Newsprint and the Contemporary Photobook Part 2: Nicholas Gottlund and Grant Willing

In Part 2 of Newsprint and the Contemporary Photobook, Nicholas Gottlund and Grant Willing discuss their publications Wild Prayer and Svart Metall. Gottlund started Gottlund Verlag in Pennsylvania in 2007. He has since published books by Henry Roy, Coley Brown, Andrew Laumann, Peter Sutherland and others. Grant Willing is a New York based photographer who exhibits widely and recommends books and writes for the Humble Arts blog. In this interview, both artists talk about their publications.

Read Nicholas Gottlund's interview on this blog from September 2009 and an interview with Grant Willing on Too Much Chocolate from June 2009. Both books were printed at Linco Printing.

NICHOLAS GOTTLUND

MM: Why did you choose newsprint for Wild Prayer?

NG: I wanted a light ground for the book, but one that wasn't pure white because of the low-contrast quality of images. I chose a very bright, heavy 50lb. newsprint, which I was pleased with.

MM: How does this choice relate to the subject matter or concept of this specific book?

NG: The choice to use newsprint was entirely based around the type of black + white images as well as the way light bleaches or fades objects left outdoors. I wanted the material to help communicate that notion as well as possibly evolving on it's own with time.

MM: Do you connect this object with other related materials, contemporarily or historically-- zines, pamphlets, etc?

NG: The lineage of newspapers and newsprint-based publications is long. I don't think that my book is connected to them other than on the most basic level. I say that because it is composed entirely of photographs and functions differently. There is within the last few years a trend of using newsprint to produce photo-based books. Hopefully Wild Prayer will fit in with those other books of it's kind.

MM: What are your thoughts on the non-archival nature of this material and how it relates to this publication?

NG: The nature of the material played a key role in the book. I think you need to be attentive to the qualities of any paper you deal with in printing. Newsprint is rough, irregular and unstable... that's what makes it exciting to work with.

MM: Do you think there is a modern movement that prompted this move towards affordable materials aside from economic reasons?

NG: I think that is has become common to use newsprint for publications which accompany exhibitions when there isn't a budget for a formal catalog. It's an inexpensive way to create non-traditional promotional material for shows. The format allows for a range of experimentation.

GRANT WILLING

MM: Why did you choose newsprint for Svart Metall?

GW: I chose newsprint for Svart Metall because I wanted to mimic the crude production quality of black metal music. Black metal is known for having really poorly recorded music, usually done with inferior equipment in someone's basement. Newsprint seemed like something that could convey this pretty well since it's gritty in how it feels and can't hold the best range of tones. I decided to print it on a 50lb. stock, though, that is a lot brighter and thicker than typical newsprint. I wanted to do this so my photos still looked decent and so it wouldn't feel quite as much like a zine, but it also recalls the tactility and feel of an "inferior" paper.

MM: Do you connect this object with other related materials, contemporarily or historically-- zines, pamphlets, etc?

GW: I think it relates to fanzines from the music scene a bit, but the content is fairly different. The overall aesthetic was definitely inspired by this, though.  I didn't get too much into zine culture when I was younger, so its mostly the ideas of self-publishing behind this that are more inspiring to me than actual content of zines.

MM: What are your thoughts on the non-archival nature of this material and how it relates to this publication?

GW: This didn't factor too much into my decision to use newsprint really. I think that the inevitable decay of this publication definitely fits with the subject matter, but it wasn't as much a consideration as the tactility of the material itself. I don't have a problem with it being non-archival, I think it's kind of nice that it will change over time. I also don't think this thick stock fades nearly as quickly as typical newsprint; I've had a stack of these books sitting near a window for a year and they haven't started to fade at all yet.

MM: Do you think there is a modern movement that prompted this move towards affordable materials aside from economic reasons?

GW: I think it has been prompted by the DIY movement; even though its not entirely new to use affordable materials for publishing, it has definitely been gaining popularity recently. Self-publishing is getting bigger and more prevalent than ever it seems, and printing on newsprint is one of the most affordable and simple ways to just simply "put something out there." I think the publications that consider the consequences of using newsprint obviously work the best, whereas publications only using newsprint for cost don't seem to be quite as strong.  It all depends on the appropriate material for the subject matter; some books need to be produced in a lo-fi manner, others need to be more extravagantly produced.

