At the end of my first year in the Yale School of Art’s photography MFA, one of my older classmates invited me to curate a salon of photobooks to accompany a group show staged in honour of their classes’ graduation. It sounded like a boring idea, something akin to the panel discussions and strained performances galleries often stage in order to boost attendance of their shows after the opening. Then, upon reading “Reviver”, the essay curator Charlotte Cotton had written for the exhibition’s catalogue, I started to think of how some of the same ideas might translate to publishing. The essay (in short) alleged that my classmates had been breathing new life into the medium of photography while working inside its traditional bounds. In the past year, I had begun to notice a trend of new, independent publishers producing books with elderly or dead photographers. Deciding to dedicate the reading room
This article appeared in 197 on October 2016. Buy here
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