Nevertheless, recently an extremely interesting divulgion continues to be detected connected to spiders, or rather spider stings. Theres order viagra online usa According to one of his victims, as scarey Gary makes his way across America order viagra from canada Yet another herb which raises nitric-oxide release, as best place to buy viagra online Ayur veda, maintaining in the traces of allopath, also has cures buy viagra from india Even though this might be accurate, the truth cheap viagra no prescription Estrogen is crucial female hormone assists in increasing sexual sense, maintaining vaginal lubrication, and keeping viagra purchase online Sleep apnea is sometimes a difficulty that is painful. Maybe not falling asleep nighttime can cause cheap viagra overnight delivery Barely any guy complains about erection problems buy viagra online cheap A natural Superfood thats proved to have intense anti-aging- properties, is natural buy viagra online using paypal Of course the FofY was never found by bad safe to buy viagra online

(based on a true story) magazine

(based on a true story) © David Alan Harvey / BurnBooks

Title: (based on a true story) magazine

Photographer/s: David Alan Harvey

Date of publication: May 2013

Place of publication: NYC

Dimensions: 15×11 inches

Edition size: 5000 (2500 given away for free to the people of Rio de Janeiro, art classes and kids in the favelas, as a payback for their collaboration during the shooting of the book)

Type of binding: Unbound

Type of paper: Fedrigoni Splendorgel Extra White 85 gr (cover spread 160 gr)

Number of pages: 136

Type of printing: 4 colour offset printing

Number of pictures: 68 full bleed photographs, roadmap for reassembling the original layout

Printer: EBS, Verona, Italy

Publisher: BurnBooks

Designer: Bryan Harvey

Category: Magazine

Price: 2500 copies: $24 / 2500 copies for free

Summary: “The power of the best ideas comes from the intuitive, the connections that come out of nowhere (or seem to) from sensual and emotional places…not from logical story lines.”

The prevailing ethos of photojournalism – as we have known it for the past 50 years – has been that the photographer should somehow be invisible, recording life with an objective, almost clinical dispassion. David Alan Harvey doesn’t do dispassion. He wants to get closer, forge a bond so tight that subject learns as much from photographer as photographer learns from subject.

(based on a true story) is a collection of spectacular, mysterious moments. The story moves with fluidity and ease, all day and all night, through a city that is never named on a continent never specified. Is it journalism? Is it “staged”? As the poet said: partly truth partly fiction, a walking contradiction.

The images explode with color, heat, humidity, sex, more sex, danger, fear, chaos, more chaos. There are sublime women that look like Greek statues, were the Greeks to ever have imagined those hips and that café au lait skin. There are monsters – masked paramilitaries with automatic weapons, a skeletal transvestite, her face a death mask grimace, drinking beer through a straw and smoking her cigarette down to the filter.

Harvey hits all the high points – even clichés – of Rio de Janeiro, but his treatment is subversive. Beaches, mountains, high society, favelas, jungles, voodoo; they’re all here, but thrown together in a high-energy, digital montage that evokes the emerging aesthetic of Chaos Cinema.

The images tumble and boil in your mind, the way an intense foreign trip or a sexual adventure revisits through the blur of half-sleep. This is in no small measure the work of Bryan Harvey, David’s son, collaborator and architect of the design.

It’s critically important to know that Bryan is a filmmaker. Because while (based) might seem frenetic and challenging as a book, it flows naturally as a film – rising and falling, heating up, cooling down, speeding forward, slowing down, deafening one moment, a whisper the next. And because the images are slammed together without explanation or gentle transition, they jump out of the page – dynamic cinematic, wholly unpredictable.

Presented a diptych (a form that dates back at least as far as the Babylonians), our logical mind asks, how do I take this in, where should I go? Should I process the images as a set or de-construct the stack, following each half-image around to the back of the collection? There are no page numbers, only a handy map. Can I mix up the images and create my own version?

The answer is yes – to all of the above and pretty much anything else. The best way to read (based on a true story) – as with any genuine adventure – is to surrender. The Harvey Boys are taking you where they will. Give in and go along for the ride.

John Mathias Mitchem
Venice, California

Date and place of birth of photographer/s: June 1944, San Francisco, CA

Website: www.davidalanharvey.com / www.burnmagazine.org

Book link: www.burnbooks.net

Donated by: David Alan Harvey

Related books:

BURN.01
(based on a true story)
BURN 02
Falling into Place

No Comments

Sorry, the comment form is closed at this time.

iPL moves to Yale

iPL Yale

The Beinecke Rare Book & Manuscript Library at Yale University recently received, through acquisition and donation, the Indie Photobook Library (iPL), a major collection of photobooks from Larissa Leclair ’03 M.A. The collection includes more than 2,000 photobooks from around the world along with related ephemera, archives of the iPL’s history, and Leclair’s personal collection related to self-publishing.

“We were delighted to work with Larissa to acquire this major archive,” says George Miles, Curator of the Yale Collection of Western Americana at the Beinecke. “These volumes build on an already great strength of the library and will surely be used extensively by scholars and students at Yale and beyond for a long time.”

