Contents

pp v-vi

List of plates

pp vii-ix

List of figures

pp x-xii

List of contributors

pp xiii-xvii

Acknowledgements

pp xviii-xviii

Introduction: The photobook as confluence

pp 1-24

Part I - The photobook market

pp 25-26

1 - Towards an understanding of the market for photobooks

pp 27-34

2 - Theorising encounters with contemporary photobooks: Situation, materiality and plurality

pp 35-44

Part II - Feminist self-fashioning. 1970–90

pp 45-46

3 - Wonder Woman and other fantasies: Joan Lyons and the photo-based artists’ book

pp 47-58

4 - Mothers of invention: Barbara Norfleet, Elsa Dorfman, Bea Nettles, Clarissa Sligh and Susan Meiselas

pp 59-70

Part III - Commitment and visibility

pp 71-72

5 - Missing photobooks: A symptomatic reading on the reasons for and impact of the lack of publications by Black British photographers in the 1970s and 1980s

pp 73-84

6 - The photobook as event

pp 85-94

7 - Camden, NJ, 2013: A digital photobook

pp 95-98

Part IV - Institutional v. clandestine

pp 99-100

8 - Photographing race and madness: Annual reports of psychiatric hospitals in the US South in the early twentieth century

pp 101-115

9 - Photobooks and the architectural imagination of California

pp 116-129

10 - Experimental confluence: Amazônia by Claudia Andujar and George Love

pp 130-146

11 - Dead time: The ‘collectivist’ photobook in the prison work of Mohamed Bourouissa

pp 147-158

Part V - Memorialising the ephemeral

pp 159-160

12 - The Road is Wider Than Long: A Surrealist photobook

pp 161-172

13 - An unmade book: Walker Evans’s 1970s alphabet Polaroids

pp 173-183

Select bibliography

pp 184-190

Index

pp 191-195

Plates

pp 196-227