zondag 22 januari 2017

Views & Reviews The Stylized Photos of Desiree Dolron Photography


From January 18th Singer Museum Laren will present a mid-career retrospective by Desiree Dolron. The exhibition is designed by Irma Boom and will present her oeuvre to date, including recent video works.

‘Photo of the Week’ and Week Review
Posted on August 23, 2016 by taneeshaprinceart

D. Dolron. ‘Xteriors’. 2001-Present

This week’s ‘Photo of the Week’ observes photographic Dutch photographer Desiree Dolron who creates staged photography within interior spaces.  Also working as a photojournalist, Dolron’s work has been featured at the Guggenheim Museum and the Victoria and Albert Museum in London.  Dolron also regularly works as a photojournalist as well as working with conceptual narrative photography.  This image from her series ‘Xteriors’ depicts women wandering within interior hallways.  The length of the space is suggestive that this series is set within a wealthy victorian house as the women’s appearance reflects a victorian style and the general atmosphere presents an old fashioned quality.  This image is particularly intriguing as it demonstrates a scene that is in limbo.  As the woman gazes out of a window in the distance, a second woman watches her as she passes through the hallway.  It appears as though this second woman was searching for her or perhaps has spontaneously found her in a moment of solitude.  The mood of the images in this series is quite dark and depressing as Dolron uses low key lighting and dull colours with both the space and the individuals who walk through it.  There is also a sense of perfection with the characteristics of the subject matter as there are no items or furniture in the space and there isn’t a hair out of place with the women’s appearance.

I admire Dolron for how she brings across this haunting feel to her images that is compelling and almost intimidating as the figures she uses present themselves in a dark, overly controlled manner that is uncannily suspicious.  I also admire Dolron’s inspiration from traditional painting as her use of soft lighting gives her visuals a textured appearance that could almost be mistaken for a painting rather than a photographic image.

Week Review

In review of this week’s progress, I am now ready to begin the production stage of the project installation. My next step is to research into my options of framing or mounting in which I aim to gather the materials needed over the course of the next week.  My intention is to create an impact with the images as they bring a dark, alluring theme so I am keen to use frames for the presentation.  However, this depends on how the frames compliment the images for if they do not, I shall mount the images onto foam board as a secondary plan.  I would also like to provide an artists statement within the viewing space of the installation.

References


ARR Photomuseum Den Haag (2016) ‘Desiree Dolron‘ [Online] Available from: http://www.fotomuseumdenhaag.nl (Accessed 24/08/2016)

DESIREE DOLRON

Retrospective

Feb-25-2005 until May-16-2005

Desiree Dolron (b.1963) is well-known both for her penetrating travel reportages and for her staged photographs. She is internationally reputed to be one of the most successful Dutch photographers in the world today. Both the Guggenheim Museum in New York and the Victoria & Albert Museum in London have recently purchased work by her. The Hague Museum of Photography is about to present the first ever major retrospective of her work.

Over the 1991-1999 period, Desiree Dolron took documentary photographs of religious rites in countries as far apart as India, Thailand, Morocco and the Philippines. In 2000 these were published as a collection in a book entitled Exaltation. Images of Religion and Death. The Hague Museum of Photography will now show a selection of the photographs from this book in the first of its exhibition spaces. The second space will be used to exhibit Dolron’s extremely atmospheric 2002 reportage on Cuba. Works from her ‘Xteriors’ and ‘Gaze’ series (the latter composed of photographs of people under water) will also be on display in the museum.


Although Dolron does not deliberately ignore current events in the communities she visits, her photographs cannot be described as journalistic. Her reportages are not continuous narratives, but strings of discrete moments selected for their power of expression and atmosphere. Both in her monochrome photographs (low-contrast, soft in focus and printed in sepia tones) and in her colour pictures (the tonality of which is just slightly non-standard) Dolron harks back to the pictorialism of the early 20th century. This gives her work a painterly quality and aura. When the photographer is not away on her travels, she works principally on projects examining the tradition of the portrait genre. The constraints imposed on the subjects of such photographs seem to be a recurrent theme in her work. In her ‘Xteriors’ series (2001 – the present), Desiree Dolron reveals her devotion to art history by giving her anonymous models a hint of a resemblance to the works of the Flemish Primitives and Johannes Vermeer. In images which, thanks to her control of light and subtle digital manipulations, hardly look like photographs at all, she produces a masterly approximation of the serenity and sense of mystery with which these painters imbued their work. Desiree Dolron’s work is well-represented in the Rabo Art Collection and this exhibition is being organised in close collaboration with Rabobank Nederland. The exhibition will be accompanied by a book issued by Terra publishers and authored 

DESIREE DOLRON 18 JANUARI T/M 14 MEI 2017

Desiree Dolron, Xteriors XIII, Kodak Endura Print, 2001-2015

Van 18 januari t/m 14 mei 2017 toont Singer Laren een overzicht van het werk van een van de meest succesvolle hedendaagse fotografen uit Nederland: Desiree Dolron (Haarlem, 1963). Internationaal geniet Dolron grote bekendheid. Het Guggenheim Museum in New York, het Victoria & Albert Museum in Londen en het Reina Sofia Museum in Madrid hebben werk van Dolron in de collectie. In Nederland is haar werk onder meer vertegenwoordigd in de verzameling van het Gemeentemuseum Den Haag.

