their respective genres. Books have long life spans and are found everywhere.
But, it’s amazing that, long after they’ve been published, they continue to affect
new generations, thousands of photographers (and readers). The idea that the
bookmaker functions as a curator and selects pictures is also important given
the picture-obsessed environment in which we live. It’s hard to imagine how
historical figures would react to the millions of images created and the new
milieu of ebooks and books-on-demand.
I’m part of a global community of photography and book lovers who owe a great
debt to Alfred Stieglitz, who brought recognition and attention to the field as a
serious art form. Stieglitz was also a master printer of the hand-pulled
photogravure, examples of which appeared in the art magazine he edited and
published, “Camera Work,” and continue to highlight publications today. He
would be pleased to see that every major museum has a photographic collection
and the entire contemporary art scene is populated with artists who employ
photography. In fact, the diverse historical and contemporary figures
responsible for photography’s widespread popularity will never be forgotten as
long as photobooks are produced.
I have always thought of myself (and for that matter any collector) as a custodian
of these works. I knew that, eventually, they would need to be shared. I have
learned and enjoyed a great deal from these books. Now it is time to pass them
on to new collectors, the next generation of aficionados or, perhaps, even
museums that will share them with young, curious eyes.
“
Early on, I recognized that the beautifully produced
book was an autonomous work of art.”
