I started collecting photographic literature more than 20 years ago. As a
young photographer, in 1990, I received a small scholarship and applied the
monies to what was then a new passion, the photobook. As a student of this
exciting medium, I was inspired by well-produced monographs by 20th-
century masters.
Like many collectors, the impetus for buying books was to educate myself
about the visual history of photography. As a young artist interested in
aesthetic styles, I acquired examples of books by artists whose works I had
discovered in surveys and or museum publications. Early on, I recognized that
the beautifully produced book was an autonomous work of art. I was
enchanted with the idea that I could enjoy an artist’s complete body of work
in a highly accessible and intimate fashion. This direct experience was more
rewarding than owning a single print and displaying it on a wall.
Even before I identified myself as a collector, I understood the special nature
of the book as a fully realized artistic object. The fact that every book is a
unique experience and the choices each artist makes in creating their book
moved me. The basic ingredients: sequencing, sizing, format, paper stock,
binding, graphic design and overall production values contextualize the
pictures and immediately set a tone. It wasn’t long before I realized I was
hooked, and decided to build a comprehensive 20th-century library
representing the finest examples of extraordinary titles.
Initially, my focus was not directed to a particular genre of photography. I
assembled books by important artists who made significant contributions in
on collecting
by bill diodato