Een van Nederlands meest succesvolle fotografen

Dolron is bekend geworden met haar reisreportage Exaltation. Images of Religion and Death (1991 – 1999), een bundeling van reisreportages waarin religieuze rituelen uit India, Thailand, de Filipijnen en Marokko worden getoond. In Gaze (1996-1998) fotografeert ze mensen onder water. Prachtige vage beelden waarin de stilte en de in zichzelf gekeerde uitdrukking van de mensen zichtbaar is. In Cuba maakte Dolron Te dí todos mis suenos (Ik gaf je al mijn dromen) (2002-2003). Het zijn interieurs, portretten en landschappen die een bijzonder, soms beklemmend sfeerbeeld van het leven op Cuba weergeven. Misschien wel de meest bekende serie van Dolron is Xteriors. Schilderachtige, sobere portretten met gezichten breekbaar als porselein. Dolron stuurt haar licht en modellen zo dat haar beelden soms associaties oproepen met schilderijen uit de kunstgeschiedenis. Zij bedient zich daarbij van een zeer herkenbaar en eigen handschrift en verlegt de grenzen van wat er technisch mogelijk is binnen de fotografie. Resultaat is een verstilde wereld, die bestaat uit zorgvuldig opgebouwde scenes, bijna perfect gecomponeerd. Of zoals Wim Pijbes het verwoord in het nieuw te verschijnen Dolron-boek: "In de stilte van haar werk heerst de mysterie van het leven".

Naast de diverse fotoseries is in de tentoonstelling voor het eerst een aantal nooit eerder vertoonde videowerken te zien, waaronder I will show you fear in a handful of dust (2016) en Uncertain TX (2016). Ook het videowerk Ma Tête van kunstenaar Caitlin Hulscher (1963) is onderdeel van de tentoonstelling. Dolron's fotoserie Gaze ontstond tijdens een samenwerkingsproject met Hulscher. Tussen de werken van Dolron en Hulscher vindt een krachtige interactie plaats.

De gestileerde foto's van Desiree Dolron
Sommige foto’s van Desiree Dolron zijn gruwelijk, andere zijn van een sublieme schoonheid. Maar altijd zijn ze tot in het uiterste gestileerd.
Door Anne Berk

‘Xteriors XVII’. Deze serie, gemaakt tussen 2001 en 2015, is het bekendste werk van Dolron.

Het bleke gelaat van een meisje met oosterse trekken doemt op uit de duisternis. Haar haar strak naar achteren, haar jurk hooggesloten, waardoor alle aandacht uitgaat naar haar gewelfde voorhoofd en haar amandelvormige ogen. Haar blik is moeilijk te peilen, ze geeft haar gevoelens niet prijs. ‘Het enige waar je je als fotograaf en als mens op kunt verlaten, is iemands uiterlijk. Maar daarachter gaat een afgrond aan emoties schuil. Vandaar de titel van deze serie, Xteriors,’ zegt Desiree Dolron. En daarmee is de toon gezet.

Dolron is een perfectionist. Ze bereidt haar expositie voor met een maquette

De verstilde schoonheid van Xteriors doet denken aan Vermeer en de Vlaamse Primitieven, maar de sfeer is melancholieker. Het licht sijpelt traag naar binnen door de hoge vensters. Jonge vrouwen in zwarte jurken van Alexander McQueen blikken peinzend naar buiten. Of ze zweven geluidloos door de schaduwrijke gangen en dragen een baar met zich mee. Daarop rust een wonderschone jongeling, met een broos lichaam in de kleur van albast, rood opvlammend haar, en een sereen gezicht. Slaapt hij? Of is hij dood, verlost uit zijn lijden? Is dit een requiem? Dolron hult zich in stilzwijgen. ‘Mijn verhaal is niet relevant. Onderga het, misschien biedt het je iets.’

‘Xteriors VIII’, geïnspireerd op de klassieken, maar wie goed kijkt ziet onder de jurken van Alexander McQueen een navelpiercing.

Dolron deed er wel een jaar over om één foto uit de serie Xteriors te produceren. ‘Ik werk meestal met bekenden. Twee van mijn modellen waren pas elf jaar. Soms neem ik ze mee naar het museum. Het contact moet groeien om eruit te halen wat ik zoek. Daarna ben ik eindeloos bezig de miljoenen pixels te bewerken, tot ik de gewenste lichtwaarden heb.’
Xteriors (2001-2015) werd met applaus ontvangen. Dolrons werk werd aangekocht door het Reina Sofia in Madrid en het Guggenheim in New York. Eén foto uit de serie werd voor 160.000 dollar geveild.

‘Xteriors II’, geïnspireerd op een werk van Petrus Christus.

Dolron fotografeert al sinds haar dertiende. Op haar twintigste vertrok ze naar New York om zich verder te bekwamen, maar zelf schuwt ze het almachtige cameraoog. Op haar Facebook-pagina vind je een foto uit de serie Gaze, in plaats van een zelfportret. Gaze (1996-1998) is een reeks foto’s van mensen onder water. De stille, in zichzelf gekeerde figuren zijn prachtig, alsof ze naar de baarmoeder zijn teruggekeerd, maar ook verstikkend. Niet alleen vanwege prangende ademnood, ze zijn ook overgeleverd aan onze blikken.

‘Exaltation, Images of Religion and Death’ (1991-1999).

Zelfmutilatie
De studio is geblindeerd. Als je aanbelt, word je door een camera geobserveerd. Dan zwaait de deur open, die naar de hoge, witte studio­ruimtes en het woongedeelte leidt. Dolrons rode krullen gloeien op in het geheel zwart-witte interieur, van de wit gelamineerde vloer en het melancholieke winterlandschap van Sven Kroner aan de muur, tot en met haar zwart-witte tweedrok. Dolron is een perfectionist. Voor de catalogus is alleen het beste drukwerk goed genoeg. Ze bereidt haar oeuvretentoonstelling minutieus voor met een maquette.
Het oudste werk in de tentoonstelling is Exaltation. Images of Religion and Death (1991-1999), met schokkende beelden van zelfmutilatie tijdens religieuze rituelen. Dolron vertelt dat ze tijdens een reis naar India in contact kwam met de Naga-sadhoes. ‘Ze noemen zich “strijders van Shiva”. Ze zijn naakt en beoefenen allerlei rituelen om verlichting te bereiken. Kijk, deze man begroef zijn hoofd twee dagen lang in het zand. En ik zat ernaast! Hij kon zijn hartslag zo laten dalen dat hij niet stikte, maar hoe ver moet je gaan?’

