When I flip through Kate Breakey’s Las Sombras photobook, I am reminded of the beautiful and glowing photograms I encountered on my first day interning at Art Intersection. I remember being fascinated with the pieces as we laid out Breakey’s massive installation of life-size prints of desert animals, exhibited in ornate vintage frames. The work was so striking and amazing that I fell in love with it right away. As a young collector, I couldn’t buy one of her original pieces, but I was thrilled to find her book of the series just a few years later in the MOPA bookstore in San Diego. It’s my favorite photobook I own and a way to now appreciate that entire body of work anytime I want.
Books often become special objects that are phenomenal works of art, while also engaging the viewer with something more tangible. Touching the pages, flipping each sheet to pace viewing, seeing the ink on paper, all of these things create an intimate experience completely unique from looking at framed prints on a gallery wall or zipping through digital files on a screen.
This year during PhotoTapas Day at Art Intersection, I had the pleasure of moderating the Photobooks After Funding Panel Discussion with artists and book designers in an open forum about why we make art books to share and express our work. Artist William W. Fuller shared his entire process of crowdfunding, designing, and publishing his first monograph The City. Through discussions, education, and the Photographic Arts Lab, Art Intersection serves to provide resources for print-on-demand publishing, handmade art books, and traditional publishing.
Whether an artist, collector, or admirer of work, art books can be appreciated as an alternative to standard ways of collecting, exhibiting, and sharing images. In the New Year we will be offering more opportunities at Art Intersection to engage with the bookmaking medium and I am excited to begin creating my own photography book of my current work!