AbstractFor photographers and visual artists of all disciplines, self-publishing has grown exponentially through the use of digital print technologies and the Internet, providing new ways to distribute work to a worldwide audience. Annette Gilbert suggests contemporary practitioners now engage in publishing as art practice, renegotiating the traditional publishing frameworks of processes, institutions and discourses. Certain photobooks operate by re-materialising recent and archive photographs to create new, tactile ‘things’ that challenge our notions of the past and the present; public and private and the original and the copy. In the post-digital era, such books are made to be handled and scrutinised at close quarters in the personal space of the reader rather than behind glass in an art museum or library. Many photographers employ ‘thingness’ as reflexive strategy in their book works, and as Ivan Vartanian and Ryuichi Kaneiko observe, an astute choice of materials ‘can bring a heightened level of physicality to the photobook as [an] object.’ Bill Burke’s I Want to Take Picture (1987) and Donovan Wylie’s & Timothy Prus’ Scrapbook (2009), are both facsimiles of unique journals, where original pages are rephotographed and presented verbatim. Yet can a book that has been materially or reprographically enhanced ever become more than a mere facsimile?
CitationDaly, T (2020). Beyond facsimile: The haptic photobook as a distributed archive. In Harris, P & Marmalade, G (Eds.), Forever//Now: New research into mythologies, identities and territories of photography. Newcastle, United Kingdom: Cambridge Scholars Publishing.
PublisherCambridge Scholars Publishing
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