‘Xteriors V’. Dolron creëert diepte in het werk door middel van coulissen.

Die vraag leidde tot een documentaireserie over extatische rituelen in India, Pakistan, Thailand, de Filipijnen en Marokko, een onderzoek naar grensverleggend gedrag in een religieuze context, waarbij mensen zichzelf geweld aandoen. Dolron: ‘Hoe is het mogelijk dat mensen zich zo laten meeslepen? Ik ben niet zozeer geschokt door het geweld zelf, als wel door de psychologische terreur die onder het mom van geloof wordt uitgeoefend.’
Desiree Dolron

18 januari t/m 14 mei, Singer, Laren, singerlaren.nl

Dolron komt niet uit een religieus nest, maar zat wel op een nonnenschool. ‘Daar werd ik niet blij van. Ik zie de secularisering als een bevrijding. Ik geloof ook niet in een hiernamaals. Mijn recente werk, I Will Show You Fear in a Handful of Dust (2016, red.), is een video van dwarrelend stof. Als mens ben je niets anders dan een transformatie van de stof. Zelfs onze angst huist in de materie.’


dinsdag 17 januari 2017

The Accidental PhotoBook Time Life Picture Cookbook Denise Wolff Photography

The Accidental PhotoBook
Denise Wolff

We are at a moment when the community of photobook makers and collectors is expanding rapidly, yet also becoming more insular. We’re ever searching for that handmade artist book created just for the art fair, available in limited copies that are going fast. For many years, the Martin Parr/Gerry Badger Photobook: A History and other books about books have served as a shopping list, bestowing value on the included volumes. Looking back through The Photobook: A History, however, it’s worth remembering that they cast a wide net, including among the shimmer of possibilitys and Sleeping by the Mississippis, mass market books, commercial books, books on food, and propaganda.

It’s been over a decade since the first and second volumes of The Photobook: A History came out, and our community has developed a finely tuned connoisseurship of the artist monograph. For this reason, it is a good time to consider other types of books that use photography, but are not considered photobooks qua photobooks—books that are unlikely to end up on anyone’s yearly top-ten list (and never aimed to). These books are often outside the photobook radar for a variety of reasons, whether they be too idiosyncratic, mass market, or useful (cookbooks, lifestyle, science), but their impact relies heavily on photography. Some of these fall into a guilty-pleasure category, but many, freed from an artist’s agenda and the conventional earmarks of an artist book, present a more direct use of photography and are successful in their own right. In the pages that follow, we have invited photobook aficionados to talk about their favorite niche within the larger universe of photo-illustrated books, and a handful of others to introduce their favorite non-photobook photobook—their own guilty pleasures. In short, this issue will address the unlikely, even accidental, photobook.

My own interest in the category of the accidental photobook began with cookbooks. I bought the 1958 Time Life Picture Cookbook as a joke. Maybe it appealed to me as a reaction against the kinds of photobooks I engage with on a daily basis. From there, I gathered many more cookbooks of a similar ilk—those that had clearly paid as much attention to the staging and photographing of the food as to the presentation of recipes. When the habit grew from a few books on a shelf to an entire bookshelf, I had to admit, it was no longer ironic, but true love. I take more pleasure in a few of these cookbooks than I do with some of the more proper photobooks, many of which are languishing on my shelves in Mylar sleeves. The following are a few of my favorites.

LIFE Magazine Time Life Picture Cookbook Time Inc. New York, 1958




Some context is needed to fully appreciate the Time Life Picture Cookbook. Picture cookbooks became popular in postwar America. Women were supposed to get back into the kitchen with new vigor, entertaining needed to start again, national taste and culture had to be re-established. Photographs, particularly of food and feasts, were part of that. The most well-known was the 1950 Betty Crocker Picture Cookbook. It’s bound in a loose-leaf ring binder and chapterized into subject files, so you can quickly get to the Pie section and remove the recipe for cooking. Throughout, decadent color photos burst at the seams with American bounty. Buffet-style spreads are in full force and meant to feed an army of guests: epic picnics and breakfast feasts, rows of frosted cakes and jellyrolls, and salads galore. They are more exuberant than they are appetizing, speaking more to tastefulness (or perhaps the lack thereof) than taste itself. The photos are often set in the home, showing the newest appliances and wares. Here, America presents itself as plentiful during the Cold War, in direct contrast to communism. Despite all the messaging, the book remained a functional cookbook, one that was bought primarily for the recipes and was engineered to be useful. The pictures are a punchy bonus. The tables and counters full of food are aspirational, but still seem achievable.


LIFE Magazine Time Life Picture Cookbook Time Inc. New York, 1958

By 1958, the Time Life Picture Cookbook had become decidedly more about the pictures. Sure, it contains lots of recipes, but at fourteen inches tall, this is not the book you’re reaching for in the kitchen. It’s not being bought or produced for the recipes, which are all run together, small. The pictures, however, go across the double-page spreads gloriously, presenting a tableau of food more aligned with still life than with interiors. The production on each shoot is impressive, not accomplishable by any home cook anywhere, with twenty plates of flambé presented in the same shot for the “Flaming Foods” chapter opener or with pineapples frozen into blocks of ice for “Cooking on Ice.” The pictures here are spectacular in the truest sense of the word. They present a wonderful fantasyland of food. Scales and hourglasses appear with perfectly textured Baked Alaskas and Petits Fours in pastel and desert backgrounds, depicting low-calorie and time-saving desserts. The book still operates within lifestyle and taste, but instead of presenting recipes you can accomplish with the help of this book, the Time Life Picture Cookbook is something you would more likely display in your home rather than actually use. Hence, the book is more photobook than recipe book. And the pictures are a joy to look at beyond their nostalgic value. The watermelon on ice with roses is a gorgeous still life that still holds up today; the “Drinks and Hors D’oeuvres” opener could pass as an Irving Penn (it’s by H. I. Williams). Time Life would go on a decade later to publish the Foods of the World Library, which also focused on the photographs—though more documentary in hopes of creating an armchair travel experience of culture through food.