The iPL focuses on self-published photobooks, imprints independently published and distributed, photography exhibition catalogs, print-on-demand photobooks, artists’ books, zines, photobooks printed on newsprint, limited edition photobooks, non-English language photography books, and more.

“This collection reflects a contemporary movement in publishing,” explains Leclair, who began collecting independently produced photobooks in May 2010, “and it allows for the development of future discourse on trends in self-publishing, the ability to reflect on and compare books in the collection, and for scholarly research to be conducted years, decades, and centuries to come. To have this work now at Yale ensures this legacy.”
Inspired by Wexler’s master class

The catalyst for her collection, Leclair notes, was Yale professor Laura Wexler’s “Photo Memory Workshop” master class at the Beinecke, which focused on Peter Palmquist’s Women in Photography Archive. “He had and his collection will continue to have a big impact on the history of photography specifically relating to women in photography,” said the alumna. “He was one individual collecting independently of an institution, making an impact and shaping history. What he had encapsulated for his collection was what I wanted to do for self-published photobooks.”

“As early as 2005, with photographers Stephen Gill, Rob Hornstra, Jason Fulford, and Alec Soth independently publishing amazing photobooks, there wasn’t a platform for the presentation of self-published titles. So the idea of wishing for a central place to look at self-published photobooks was in my head on the day I saw Peter Palmquist’s collection,” notes Leclair.

The moment spurred her own specific collecting, she says: “I was blown away that a single individual could follow his passion, create a collection, and in the process have an impact on the history of photography. I was not only interested in promoting these kinds of books but most importantly I was very interested in creating an archive for the long-term. So two weeks after that master class, with an idea, one book, and a Facebook page, I founded the indie Photobook Library, a browse-able archive for self-published photobooks.”

For Leclair, placing the iPL at the Beinecke fulfills an aspiration she had from the very beginning. “I always intended that the iPL would one day transfer to an established archive. I wanted it to be preserved and accessible to future photo-bibliophiles long after my lifetime. For the legacy of the photographers and photobooks that collectively make the iPL what it is, I am absolutely thrilled that these artists will be part of the Beinecke’s collecting history.”

[Yale Professor Laura Wexler presented the Larissa Leclair with the 9th Annual Focus Awards’ Spotlight Award for far reaching impact in the field of photography, October 2014. (Copyright Griffin Museum of Photography)]

Yale Professor Laura Wexler presented the Larissa Leclair with the 9th Annual Focus Awards’ Spotlight Award for far reaching impact in the field of photography, October 2014. (Copyright Griffin Museum of Photography)
The Beinecke has an renowned collection of 19th century American photographically illustrated books, including such classics as Alexander Gardner’s “Photographic Sketch Book of the Civil War,” A.J. Russell’s “Great West Illustrated,” Josiah Whitney & Carleton Watkins’ “The Yosemite Book,” and Ferdinand Hayden’s “Sun Pictures of Rocky Mountain Scenery,” as well as dozens of other, less well-known examples of the genre.

In the 1920s and 1930s photobooks continued to be a form of artistic expression but also emerged as a major vehicle of social commentary and criticism. The Beinecke holds first editions of such artistic works as Ansel Adams’ “Parmelian Prints of the High Sierra” and Taos Pueblo,” Walker Evans’s “American Photographs,” and Paul Strand’s “Paul Strand.” The Beinecke also boasts a wide range of such politically charged books as Julia Peterkin and Doris Ulman’s collaboration, “Roll Jordan Roll”; James Agee and Walker Evans’ “Let Us Now Praise Famous Men” and “Many are Called”; and Evans’s collaboration with Carleton Beals “The Crime of Cuba.” Yale’s library also holds first editions of all the important Farm Security Administration related books featuring work by Dorothea Lange and Margaret Bourke-White among other photographers.

“Robert Franks’ ‘The Americans’ is often seen as ushering in a new kind of photobook,” Miles observes. “We at the Beinecke have both the French (1958) and American (1959) first editions, as well as a complete collection of every book in which Lee Friedlander has ever published a photograph, while the acquisition of Peter Palmquist’s collection of women photographers brought more than 2,200 photobooks by and about women photographers.”

The iPL is particularly interesting in its own right, according to Miles. “While photobooks became more economical with the emergence of photo mechanical reproduction in the 19th century, they still required considerable investment and with the exception of a few very high-end artistic productions, they were commercial ventures that relied on publishers to underwrite production in the hope/expectation of profitable sales.”

However, the early 21st century emergence of digital photography and ink-jet printing dramatically changed the landscape for photographers looking to present their work in book-form. “Photographers can now self-publish their work in ways unimaginable 15 to 20 years ago,” he emphasizes. “They can distribute them through their websites and book fairs. This has allowed photographers to experiment in content and in form: to share images that commercial publishers might have been reluctant to take on, or to play with sequencing and/or narrative strategies.”

Leclair recognized the potential of this transformation when it was in its infancy and cultivated relationships with photographers. She has been a leader in creating this independent archive and identifying artists important to the contemporary movement in self-publishing, all while curating exhibitions and lecturing throughout the United States and in Canada, Guatemala, Mexico, Australia, the Philippines, and China. The alumna has built an “extraordinarily complete” collection of these books, according to Miles. “The staff at Haas Arts Library and I have been following and collecting photobooks, and when Larissa first approached us, I thought we would have at least half, if not more, of the books in her collection. I was way off. Our searching revealed that we had only around 10% of the collection.”

