaidon Press, 2008).
  • Alec Soth. Broken Manual. (Göttengen: Steidl, 2012).

James Pomerantz is a New York-based photographer. He holds an MFA from the School of Visual Arts and is represented by Institute for Artist Management. James spends his days perched twenty floors above Times Square as the Photo Researcher at The New Yorker magazine. He lives in Brooklyn with his wife, daughter and two cats.

10×10 Reading Room Day #10.
Leigh Ledare / Photographer

About Leigh Ledare’s selection for the 10×10 Reading Room:

As an artist I find myself most often captivated by what might be deemed “minor” works—works that subvert the expectations of a pre-existing genre from within. As repositories of critical reflection, these works articulate meaning by way of the artist’s process, attitude, or position as an historical subject. Often challenging, these works must be considered in relation to existent modes of working and the broader culture in which they’re set. While photography unquestionably indexes the literal world, it must also be regarded as an apparatus that—like language itself—structures ways in which we as individuals engage with and experience our worlds. With this in mind, I’ve selected a number of artist’s books that I feel reflect on this relationship to image production, photography, and the book in particular. To speak to just a few:

The three chapbooks consisting of a small fragment of John Miller’s seemingly ceaseless project Middle of the Day: despite what might be pictured in front of the lens, these images evade disclosing their true subject—the leisure time between 12pm and 2pm—inside of which, paradoxically, these photographs are produced.

The perverse wit literalized in Nicolas Guagnini’s Testicular Imprints: the artist’s studied selection of cultural ephemera, stamped over with an index that aligns the photographic act of framing with an act of appropriation and territorial marking.

Out to Lunch by Ari Marcopolous: composed of many moments of the artist’s production this book seems to trace the dissolution of the author, only to re-inscribe a collective authorship over the temporal landscape of the city and, in turn, the city over its inhabitants. It is a project which—including removable posters, sticker images, as well as an unfinished film script—itself is meant to be disassembled, re-contextualized, elaborated on, and extended beyond the simple bounds of the book.

Paul McCarthy’s Slowlife/Lowlife: an archive composing a subjective cultural history that doubles as an expansive index of the dialogs running throughout many decades of McCarthy’s own production.

In this sense the medium of photography can also be seen as a non-medium, something that becomes undeniably apparent within the realm of publication.

Highlights from Leigh Ledare’s Reading Room Selection:

John Miller. The Middle of the Day (Set of 3 Books). (Geneva: Cabinet des estampes and Karlsruhe: Kunstbüro, Museum für Literatur am Oberrhein, 1996; Geneva: Cabinet des estampes, 2000; Cologne: Verlag der Buchhandlung Walther König, 2005). Each book: 16 x 15 cm. (44 pp).

John Miller. The Middle of the Day (Set of 3 Books)

Aura Rosenberg. Head Shot. (New York: Stop Over Press, 1996). 25 x 18 cm. (96 pp).

Aura Rosenberg. Head Shot. (New York: Stop Over Press, 1996).

Paul McCarthy. Low Life, Slow Life. (San Francisco: CCA Wattis Institute and Ostfildern: Hatje Cantz Verlag, 2010). 24 x 17 cm. (647 pp).

Paul McCarthy. Low Life, Slow Life. (San Francisco: CCA Wattis Institute and Ostfildern: Hatje Cantz Verlag, 2010).

Leigh Ledare uses photography, archival material, and text to explore human agency, social relationships, taboos and the photographic in equal turns. His distinct but related bodies of work are studies not only of their visible subjects, but also of photography itself: how it mediates identity, relationships, love, loss, and, perhaps above all, human vulnerability. Ledare has shown widely within the United States and Europe, recently having had major surveys of his work at WIELS Center for Contemporary Culture, Brussels, as well as Charlottenborg Kunsthal, Copenhagen. Ledare graduated with an MFA from Columbia University and has taught at Columbia University, California Institute of the Arts, and New York University.

