The Paris Photo–Aperture Foundation PhotoBook Awards
Initiated in November 2011, the Paris Photo–Aperture Foundation PhotoBook Awards celebrate the photobook’s contribution to the evolving narrative of photography, with two major categories: First PhotoBook and PhotoBook of the Year. This year, the Awards introduced a brand-new third category, Photography Catalogue of the Year. The traveling exhibition will include all past short-listed titles including those recently announced at Paris Photo in mid November.
“Aperture Foundation and Paris Photo are delighted to collaboratively present the third annual Paris Photo-Aperture Foundation PhotoBook Awards, with support from amana. There is something tremendously clarifying about looking over hundreds of new photobooks over the space of a few days; patterns emerge, revealing current thematic, design, and format trends. In this round of photobook jurying, it became evident that we have reached a highly sophisticated level of photobook production, in which there is a tremendous plurality of styles–from the most baroque to the extremely minimalist. As juror Anne Wilkes Tucker points out, ‘People are thinking increasingly in sequences and bodies of work, and of the book as their orimary form of presentation.’
This reveals itself in particular in the instances of the Photobook as Novel–like the short-listed book The Epilogue by Laia Abril, in which a combination of text, images, and ephemera builds a complicated narrative, or those with more of a short-story arc, such Alberto Lizaralde’s everything will be ok. Photobook as Puzzle is another recurring form: a smattering of clues has been assembled, and it is up to us to figure them out, as in Jannis by Cecilia Suarez, or The Meteorite Hunter by Alexandra Lethbridge. Another common and interesting form could be called the Photobook as Remimagined Document. 19.06_26.08.1945 by Andrea Botto, or Miklós Klaus Rózsa by Christof Nüssli and Christoph Oeschger, both invest primary documents with new meaning via the juxtaposition of images, archival and otherwise. And then there are those titles that are fundamentally unique, even while working within (or against) the default parameters of bookmaking, such as Christopher Williams’s interlocking set of catalogues, The Production Line of Happiness and Printed in Germany.
It is with pleasure that we present the short-listed candidates for this year’s Photobook Awards. It’s an astonishingly strong selection of many sizes, flavors, and intentions, including an embarrassment of riches submitted to our newest category submitted to our newest category: Photography Catalogue of the Year. Many thanks to all those who entered and to my dedicated and tireless fellow short-listed jurors, Julien Frydman, Todd Hido, Mutsuko Ota, and Anne Wilkes Tucker.”
–Lesley A. Martin
Supported by Amana
The exhibition celebrates the ninety-seven shortlisted titles from past PhotoBook Awards.
$500 for an 8-week showing. The host venue is responsible for pro-rated shipping and insurance.
The exhibition is available through 2016.