In putting together this issue, I reached out to a wide range of bibliophiles and artists and asked them to discuss their personal relationship with a specific photobook. I asked them not to approach this as a book review, but rather as a personal account of a photobook that had provoked (or still provokes) the feelings of lust, desire, or arousal. I was interested less in an intellectual engagement, and more in something that each person has been unaccountably drawn to: a book that has obsessed them, whose pages have been pored over, consumed, loved; a book that has been very significant to each person’s life, which brought them into a world they would like to be part of. The results range from covetous reactions to books that triggered new ways of thinking about photography, to those that inspired outright salacious responses. You’ll find these contributions contaminating the whole issue, wrapping themselves around and between pages—an uncontainable account of PhotoBook Lust.
—Bruno Ceschel, guest editor of The PhotoBook Review 006
From the print edition
Vince Aletti on Peter Hujar, Peter Hujar
Anouk Kruithof on Justin James Reed, 2013
Adam Broomberg on Our Bodies, Ourselves
Lise Sarfati on Mike Kelley, Photographs/Sculptures
Lucas Blalock on Elmer Batters, Elmer Batters
Paul Kooiker on Boris Mikhailov, Case History
Colby Keller on Iron Eyes Cody, Indian Talk
Roxana Marcoci on Grete Stern and Ellen Auerbach, Ringlpitis
Paul Graham on William Eggleston, Election Eve
Michael Mack on Collier Schorr, Jens F.
Ron Jude on Joachim Brohm, Industriezeit
George Pitts on Russ Meyer, A Clean Breast: The Life and Loves of Russ Meyer
JH Engström on Daido Moriyama, Bye Bye Photography
Mariah Robertson on photography instructional manuals
The PhotoBook Review is a publication dedicated to the consideration of the photobook—focusing on the best photography books being published, from the coffee-table book to the handmade artist’s edition, and on creating a better understanding of the ecosystem of the photobook as a whole.