Newsprint and the Contemporary Photobook Part 1: Alec Soth and Andrew Roth

A couple of years ago, Alec Soth published The Last Days of W on newsprint. I speculated, as I always do about the meaning of great book design as much as I would the meaning of a great piece of contemporary art, about what this medium meant in relation to the work. I decided that there were many reasons for printing on newsprint or lesser/lighter/non-archival papers: First is easy dissemination -- it is cheap to print and distribute; second: democratization of the medium reflecting on political pamphlets and fanzines; third: rejection of the photobook as commodity which is purchased for its expected increase in monetary value; and fourth: creation of a conceptual art piece meant not for longevity, but to deteriorate in a short span of time as a newspaper or some other timely publication would. A short time after Soth's Last Days of W, Andrew Roth released Back to Okinawa 1980/2009 with work by Keizo Kitajima under his imprint PPP Editions. Not only did I have questions about why these two publishers, and bibliophiles, would select such a low-grade and transitory paper, but many of my clients (from photo-eye) kept saying the same thing: Why would these publishers chose this paper for a "book"? Many publications followed printed on similar substrates and, thus searching answers, this article was conceived. Over the next week, I will publish the answers to a few questions posed to Alec Soth, as he started the pondering, and John Gossage, Nicholas Gottlund, Michael Mazzeo, Andrew Roth, Erik van der Weijde, and Grant Willing about this specific topic and how it relates to their decisions about their respective publications. First, Alec Soth speaks about The Last Days of W and Andrew Roth on Back to Okinawa 1980/2009.

ALEC SOTH

MM: Why did you choose newsprint for The Last Days of W?

AS: This project was about the end of an era, and what better way to mark such a moment than with a medium that is itself reaching the end of an era.

MM: Do you connect this object with other related materials, contemporarily or historically-- zines, pamphlets, etc?

AS: Yes. Last Days of W wasn’t  authored in the same way. It is much more informal and disposable. It really is just a big zine.

MM: What are your thoughts on the non-archival nature of this material and how it relates to this publication?

AS: This is one of my favorite aspects to the project. Forty years from now, I want to pull out an old yellow copy and show it to my Grandkids and say, "I published this at the end of George Bush’s presidency."

MM: Do you think there is a modern movement that prompted this move towards affordable materials aside from economic reasons?

AS: Despite the decline of print, there is a huge wave of self-publishing amongst photographers right now. But many of the print-on-demand solutions simply look like poorly made books; whereas, zines and newsprint has the look and feel of intentionality.

ANDREW ROTH

MM: Why did you, the designer, or publisher choose newsprint for Back to Okinawa?

AR: The book was designed to reference Another Country in New York (1974) the handmade Xerox book by Moriyama Daido. In Another Country in New York Moriyama marries funky newsprint pages printed in Xerox with a luxurious silkscreen cover.

MM: How does this choice relate to the subject matter or concept of this specific book?

AR: Back To Okinawa 1980/2009 is a new version of Keizo Kitajima’s serialized, four-volume publication Photo Express Okinawa (1980). The original self-published, serialized edition was scheduled for release every other month, over one year, though only four volumes were realized. Together these four volumes formed one work — an investigation into the nightlife in Kozu, the red-light district surrounding the Kadena Airforce Base in Okinawa. Kitajima immersed himself in the life of Okinawa’s nightclubs, bars and streets, photographing a mix of American military (chiefly African-Americans), Japanese prostitutes and drag queens. The volumes were slim zine-like publications with colorful covers and a graphically-dynamic presentation of black-and-white photographs within. Kitajima had lost the negatives for this work so we needed to scan each image from the original four volumes. Since they were printed in half-tone, the dot pattern became even more apparent after scanning them. It seemed logical not to try and make high quality reproductions from them; they would never have held up. Newsprint offset-printing seemed suitable and again, I wanted to reference Moriyama's title. Moriyama was an important early influence on Kitajima.

