In 2019, there are several interesting photobooks that incorporate the clever use of text, turning them into the best photobooks of 2019 named by various renowned critics and artists.
One which I own myself – Slant by Aaron Schuman published by MACK and I wrote a review about, brilliantly combines the use of local newspaper reportage of succinct and “extraordinarily anticlimactic” accounts of crimes, suspicious activities, events and non-events with black and white photographs. They are hilariously ridiculous.
Two more which came to my attention lately while reading the rest of the best photobooks of 2019 list by Photo-Eye.
Were it not for by Michael Ashkin published by Fw:Books
© Michael Ashkin, from the book ‘Were it not for’; Source @ Fw:Books
Were it not for combines a line phrase which begins with “were it not for…” with 218 photographs of the Mojave Desert. This combination creates a powerful sense of unease throughout the document, with the black and white images that show areas of bleak and grim, it seems as though don’t we always have an excuse for making this mess in the world? As Jorg Colberg mentioned in CPhMag, “Wherever you look, whatever you hear, it’s all the same hopeless mess: a lived environment that more often than not looks like a garbage dump, with soulless anonymous architecture everywhere, and a cultural/societal environment filled with endless violence, dread, and despair.”
Here the photographs don’t play the starring role like in most photobooks. They are not necessarily memorable yet it is its combination with the text and the whole book itself which creates this looming feeling of helplessness for the world. And that is what sticks to our mind.
I walk toward the sun which is always going down by Alan Huck published by MACK
© Alan Huck, from the book ‘Were it not for’; Source @ MACK
By way of an interior monologue, I walk toward the sun which is always going down is a reminder amongst the daily stream of distractions to slow down, give full attention to our daily endeavours and, according to Annie Dillard, “to discover, at least, where it is that we’ve been so startlingly set down if we can’t learn why” as Raymond Meeks describes in Photo-Eye. It is a book that takes a visual form of what a long meditation of the inner self while exploring a place with a very long walk. Highly recommended by many.