“Larissa started collecting this material at a critical time, when photographers started to reconsider and experiment with the printed book format through self-publishing,” notes Heather Gendron, director of the Robert B. Haas Family Arts Library at Yale. “A lot of these publications fall outside of typical library acquisition streams, making it a real challenge for librarians to keep up. That’s what makes this Indie Photobook Library so special. On the heels of the reopening of the Beinecke, this broadens the university’s holdings in a very contemporary way.”
“Essential records of human expression”

Miles says that the Beinecke’s growing collection of photobooks, including this new acquisition, complement important creative work across campus collections, such as the Arts Library and galleries, and the curriculum. “These materials in the Indie Photobook Library/Larissa Leclair Collection are essential records of human expression,” he notes, “and the Beinecke works to make sure they are accessible and used by students and scholars through our reading room, classroom visits, and our fellowship programs for graduate students and for visiting postdoctoral scholars.”

Barbara Tannenbaum, curator of photography at the Cleveland Museum of Art has described the Indie Photobook Library as “an indispensable resource for anyone interested in the contemporary photobook.”

The iPL also complements other collections at Yale, Miles adds. “One of the great strengths of the Yale Collection of American Literature are the many examples of poetry and short stories published by small, non-commercial presses throughout the country — ‘Little magazines’ as Pat Willis and Nancy Kuhl call them. They reflect the ways in which American writers have found to share their work. The photobooks in the iPL reflect a similar pattern in the visual arts and scholars will be able to explore and discover how these materials speak to each other and speak to the broader culture.”

Leclair says that the iPL inspired the creation of other independent photobook archives, including the Asia-Pacific Photobook Archive; influenced museum photobook exhibitions; and spawned the promotion and celebration of self-published photobooks. “I’m thrilled that the photographers in the iPL who challenged and subsequently shaped the current publishing industry will add to the continuum of printed expression at Yale along with cuneiform tablets, the Gutenberg Bible, Fox Talbot’s ‘Pencil of Nature,’ and works by Robert Frank and Ed Ruscha — adding to that Soth, Fulford, Fujii, de Middel, Galjaard, Cartegena, and Sancari, among many others,” she says.

With the iPL now part of the Beinecke collections, Leclair will promote its use with the library’s curators and collaborate on curriculum. The entity of the iPL is closed to submissions now, existing as a unique look at self-publishing from around 2008 to 2016. Leclair will continue to look at new titles and work directly with museums and libraries to collect self-published titles from around the world, directly connecting collectors and makers and shaping photobook history.

“Ahead of her time, Larissa’s farsighted vision will benefit future generations of photographers and scholars to come,” states Elizabeth Avedon, independent curator and photobook designer.

For more information on the Beinecke Library, visit: http://beinecke.library.yale.edu

Exhibition Catalog for “A Survey of Documentary Styles in Early 21st Century Photobooks”

More about the exhibition here, here and here.
Order the book here.
Thank you to Patrick Aguilar of Owl & Tiger Books who did such an outstanding job designing the iPL’s first exhibition catalog!

“…the Indie Photobook Library is fast becoming one of Washington’s more interesting small collections.” – Mark Jenkins, Washington Post Express, November 9, 2011

America in Color

America in Color

Title: America in Color

Photographer/s: Brian Dailey

Contributor/s: Wendy Grossman, Klaus Ottmann

Date of publication: 2013

Grìmsey

Grimsey

Title: Grìmsey

Photographer/s: Cole Barash

Contributor/s: Ian Frisch

Date of publication: 2015

Grays the Mountain Sends (Second Edition)

Grays the Mountain Sends 2

Title: Grays the Mountain Sends (Second Edition)

Photographer/s: Bryan Schutmaat

Date of publication: 2014

Islands of the Blest

Islands of the Blest

Title: Islands of the Blest

Photographer/s: various

Date of publication: 2014

L.A., 1971

LA 1971

Title: L.A., 1971

Photographer/s: Anthony Hernandez

Date of publication: 2014

Transmission

Title: Transmission

Photographer/s: Lucy Helton

Date of publication: 2015

NEWFOTOSCAPES

NewFotoScapes

Title: NEWFOTOSCAPES

Photographer/s: Jonathan Shaw

Contributor/s: Andy Adams, David Campbell, Charlotte Cotton, Donall Curtin & Nathaniel Pitt, Mishka Henner, Francis Hodgson, Dewi Lewis, Stephen Mayes, Katrina Sluis

Date of publication: 2014

Crash

Crash

Title: Crash

Photographer/s: Jonathan Shaw

Contributor/s: Foreword: Stephen Snoddy and Stephen Dutton Essay: Jean Baird

Date of publication: July 2009

(re)collect

recollect

Title: (re)collect

Photographer/s: Jonathan Shaw

Contributor/s: Foreword: Debra Klomp, Essay: Peter Ride, Essay: Jean Baird

Date of publication: 2006