MM: Do you think there is a modern movement that prompted this move towards affordable materials aside from economic reasons?

AR: Traditionally newsprint or cheap non-archival paper stock was used either during economic downturns when it was hard to find anything else (or in a part of the world where there simply wasn't anything else available); by younger artists as an affordable material for zine production; or by artists referencing mass produced printed-material like flyers and newspapers (Hans-Peter Feldmann, Aleksandra Mir...). I think there is a certain nostalgia for the ephemeral, not to underestimate the appeal of an art-form which will, for certain, disintegrate. At a moment when archival concerns for everything connected with Art production and its market value (and longevity) has become so over-emphasized, newsprint has inherent anarchistic appeal. 

Read more by Andrew Roth on Back to Okinawa 1980/2009 and some of his other publications on This Long Century.

For the Anonymous Friedlander Lover

Fraction 16 & Publishing in Your Hands Open Forum

  Isabelle Pateer

 Jane Alden Stevens

 Taylor Glenn

Today, Fraction 16 launched with the work of David Taylor, David Leventi, Isabelle Pateer, Jane Alden Stevens, Susan Lynn Smith and Taylor Glenn. Those featured are some of the artists that David Bram reviewed at Review Santa Fe.There is also a review of West and West by Larissa Leclair and Danny Lyon's Memories of the Southern Civil Rights Movement by Ellen Rennard. Find it all on Fraction 16.

Also, included in this issue is a feature that Fraction hopes to host ever month with a different theme. This month Darius Himes, David Bram, Andy Adams and I all discuss the topic Publishing in Your Hands. We welcome an open discussion on the Fraction Blog. Please take a look at the piece and add your comments to this discussion.

Tooting My Own Horn: Fraction 15

 Bryan Formhals

Christy Karpinski

 Jane Tam

I am not the best a self-promotion as I neglected to promote the last issue of Fraction which included the work of Blake Andrews, Bryan Formhals, Christy Karpinski, Geoffrey Ellis, Jane Tam, Joerg Colberg, Todd Walker and me. 

 Blake Andrews

As a result of our work being published in Fraction, Blake Andrews and I participated in a online panel discussion with Michael M. Koehler on the blog of the artisian black-and-white printers Duck Rabbit Digital.

And finally, Fraction (forever) contributor, Geoffrey Ellis has a new zine titled Get off My Lawn featuring the work of Ellis along with contributors:

Noah Beil
Geoffrey Ellis
Grant Ernhart
Alan W George
Liz Kuball
Sarah Lacy
Ian Lemmonds
Jennifer Loeber
Dalton Rooney
Andrew Martin Scott
Justin Visnesky

The theme being photographers over the age of 34. Only 222 copies printed, 11 of each artist gracing the cover. Read more on his blog Sad Kids about purchasing the magazine and the zine release party at Casanova in SF (that would be San Francisco, not Santa Fe) from 6-9pm on July 1st, 2010 (today).

Asger Carlsen Interview on His Book Wrong

In the last few weeks, Mörel Books published a book on Asger Carlsen titled Wrong. I am always sad to say that I do not know everything and I had not seen Carlsen's work. Since discovering his work and in combination with viewing the work of Gerry Johansson in Ulan Bator, I am once again obsessed with black and white photography and feel that I have thrown color to the curb (well, in my own shooting and at least for a brief time). Carlsen's new project could not be more accurately titled. When looking at it, I recall the trite expression "that is just wrong". The photos are not right and the more time I spend with them, the more they confront me and the more complex they become. It becomes a surreal almost drug-induced experience where I question if I see the photo that way or if my history and my biases are defining and forming the image. They are ever-so-simple, yet with multiple layes of complexity. Here I asked Carlsen a few questions about this project, the book, future work and influences.

copyright Asger Carlsen from Wrong by Mörel Books

MM: When and why did you move to NY?
 