Ernest Matthew Mickler ⋅ White Trash Cooking
The Jargon Society and Ten Speed Press ⋅ Berkeley, CA, 1986

White Trash Cooking (The Jargon Society and Ten Speed Press, 1986), by contrast, is the antithesis of the Time Life Picture Cookbook, a spoof, but one with a great deal of love at its heart. (The Jargon Society, founded by the late North Carolinian poet and Black Mountain College alum Jonathan Williams, was better known for publishing avant-garde books of poetry and photography.) The book is a satirical counterpoint to the more serious cookbooks of the day that had begun fetishizing freshness and local ingredients with the rise of Chez Panisse. The recipes, like Tutti’s Fancy Fruited Porkettes, Mock-Cooter Stew, Oven-Baked Possum, and Four-Can Deep Tuna Pie, are written in a down-home voice. But through the tongue-in-cheek, it is clear there is genuine affection for the people and respect for the country dishes. Nothing reflects this more than the surprise center section of color photographs, taken by the author, Ernest Matthew Mickler, on his travels through the South as he collected the recipes. There is no irony here. The pictures are casual, direct, and elegiac. They reference FSA pictures from the region and resemble William Christenberry’s pictures of Alabama with their sense that this way of life is becoming a memory. Bushels of peaches, old stoves, rusty bedframes in the landscape, people on porches, cornpones on the stove show a different kind of local lifestyle. Though the pictures would still work in a traditional photobook context, in the cookbook they operate to both cut the edge of the White Trash Cooking’s joke, and to deepen the satire against other lifestyle cookbooks, by revealing something much more sincere. In the last picture, the two devil’s food cakes cooling on the counter look like black portals into another time. That Mickler could convey such depth in front of a tub of Crisco is remarkable. Publishers first rejected the book and the New Yorker refused to run an ad for it, but it became an instant classic.

Ernest Matthew Mickler ⋅ White Trash Cooking
The Jargon Society and Ten Speed Press ⋅ Berkeley, CA, 1986

Today if you walk through the cookbook section of any store, you will notice that the books there look a lot like art books. This trend may have started out of necessity; with the rise of digital books, printed books needed to justify their existence and amplify their shelf appeal to entice consumers. To achieve that, publishers have reached into the bag of tricks established in art and design books, including photobooks. An early adopter of this recent trend is Breakfast Lunch Tea (Phaidon, 2006). This was the first cookbook wholly originated by Phaidon, after its success with Silver Spoon (a buy-in with Editoriale Domus for the 1950 Italian classic Il Cucchiaio d’argento). It is no surprise that this book takes the form of an artbook since this is what Phaidon knows best. Toby Glanville, a wonderful British portraitist, took the photographs and presents an utterly lovely portrait of a bakery: those who work there, the regulars, the purveyors, the ingredients, the process, and the finished food. Glanville’s unusual color palette, striking angles, and unassuming portraits make for a beautiful book. This, combined with the high quality paper and printing, elevate the cookbook into more of a photobook. Phaidon continued this type of treatment in their future cookbooks, and many other publishers have followed in their wake.

Brooks Headley ⋅ Brooks Headley’s Fancy Desserts: The Recipes of Del Posto’s James Beard Award-Winning Pastry Chef
W. W. Norton ⋅ New York, 2014

Perhaps in reaction to this movement, Brooks Headley’s Fancy Desserts (W. W. Norton & Company, 2014) is a serious cookbook, but also pokes fun at today’s delicate pastry cookbooks with their restrained color palettes and selective focus. Instead, the Fancy Desserts pictures, a collaboration between photographer Jason Fulford and illustrator and author Tamara Shopsin, are playful, each with their own deadpan joke, and shot almost entirely against a plain white background. The red cover says it all with sticky hands, sauce poured out from proportionally tiny creamer, dripping chocolate from poorly painted fingernails, and a rather unappetizing mystery dough (cheese, actually). The book feels more punk than lighthearted with clever inside references and, at times, a gross-out take on pastry, more akin to a food fight than a white table experience. We rarely see the fragile and fancy final dishes, just the crazy process, complete with a condensed milk bomb. The book is purposefully not tasteful, deflating the very notion of fancy, and subverting the increasingly precious cookbooks-as-artbook genre. The fact that the book accomplishes this with art stars Jason Fulford and Tamara Shopsin at the design helm is a large part of its genius. Sadly, the publisher just released a paperback edition replacing the original cover with a more expected picture of fancy dessert. Chickens!

Denise Wolff is a senior editor at Aperture. Some recent books she has commissioned include The Photographer’s Cookbook (2016); The Photography Workshop Series books; and Seeing Things (2016), a children’s book by Joel Meyerowitz.

See also

Kessels & Kooiker Beyond Parr & Badger PHOTOBOOKS CHALLENGING THE EDGES OF THE MEDIUM Photography



Posted by Wendy Guerin. Filed under: best cookbooks, Cookbook Collecting, Cookbook Reviews

This post focuses on the top 10 cookbooks to make sure to include in a cookbook collection. For someone interested in cookbook collecting, this will give you a head start on the basic books to include as the foundation of your collection. These are the more mainstream cookbooks of the past. They may not necessarily be the most valuable of cookbooks as many antique cookbooks, signed cookbooks and cookbooks of present day often fetch higher prices, but these are are definitely the basis of a solid collection. Some of these books have been reviewed in-depth in this blog with their collectibility ratings for anyone interested in more detail. I have included some of the top-level information for each below as well as links for those which have been rated in earlier blog postings.