To see these books in person and the other 7 books selected by Leigh Ledare, please visit the 10×10 American Photobooks Reading Room

4-5 May, from 12 to 8 
Opening: Friday, 3 May, from 7 to 9

Ten10 Studios
10-10 47th Road
Long Island City, NY 11101

Click here for a complete list of all 10×10 Specialists

Read More

As part of 10×10 American Photobooks’ NYC Sneak Preview at the Ten10 Studios, May 3-5, 2013, we will be featuring for the next 7 days selections made by our reading room and online English language specialists. Each specialist has been asked to suggest 10 American photobooks from the past 25 years for a total of 100 photobooks in the reading room and an additional 100 books online: 10×10 (x2). Join the discussion on 10×10 American photobooks here.

10×10 Online Day #3.
Melanie McWorter / photo-eye Bookstore Manager

About Melanie McWorter’s selection for the 10×10 Online:

These selections are from my personal collection that is primarily focused on books that embrace the limitations and strengths of the format. They are complete objects; the book and its design create a vehicle for dialogue that exceeds those qualities in the individual images. These books are an ideal integration of image, message and object.

Click here to visit photo-eye’s blog and check the selection:

Melanie McWhorter has managed photo-eye’s Book Division for over 15 years. She is a regular contributor to the photo-eye magazine and is co-founder of Finite Foto that focuses on photography in New Mexico. She has been interviewed about photography in numerous print and online publications including PDN, The Picture Show and LayFlat; has judged the prestigious photography competitions Women Photojournalists of Washington’s Annual Exhibition and Fotografia: Fotofestival di Roma’s Book Prize; has reviewed portfolios at Fotografia, Photolucida, Review Santa Fe and PhotoNOLA; and taught and lectured at numerous venues.

10×10 Reading Room Day #3.
Shannon Michael Cane / Printed Matter

About Shannon Michael Cane’s selection for the 10×10 Reading Room:

I have had an interest in American photography books ever since I bought a reprint of Larry Clark’s Tulsa on a high school excursion to the Museum of Contemporary Art in Sydney in 1991. Growing up in Australia – my fascination with American culture was very romanticized and fed by spending lots of time with the classics: Eggleston, Davidson and Shore. Since moving to the States and joining the team at Printed Matter, I have been able to see how these contemporaries have influenced today’s photographers and publishers. I’m very lucky to be surrounded by a thriving community of independent publishers and photo bookmakers who continue to push contemporary photography in the book form.

Highlights from Shannon Michael Cane’s Reading Room Selection:

Michael Max McLeod. Terrarum. (Phoenix, AZ: Goodbye Ranch, 2011).
Edition of 500. 21 x 13 cm. (28 pp).

Michael Max McLeod. Terrarum. (Phoenix: Goodbye Ranch, 2011).

Leigh Ledare. Pretend You’re Actually Alive. (New York: PPP Editions and Andrew Roth, 2008).
Edition of 1,000. 27 x 21 cm. (240 pp).

Leigh Ledare. Pretend You're Actually Alive. (New York: PPP Editions in association with Andrew Roth, 2008).

Larry Sultan and Mike Mandel. Evidence. (New York, NY: Distributed Art Publishers, 2003).
24 x 26 cm. (108 pp).

Larry Sultan and Mike Mandel. Evidence. (New York, NY: Distributed Art Publishers, 2003).

Shannon Michael Cane is an Australian born editor and publisher who is currently the director of the Printed Matter NY and LA Art Book Fairs and the curator of editions. New York City’s Printed Matter is the world’s largest non-profit organization dedicated to the promotion of publications made by artists. In 2005, Cane founded the queer art zine They Shoot Homos Don’t They?, which provides a platform for creative projects of and by contemporary gay artists. Shannon Michael Cane’s works as a writer include BUTT, Little Joe, and Straight to Hell.

To see these books in person and the other 7 books selected by Shannon Michael Cane, please visit the 10×10 American Photobooks Reading Room
4-5 May, from 12 to 8 
Opening: Friday, 3 May, from 7 to 9

Ten10 Studios
10-10 47th Road
Long Island City, NY 11101

Click here for a complete list of all 10 x 10 Specialists

Read More