AC: I have always been fascinated by the United States and the "undefined" way of living here. It’s pretty much up to you what kind of live you wanna live here. For me, it’s a very entertaining way to go by life, but to make a long story short I got a working VISA and moved out of Denmark.
 

copyright Asger Carlsen

MM: Was your project Detour influenced by the work of other contemporary European photographic "explorers" of the US? Jacob Holdt or Robert Frank, for example? Where and why did you select the route you took?

AC: As far as road trip photography, I think Jacob Holdt latest "US 1970- 1975" book-- I think it’s some of the most fearless and conscientious photography I have ever seen. But I would say his style is very Danish or European. I always have been a big fan of Eggelston, Robert Frank, Stephen Shore, etc. What attracted me the most was the endless driving and the hunt for uncertainty experience... but for me this kind. Photography is not exciting anymore and I will never do a project like that again.

copyright Asger Carlsen

MM: In an interview on Too Much Chocolate, Vincent mentions that he thinks of Baldessari when looking at your work. My thoughts tend to go to photographs and the work of Charlie White because of the seemingly related
themes. Who are your artist influences? Why did you draw from that particular work?
 

 copyright Asger Carlsen

AC: I appreciate Baldessari for his ways of using mixed medias and I like the idea of not being bound to calling my self a photographer. That is just the media I have chosen to work in.  I work in photography-based material, but I also work in meat, foam, wood and dove, etc.  My concentration in "Wrong" has been more about creating my ultimate hopes of experience. I realized with the first Wrong pictures that I created the satisfaction in seeing something I didn't understand and is removed from the normal. They are "manipulated" to create new narratives in the picture.  So telling the obvious stories don’t challenge the mind in my opinion. I'm constantly on the look for the ambiguous in conversation or things I see doing my walk around the city... I guess it’s really about my strong need for entertaining myself and maybe reality is enough for me.

I'm a huge fan Charlie White and I remember I bought his book Charlie White: Photographs in London back in 2004 and I couldn't  stop looking at it. So yes he is an big inspiration for me, as well as, Evidence by Mike Mandel and Larry Sultan.

A lot of my research for Wrong comes from medical books and simple internet browsing.

 

 copyright Asger Carlsen

 copyright Asger Carlsen

MM: Speaking of Charlie White, his project Monsters project makes me feel a sense of voyeurism, looking on the private, snapshot moments of "humans" and questioning what is going on in the scene. For many of the photos, he creates alien appearances for many of the characters causing me to question whether I am really seeing what is the visual truth of the scene. This brings to mind many questions about the nature of photography (which I do not wish to touch at this time), but also some about your intent when producing Wrong. Is there another meaning behind your imagery dealing with your emotions towards humans, the feeling you want the viewer to feel, or is it simply your love of the manipulated image? What drove you to create Wrong?

AC: Voyeurism is like "legally" allowing spying on people’s privacy. I don't think I will ever get tired of Voyeurism.  

I really like to create an illusion that possibly could be real. The images itself is the record of one original event, but because of my alteration they loose their original language. Their connotation can mean anything. I also try not to be to specific about the idea behind each image-- I want to leave people with and open experience of the work .   
 

MM: What drove you to create Wrong?

AC: Creating Wrong is maybe an expression of never really belonging anywhere. I don't wanna sound "super special", but growing up I never had a feeling normality. In a way this is an outlet of that feeling.  So on a personal level this has moved me a lot ... also it has been a departure from the photography I knew and has opened me up to be able to express my ideas in any medium.
 

MM: You recently published the project Wrong with Mörel books in the UK? What was the process of publishing? Did Mörel select you or vice versa? What was your role in the book making? Did you help select printers, paper, etc?

AC: I got an email one afternoon from Mörel books asking if I wanted to do "a book with Mörel books" and I said yes... I designed the book with a friend and made the order of the images. Aron Mörel and I picked the paper stock together and the printer had already made several books with Mörel books before.
 
MM: What process was used to print the book? Where was it printed? Did you go on press?

AC: It is printed in four-color in Turkey. I did not go to the press.   


MM:  Do you have advice for photographers looking to publish?

AC: I was lucky to be picked up by Aron Mörel, but why not do self publishing. 