1. Betty Crocker's Cookbook
Publisher: General Mills
Copyright: 1969 stated First Edition
Formats: Hardcover and Ring Binder Editions
Average Price: $40 ($50 for stated First Edition in good condition or for a 1972 special Sears Holiday Edition)
Notes: This book is often referred to by collectors as Betty Crocker's "Red Pie" Cookbook due to its pie shaped photo montage cover design. It is loaded with recipes and photos. Recipes are mainly American dishes thought there are dishes from other regions as well.

2. Betty Crocker's New Picture Cookbook
Publisher: General Mills
Copyright: 1961, First Edition
Formats: Hardcover with a Mondrian style pink, yellow, white and blue cover
Average Price: $45 ($75 for the First Edition, First Printing with a hardcover format)
Notes: Another Betty Crocker classic. I have an earlier (1950) Betty Crocker's Picture Cook Book rated on my blog, but the 1961 Betty Crocker's New Picture Cookbook is the most valuable of all the Betty Crocker cookbooks. It is important to find a good condition copy or the value will go down substantially. With some cookbooks--they are so rare--imperfections can be forgiven, not with this one.


3. Treasury of Great Recipes
Authors: Mary and Vincent Price (the movie actor)
Copyright: 1965, First Printing
Format: Padded bronze/copper colored hardcover, 456 pages, Gilt Lettering
Average Price: $40 (ranges from $30-$90 dependent upon condition and availability in the online bookstore and auction markets)
Notes: This is definitely one of the most beautiful cookbooks published in terms of cover design, material, and detail such as ribbon bookmarks and nice illustrations.


4. Joy of Cooking
Authors: Irma Rombauer and Marion Rombauer Becker
Copyright: 1931, First Printing, First Edition published by A. C. Clayton Printing Co
Format: Blue hardcover with gilt lettering
Average Price: Over $500 for this 1931 First Edition of which only 3,000 copies were printed. The later commercial edition was published by Bobs-Merrill Company in 1936 as were the later editions which came in different cover formats from a white dust jacket to a blue and white cloth cover. The 1936 "First Edition" which is not the true First but First Bobs-Merrill edition is valued at around $50.
Notes: Joy of Cooking is considered by many to be the "bible of American cooking." It is known for its simplistic formatted recipes and is one of the best selling cookbooks of all time. Almost every cook knows of this book or has it on their shelf. Many cookbook collectors will have various editions of the book in their collection--as mentioned above, the book had several cover designs and formats.


5. Mastering the Art of French Cooking by Julia Child
Authors: Julia Child, Louisette Bertholle, Simone Beck
Copyright: 1961, First Edition
Format: Hardcover with white and red design and blue and white dust jacket.
Average Price: $10-$15 (Julia Child signed cookbook copies $200 - $250)
Notes: This remains the top French cookbook in terms of popularity and recognition. Of note, if there is ever a signed cookbook you'd want to get, Julia Child signed copies of this book sell for some of the highest prices on online book sites.

6. The White House Cook Book
Author: Fanny Gillette, Hugo Zieman (later editions)
Copyright: 1887, First Edition
Format: Hardcover white cloth
Average Price: $75-$150
Notes: I have rarely seen copies of the 1887 edition for sale but early printings shortly thereafter are usually available for sale online. The price above is for the 1887 printing though I think it could fetch in upwards of $150 if a true first in good condition. Other printings sell for around $30-$35. The 1887 edition would be considered rare.

7. Woman's Home Companion Cook Book
Editor: Dorothy Kirk
Copyright: 1942, First Edition
Format: White hardcover with recipe categories in bullet format down the left side of the cover in red and blue lettering for titles.
Average Price: $75 (for the 1942 First Edition)
Notes: This book has over 2,600 recipes which makes it a favorite among collectors and cooks alike. The book's easy recipe format makes it all the more appealing. This book is a good investment for any serious collector as its value will continue to rise as with other classics of this sort.

8. Weight Watchers Slow Good Super Slow-Cooker Cookbook
Author: Weight Watchers editors
Copyright: 2005, First Edition
Format: Softcover cookbook with lime green background on top half, photos of prepared meals on the bottom half.
Average Price: $45
Notes: Though a newer book, unlike the rest on this list, I am including it as it is one of the most sought after cookbooks online. This is certainly the one of the most popular Weight Watchers cookbooks published to date. It is at this point in time, a hard-to-find cookbook and only a limited number of copies are for sale online at any given time. Slow cooking is a popular trend and this book has some wonderful recipes. Because of the limited number of copies for sale, it has gained even more popularity over the past year and its value keeps increasing.

9. Larousse Gastronomique
Author: Prosper Montagne
Copyright: 1961, First Edition
Format: Dark blue, thick hardcover with dust jacket.
Average Price: $12-$15 (the 2001 edition sells for $45-$50 though the one to put in your collection is the original--revised and updated later editions tend to lose value over time)
Notes: This cookbook is probably in a close tie with Julia Child's Mastering the Art of French Cooking in terms of the most popular of French cookbooks. The book has loads of illustrations (over 1,000) and 8,500 recipes in all.

