History confirms it – the first photobook was made by a woman, with British photographer Anna Atkins publishing Photographs of British Algae: Cyanotype Impressions in 1843, a year before Henry Fox Talbot’s The Pencil of Nature. Still, many historians, including Allan Porter in his introduction to The Photobook: A History, dismiss Atkins’ work as “photographic prints” rather than photography.
“Unfortunately, this is far too often emblematic of the uphill battle women photobook-makers still encounter when we talk about their history,” says Russet Lederman, co-founder of 10×10 Photobooks. “As we conducted research for the How We See project, we discovered that although women photographers produce relatively equal numbers of photobooks to men, their representation in the higher-profile sectors was, and still is, disappointing.”
Les Rencontres d’Arles is the most prestigious photo festival in the world – that’s beyond question. But according to a high-profile group of photographers, curators, and writers, there’s still more that it could do. They’ve got together to sign a public letter to festival director Sam Stourdzé, which urges him to include more exhibitions by women in the main programme at Arles, and which was published in the French newspaper Libération on 03 September.
The letter is signed by influential industry figures such as Iwona Blazwick, director of the Whitechapel Gallery; Victor Burgin, Professor Emeritus of History of Consciousness, University of California, Santa Cruz, and Emeritus Millard Chair of Fine Art at Goldsmiths College, University of London; collectors Claire and James Hyman; and Olivier Richon, Professor of Photography, Royal College of Art, London, as well as photographers and artists such as Clare Strand, Sunil Gupta, and Anna Fox.
Throughout her career, Clare Strand’s work has been deeply embedded in the act of research. Best known for projects such as The Betterment Room – Devices For Measuring Achievement (2005), Skirts (2011), 10 Least Most Wanted (2011), The Happenstance Generator (2015) and The Entropy Pendulum and OutPut (2015), her interests are often centred around the medium of photography itself, “investigating its origins, uses – and limitations.” For her latest work, The Discrete Channel with Noise, Strand draws on references as diverse as Claude Shannon’s information theory to Roald Dahl’s 1964 novel Charlie and the Chocolate Factory, to discuss the nature of communication. It was the book’s Mike Teavee character explaining the process of transmitting a photograph that was one of the starting points for this project, says Strand. In the 1971 film adaptation, Mike says: “You photograph something then the photograph is split up into millions of tiny pieces and they go whizzing through the air, then down to your TV set when they are all put together in the right order.” What Mike fails to predict are the complications and disruptions which can occur …
Back for its second year, the 24-hour event allows photo-lovers to see “an area of London where artists are actually working on a day-to-day basis”, says co-founder Vivienne Gamble.
British photographer Clare Strand is using the game of hoopla, the well-known fun fair attraction, as a new way of interacting between artist and art fair audience, at Unseen Photo Festival in Amsterdam.