MM: I have a rolling list of blogs on my feed and I never have the time to make it through them all. Are there any that you must read? Do you still pick up paper magazines? Which ones?

AC: I really don't read magazines that much anymore.. I like to spend my money on art books.



MM: What is your favorite book, photo or otherwise? Why?

AC: I have so many I like, but to be frank now a days I look more art other art from than photography and also my fascination changes all the time…but tow Sundays I was in a really bad mood and went to local flea market and found an $12 used Man Ray book published by Aperture. I have been looking it everyday since. He had a great innovative way of using the medium and he was not control by the traditions of photography and I find that as one of the most inspiring reasons to continuing my work.            

 
MM: Although the lines of photographic genres are becoming blurrier, not all photographers are embraced in the art and commercial world of photography.
What do you find are some of the greatest differences when making commercial versus your personal work?

AC: I personally will never commercialize my art, but doing commercial images is really about understanding the client and then producing "product" that is with in your photography style and esthetics. I always try to push my own ideas in my commercial jobs, but the main difference in art is that you don't have to understand anyone else then yourself.

 
MM: I usually end by asking if there is a photo-related story you would like to share. I could not miss this opportunity with you. Do you have a story to share?

AC: My next project is called Hester which is very inspired by the Surrealism movement. It definitely has links to the Wrong project, but a more extreme outlet for the idea. 

copyright Asger Carlsen

MM: I wanted to mention, possibly as a question, that in a conversation with one of my co-workers, he related your work to that of Hans Bellmer, namely in the Hester series, and Weegee, relating the reportage nature of the Wrong project. I can see, as you have mentioned, the relationship of Wrong with Mandel and Sultan's collection in Evidence. This connection leads to the aesthetics of Weegee, not so much for subject, but the harsh flash and the contrasty photos associated with that era's reportage imagery. But back to the Hester series and Bellmer, when looking at the photos, I see his point, but I want to ask did you draw on the work and/or the philosophies of the Surrealists? If so, which artist was the most influential in work and/or thoughts?

AC: I have several Bellmer pieces that I have been inspired by for my Hester project. I'm experimenting with building some sculptures at the moment where I use conserved skin from chickens. Also I’m very influenced by Francis Bacon and his way interpreting the human body in such an abstract way, but it is still subtle and recognizable. So yes, I feel very drawn by Surrealists point of views. I like to think that I can use photography for something other than its "original purpose" like the way painters technically can get away blending very detailed work and casual strokes. It's a hard balance between real and fake looking. I don't think "perfect photography" is interesting at all and I don't get anything out at looking at the "beautiful image".... I want to push reality so that is why I produce my images in a low tech way.

Also, for the photographer whose work I like-- Lee Friedlander is someone I go back to over and over.



Also, read the earlier interview with Aron Mörel on this blog.

Finite Foto: Photojournalism

In this next issue of Finite Foto:

Issue Eight: Photojournalism

Photographs are an important tool to help us understand what’s going on around us. Whether it’s coverage of an extremely local event or a global disaster, without photographs we would have less understanding of important events. For our June issue, Finite Foto is showcasing photographers who keep us up to date on important events at home and abroad.

© Dan Milnor

Melanie McWhorter showcases Dan Milnor, who has been pursuing many documentary projects that are dear to his heart or intriguing to his mind.

---

© Roberto Rosales

David Ondrik sat down with Roberto Rosales, a staff photographer at the Albuquerque Journal, to discuss photography, teaching, blogging, and film.

---

© Tina Larkin

Jonathan Blaustein brings the images of Tina Larkin, the award winning staff photographer for the Taos News.

---

© Michael Benanav

Jennifer Schlesinger presents two portfolios of New Mexico freelance photographer Michael Benanav’s images, one on the Gurez Valley of Kashmir and the other on the Van Gujjar of Northern India.

Finite Foto is a new media collective that investigates and promotes the intersection of photography and culture in the state of New Mexico. We are dedicated to bringing awareness to the global art community about both historical and contemporary photography from all regions of the state.

Contact us by emailing Finite Foto.

Follow us on Twitter and Facebook.