10. The Good Cook Time Life Cookbook Series (set of 28 cookbooks)
Publisher: Time Life
Editor: Richard Olney Copyright: 1979 - Early 1980's
Format: Hardcover books with different colored spines. When aligned you get a kind of rainbow effect on the shelf.
Books in the Series: Beef & Veal * Beverages * Breads * Cakes * Candy * Classic Desserts * Cookies & Crackers * Dried Beans and Grains * Eggs & Cheese * Fish * Fruit * Hors d'Oeuvres * Lamb * Outdoor Cooking * Pastas * Pies & Pastries * Pork * Poultry * Preserving * Salads * Sauces * Shellfish * Snacks & Sandwiches * Soups * Terrines * Variety Meats * Vegetables * Wine
Average Price: $100 - $125 dependent upon condition of the books
Notes: A lot of collectors loves these books as they are no longer in print and it is exciting to try and collect the full set of 28 books. They can be found as a complete set but I think that takes part of the fun out of collecting them. These books are nice as well as they include a lot of color photos in them. In their entirety, they also make a rounded base for cooking as they include a complete set of cooking topics.

Recensie: Een kookboek over kookboeken, een coq in een uur
25 november 2015 , door Debby Koudenburg

‘The real value in cookbooks lies not in the culinary formulae they provide but in what they tell us about the times and cultures out of which they come,’  zegt Colman Andrews in zijn voorwoord bij het Cookbook Book. Dat geeft inderdaad een mooie impressie van de (wereldwijde) culinaire geschiedenis en cultuur: uit 125 kookboeken, afgebeeld op ware grootte, dubbele pagina’s, zijn foto’s en recepten te bekijken. Maar er is ook praktische waarde: je kunt er ook eindeloos veel recepten uit evenzovele keukens uit koken. Een prachtboek. Door debby koudenburg.

Classics en nonconformisten

De samenstellers, Annahita Kamali (art director en mode-ontwerpster) en Florian Böhm (kunstenaar en fotograaf), maakten een overzicht van de volgens hen beste, wonderlijkste, mooiste en interessantste kookboeken. Het Cookbook Book is dus absoluut niet bedoeld als een definitieve verzameling, het is een 'personal expression of books and the experiences in which they proffer'. De echte kookboekkenner zal dus ongetwijfeld persoonlijke favoriete titels missen maar de keuze van de samenstellers is zo gevarieerd dat het werkelijk een genot is om door dit prachtige boek te bladeren. Je komt uiteraard oude bekenden en klassiekers tegen als de Larousse Gastronomique, Escoffier en Artusi maar ook het Artists Cookbook ('has more to say about artists than it has about food') met Andy Warhol op de cover of Les Diners de Gala van Salvador Dali. De professionele (niet-culinaire) achtergrond van de samenstellers geeft een fijn en verrassend perspectief op kookboeken.

Kamali en Böhm hebben het boek onderveeld in ‘Enduring Classics’, ‘Nonconformists’, ‘Design Mavericks’, ‘World Flavours’ en ‘Modern Essentials’. Bij de ‘Classics’ krijg je recepten voor een Carbonara sauce van Marcella Hazan, Braised pig trotters van Marco Pierre White en een Bouillabaisse van Julia Child. En dan ook nog een Paella van Elizabeth David, wier A Book of Mediterranean Food er het meest gehavend van alle afgebeelde boeken uitziet. Vol met vetvlekken, een beter compliment kun je als kookboekenschrijver niet krijgen. Het gaat in dit hoofdstuk dus over expertise en betrouwbaarheid.

Bij de nonconformisten 'a sprinkling of anarchy'. Uit The Potato Book Gepofte aardappels met zure room en kaviaar van Truman Capote, mét 'Russian vodka - it must be 80 proof'. Of Hot dogs on the rocks van Mick Jagger en Charlie Watts uit Singers & Swingers in the Kitchen. De Haschich Fudge van Alice B. Toklas past mooi in dit rijtje.

Dan het hoofdstuk waar het beeld een belangrijke aanvulling is op de recepten: de Design Mavericks. Prachtige jaren-vijftigfoto’s van kleurrijke soepjes in het Time Life Picture Cook Book en een mooi geïllustreerde Chilled Buttermilk Beet Borscht uit het Moosewood Cookbook uit 1977, het eerste vegetarische kookboek dat de massa aansprak.

Coq au vin

In ‘Design Mavericks’ staat ook La Cuisine est un jeu d’Enfants van Michel Oliver. Oliver volgde zijn vader op als chef en maakte dit boek voor zijn kinderen. Opdat ze leerden koken. Zijn vriend Jean Cocteau overtuigde hem het te publiceren en schreef het voorwoord. De eerste druk was in 1963 en het boek werd een hit. Ik viel voor de vrolijke tekening en het eenvoudige recept voor een Coq au vin – dus dat recept gingen we uitproberen voor ons filmpje. Waar Jeffrey Steingarten in Nieuwe avonturen van de man die alles at er zo’n drie dagen voor nodig heeft doet Michel Oliver het in een uurtje. Steingarten gebruikte een iets ander formaat en oudere coq, maar toch, zou het lukken in een uurtje? Ja. En het is nog erg lekker ook. Oliver was trouwens ook nog tv-chef, je kunt hem bewonderen in lollige jaren-tachtigfilmpjes in La vérité est au fond de la marmite.


Overigens zijn alle niet-Engelstalige recepten in het boek vertaald zodat we ook de recepten uit bijvoorbeeld de Russische, Chinese en Japanse kookboeken kunnen lezen. Zo weten we dat de knalgroene soep op de prachtige tekening in het hoofdstuk ‘World Flavours’ is gemaakt van doperwtjes. Het recept staat in het Book of Tasty and healthy food dat in 1939 is gemaakt in opdracht van het Ministerie van voedsel van de Sovjet-Unie. Het geeft 'a broad insight in the Communist way of life’. Ook de tekeningen in enkele Chinese en Japanse kookboeken zijn een feest voor het oog, de vertalingen erg handig.

Voor het hoofdstuk Modern Essentials is gekozen voor bestsellers en boeken van 'leading chefs'. René Redzepi, Yotam Ottolenghi en Jamie ontbreken dus ook niet want 'their unique styles of cooking became popular and changed our eating habits forever'. Ik denk dat die veranderende eetgewoontes, in ieder geval bij ons thuis, toch al minstens zijn ingezet door bijvoorbeeld Elizabeth David maar zo zijn we wel weer terug bij het voorwoord van Colman Andrews.

Het Cookbook Book eindigt met een overzicht van alle 125 covers en een korte beschrijving van ieder boek. Veel titels zijn inmiddels collectors items of sowieso niet meer te verkrijgen. De troost die Kamali en Böhm daarvoor bieden, is een extraatje bij dit heerlijk en prachtig uitgegeven blader- én kookboek.

Debby Koudenburg was professioneel kok en is met Tony Telson de drijvende kracht achter cookfreshfood.com, waarop ook het filmpje bij het boek staat. Daarnaast schreef ze samen met Marjolein Kelderman het Handboek voor de studentenkok (en late leerlingen), dat in september vorig jaar verscheen.





zaterdag 14 januari 2017

Views & Reviews The Light of Coincidence Kenneth Josephson Conceptual Photography


What a Concept
By Jonathan Blaustein Apr. 20, 2016 Apr. 20, 2016  3

The comedian Albert Brooks once said there’s no special line at the bank for being ahead of your time. It may be unfair, but while some artists are celebrated as innovators during their lifetimes, others never quite become household names.

Consider Kenneth Josephson: He was a pioneer in conceptual photography and is well-regarded in the history of medium. Yet at 83 years of age, he isn’t widely known to the general public. Fortunately, he seems to be having a late-career moment, with the release of a massive monograph, “The Light of Coincidence: The Photographs of Kenneth Josephson,” from the University of Texas Press, and a solo exhibition at Gitterman Gallery in New York City, which runs until June 11.

Mr. Josephson, who was born in Detroit, has spent nearly his entire career in Chicago, where he taught for many years at the School of the Art Institute of Chicago. He had studied with Harry Callahan and Aaron Siskind at the city’s famed Institute of Design, graduating with a master’s degree in 1960. It’s easy to see their influence in his early work, with so many modernist, dynamic, chiaroscuro urbanscapes.


New York State. 1970.Credit Kenneth Josephson

Looking back, Mr. Josephson recalled what it was like learning from the two historically important instructors.

“Harry would usually just gesture,” he said. “His greatest compliment was saying: ‘That’s really a good picture. That’s a good idea. Good picture.’

“And Aaron would explain what Harry meant, because Aaron was so much more verbal.”

Befitting a trailblazer, Mr. Josephson made up the rules during his initial conceptual forays in the 1960s. In fact, he didn’t even know what to call his initial efforts.

“I didn’t know what conceptual art was, when I first started doing it,” he said in a recent interview. “Until someone said, ‘You do conceptual photography,’ and I said: ‘Oh. Do I? O.K.’ ”

As his style matured, he began to build pictures based upon ideas, and to work in open-ended series to give them shape. “Images Within Images,” which he began in 1964, offers the perfect example of how his style seemed to presage the culture to come.

France. 1995.Credit Kenneth Josephson

In “Drottingholm, Sweden, 1967,” made during a year there on a teaching exchange, the photographer’s arm and hand jut into the frame, holding a postcard image of a royal residence in Sweden, in front of the building itself. The outstretched hand evolved into a repeating motif going forward, and that sort of self-referencing became the norm in our meta-obsessed 21st century. (As did his inclusion of himself and his family in his work.)

Another image from that series, “Chicago, 1964,” shows a Polaroid image of a tree, placed within the bark of the same tree, which he then photographed with the embedded picture. It calls into question the way in which photography is illusion, rather than an objective representation of reality, years before famed “Pictures Generation” artists like Cindy Sherman played with those ideas in the ’70s and ’80s.

So why isn’t Mr. Josephson better known for getting there first?

Stephen Daiter, his longtime dealer, who helped edit and produce the book, says that a lot of Chicago artists don’t get their due from the outside world. “The photo world has been traditionally based in New York, and a little bit elsewhere,” he said. “If you’re not in New York, you’re not seen in the same way that you are elsewhere.”

Additionally, he pointed out that Mr. Josephson is not big on self-promotion, perhaps because of his classic Midwestern humility.

“He’s shy. He’s soft-spoken,” Mr. Daiter said. “That also works a little bit against him, because he’s not somebody who will go out, and scream and yell, ‘I’m the greatest.’ He’s pretty quiet and reserved in most contexts.”

The book shows the tremendous range of image-making styles, from street photography to collage, poignant family photos, references to photo history, and cheeky nudes. It’s easy to imagine they’ll continue to resonate deep into the future as well.


Stockholm. 1967.Credit Kenneth Josephson

Not surprisingly, the book’s cover image seems to encapsulate his art-making philosophy. “Stockholm, 1967” depicts an old black Volvo, blocking the winter sun from melting snow on the street beside it, which forms a perfectly shaped snow shadow. It’s a sly take on the photographic medium itself, which relies so heavily on positive/negative. It’s also an act of cosmic synchronicity that represents what photography does best. But Mr. Josephson feels it isn’t fair to consider it random.

“What guides me in my work, early, I learned about Louis Pasteur,” Mr. Josephson said. “He stated that accident and chance favors the prepared mind. I took that very seriously, and it’s guided me through my work.”

Jonathan Blaustein is an artist and writer based in New Mexico. He contributes regularly to the blog A Photo Editor.



THURSDAY, OCTOBER 13, 2016

Book Review: The Light of Coincidence.

The Light of Coincidence: The Photographs of Kenneth Josephson. 
By  Kenneth Josephson. University of Texas Press, 2016.

The Light of Coincidence.
Reviewed by Blake Andrews

The Light of Coincidence: The Photographs of Kenneth Josephson.
Photographs by Kenneth Josephson.
University of Texas Press, Austin, USA, 2016. 344 pp., 254 black-and-white illustrations, 11x12".



Kenneth Josephson, who recently turned 84, has been making photographs for over six decades. Translated into photographer years, that's almost 200 billion 1/60ths. It's a time period vast enough to spawn more than one career-spanning retrospective —he's had three, to be exact. Each one to date has been bigger and better than the last. The first, in 1983 at Chicago's MoCA, capped Josephson's most active period. Sixteen years later came another at the Art Institute of Chicago, with matching catalog (Kenneth Josephson: A Retrospective).

The most recent is The Light of Coincidence. The prints showed last spring at Gitterman Gallery in NY and Stephen Daiter in Chicago. If you weren't able to see them in person, you're still in luck. All exhibition materials and more are included in a coffee-table friendly catalog published by The University of Texas Press. The Light of Coincidence is the best book on Josephson to date. But who knows. He's still making photographs. There may yet be another.


The Light of Coincidence: The Photographs of Kenneth Josephson. By  Kenneth Josephson. University of Texas Press, 2016.

By virtue of timing and style, Josephson has never fit easily into any photographic camp. A disciple of Callahan and Siskind, he branched away from their brand of straight modernism just as it was ascending on the wings of Szarkowski and MoMA. What he developed instead was a unique style of conceptual photography which took photography itself as its primary subject matter in an openly self-referential manner. Photographs, framing devices, and photo motifs appeared as visual material. Josephson himself was in many photos, or at least his hand or shadow. He began incorporating his own shadow into photographs as early as 1961, nine years before Friedlander's Self Portrait unleashed the floodgates.

Fly-on-the-wall observer he was not. Instead his conceptual fingerprints were on full display in most images. His photos were "a foil to the medium". The Breadbook was an inside joke presaging banal typological studies. A series called The History of Photography (still ongoing) playfully revisited common photographic tropes. Even if you don't know Josephson by name, you can probably recall some of his better known photographs from the series. A nude snapshot buried in the sand slyly recalls Charis Wilson. A ruler held in front of the Tetons pokes fun at Ansel Adams. A photograph of a ship held by Josephson's hand above an ocean horizon —the cover shot for Shore's The Nature of Photographs— breaks every photographic rule while anticipating Luigi Ghirri by a decade. Josephson's images continually posed questions about the nature of photography and what it meant to make (emphasis on make, not take) photos.


The Light of Coincidence: The Photographs of Kenneth Josephson. By  Kenneth Josephson. University of Texas Press, 2016.

Photographs about photography have since become de rigueur, even mainstream, as contemporaries such as Penelope Umbrico, John Mann, Deepanjan Mukhopadhyay, Anastasia Samoylova, Patricia Voulgaris, and others have shown. As Gerry Badger notes in the book's introduction, Josephson's photos have retroactively developed into "an almost perfect summation of where we are at today." But in the 1960s and 70s this brand of conceptualism was still a poor photographic stepchild. Badger describes how Josephson was squeezed at the time between two worlds. On one side were straight photographers who emphasized objective depiction. On the other were conceptual artists who viewed all photography as a lesser art form.

He found a sort of home in the artistic netherworld at the Institute of Design in Chicago, where he received his Masters and taught for years. Along with ID colleagues such as Ray Metzker, Yasuhiro Ishimoto, and Barbara Crane, Josephson earned the school an innovative reputation (Taken By Design, 2002: University of Chicago Press offers a well-researched history). But none of the ID crew caught much attention contemporaneously. Josephson's peak years, from the mid-60s to the early 80s, passed generally under the radar.


The Light of Coincidence: The Photographs of Kenneth Josephson. By  Kenneth Josephson. University of Texas Press, 2016.

If he was treated by the experts without proper gravitas, it might be that Josephson's work was viewed as humorous. His photos brought a chuckle, a response often viewed with suspicion in the art world. Worse, they seemed to lack a strong emotional core. In the words of Gerry Badger, his photos were "not carefully crafted but carefully thought out". For an art struggling in the post-war years for respectability, the common prejudice leaned (and still does) toward emotional response. Photos built on humor and thinking faced two major strikes against them.

While it's true some of Josephson's photos are flat-out funny, perhaps a better way to think of them is playful. Thumbing through The Light of Coincidence, one is struck by Josephson's spirit of experimentation. He seems to enjoy making photographs, and using images to test ideas. Toss photo concepts into a pot, try a little of this, a bit of that, tweak photo history, see what works, etc. He seems unafraid to broach the ridiculous, a rare and vital trait in the arts. It's the methodology of a kid building sand castles, or else a mad scientist. This playful process can be interpreted as humorous or even quirky, but it's essentially inventive and unfixed.


The Light of Coincidence: The Photographs of Kenneth Josephson. By  Kenneth Josephson. University of Texas Press, 2016.

As I mentioned, The Light of Coincidence is not Josephson's first retrospective. It's his third, a fact mentioned in the book's chronology, in a meta-historical way that dovetails with Josephson's oeuvre. If you already have 1999's Kenneth Josephson: A Retrospective, you may still want to add this to your library. While that book emphasized a chronology of ideas, this one contains a broader, randomized sequence. Lynne Warren's informative introduction notwithstanding, the emphasis here is on the images, not the bio. There are 300 pages worth, laid one or two to a spread and drawn from points across Josephson's career, including several new photographs made since the last retrospective. The overall effect is of looking through a box of loose prints. Indeed the excellent reproductions approach gelatin silver quality, and belie Badger's comment on their craft. No order, no dogma. Just playful mastery.— BLAKE ANDREWS