Patrizia Di Bello teaches History and Theory of Photography at Birkbeck, University of London. She is the author of Women’s Albums and Photography in Victorian England (2007), and the editor, with Gabriel Koureas, of Art, History and the Senses (2010). She is currently working on photography and sculpture. Colette Wilson is Lecturer in French Studies and Director of the MA in Cultural Memory at the Institute of Germanic and Romance Studies, London, where she also convenes the research seminar ‘Photography: Theory, Practice, Debate’. She is the author of Paris and the Commune 1871–1878: The Politics of Forgetting (2007). Her current research focuses on French representations of Egypt. Shamoon Zamir is Associate Professor of Literature and Visual Studies at New York University Abu Dhabi. He has taught at the University of Chicago, York University and the University of London. He is the author of Dark Voices: W.E.B. Du Bois and American Thought (1995) and has recently completed a study of the photography of Edward S. Curtis. T H E From TalboT To ruscha PHoTo and beyond b o o k ediTed by Patrizia Di Bello, Colette Wilson anD shamoon zamir Published in 2012 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright Editorial Selection © 2012 Patrizia Di Bello, Colette Wilson, Shamoon Zamir Copyright Introduction © 2012 Patrizia Di Bello, Shamoon Zamir Copyright Individual Chapters © 2012 David Campany, Patrizia Di Bello, David Evans, Mick Gidley, Gabriel Koureas, Paul Melo e Castro, Annebella Pollen, Graham Smith, Ian Walker, Liz Wells, Colette Wilson, Shamoon Zamir The right of Patrizia Di Bello, Colette Wilson, Shamoon Zamir to be identified as the editors of this work has been asserted by them in accordance with the Copyright, Designs and Patent Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN: 978 1 84885 615 8 (HB) 978 1 84885 616 5 (PB) A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress Catalog Card Number: available Printed and bound in Great Britain by TJ International, Padstow, Cornwall CONTENTS Notes on Contributors vii Picture Credits xi Acknowledgements xv Introduction 1 Patrizia Di Bello and Shamoon Zamir H. Fox Talbot’s ‘Scotch Views’ for Sun Pictures in Scotland (1845) 17 Graham Smith ‘Art-Science’: The North American Indian (1907–30) as Photobook 35 Shamoon Zamir Emil Otto Hoppé, Autobiography, and Cultural Moments 52 Mick Gidley Recalcitrant Intervention: Walker Evans’s Pages 71 David Campany Sculpture, Photograph, Book: The Sculptures of Picasso (1949) 91 Patrizia Di Bello A Kind of a ‘Huh?’: The Siting of Twentysix Gasoline Stations (1962) 111 Ian Walker Beyond the Exhibition – from Catalogue to Photobook 129 Liz Wells ‘The book the nation is waiting for!’: One Day for Life (1987) 145 Annebella Pollen CONTENTS A Spectre is Leaving Europe (1990): Appropriation in a Post-Communist Photobook 163 David Evans The Photobook as Object of Memory and Nostalgia: Alexandrie l’Égyptienne (1998) by Carlos Freire and Robert Solé 179 Colette Wilson The Eye of the Lens and the Feet of the Photographer: Eduardo Gageiro’s Lisboa no Cais da Memória (2003) 196 Paul Melo e Castro Orhan Pamuk’s Melancholic Narrative and Fragmented Photographic Framing: Istanbul: Memories of a City (2005) 211 Gabriel Koureas Select Bibliography 229 Index 233 vi NOTES ON CONTRIBUTORS David Campany is a writer, curator and Reader in Photography at the University of Westminster. His books include Art and Photography (2003), Photography and Cinema (2008), ANONYMES: Unnamed America in Photography and Film (Le Bal/Steidl, 2010) and Jeff Wall: Picture for Women (Afterall/MIT Press, 2011). Patrizia Di Bello lectures on the History and Theory of Photography in the Department of the History of Art and Screen Media at Birkbeck College, University of London. Her publications include Women’s Albums and Photography in Victorian Britain: Ladies, Mothers and Flirts (2007); and Art, History and the Senses: 1830 to the Present (2010), ed. with Gabriel Koureas. David Evans lectures on the History and Theory of Photography at The Arts University College at Bournemouth. Publications include John Heartfield: AIZ / VI 1930-38 (1992), Appropriation (2009) and Critical Dictionary (2011). Mick Gidley is Emeritus Professor of American Literature and Culture at the University of Leeds. Alongside articles and books on literary and cultural history, including Views of American Landscapes (co-ed., 1989; 2007), his publications on photographic themes include Photography and the USA (2011), such collections as American Photographs in Europe (co-ed., 1994) and Writing with Light (ed., 2011), and three books on Curtis, most recently Edward S. Curtis and the North American Indian Project in the Field (2003; 2010). Gabriel Koureas is Lecturer at Birkbeck College, University of London. His monograph Memory, Masculinity and National identity in British Visual Culture, 1914–1930, was published in 2007. Other publications include ‘“Desiring Skin”: Eugenics, Trauma and Acting Out of Masculinities in British Inter-war Visual Culture’, in Brauer and Cullen (eds), Art Sex and Eugenics: Corpus Delecti (2008); and ‘Visualising an Open Wound: Nicosia, a Divided City in an Expanded Europe’, in Martin (ed.), City in Art (2007). vii THE PHOTOBOOK Paul Melo e Castro is Leverhulme Early Career Fellow in the Department of Spanish, Portuguese and Latin American Studies at the University of Leeds. His Ph.D., completed in 2008, focused on the representation of Lisbon in the 1960s in the novel, the film and the photobook. Annebella Pollen is Lecturer in the History of Art and Design and former Research Fellow for the project ‘Methodological Innovations: Using Mass Observation’ at the University of Brighton. Her AHRC-funded Ph.D. thesis ‘Identity, Memory, Compassion and Competition: Mass-Participation Photography and Everyday Life’ was completed in 2010. Previous publications on the subject of popular photography include ‘Polyfoto of an Unknown Woman’ (2008), available online at www.unknownsitter.com, and ‘Sweet Nothings: Suggestive Brighton Postcard Inscriptions’, Photography and Culture 2(1) (2009). Graham Smith is Professor Emeritus in Art History at the University of St Andrews and a Fellow of the Royal Society of Edinburgh. He has been editor of the international quarterly History of Photography since 2001. His most recent publications include ‘Light that Dances in the Mind’ (2007), ‘Talbot’s Epigraph to The Pencil of Nature’, History of Photography (2010) and ‘Time and Memory in Talbot’s Calotypes of Oxford and Hill and Adamson’s of St Andrews’, in Jan Baetens, Alexander Streitberger and Hilde Van Gelder (eds), Time and Photography (2010). Ian Walker is Reader in the History of Photography and Programme Leader for the MA/MFA Documentary Photography at the University of Wales, Newport. He has written widely on photography and, in the past few years, his research has focused on the relationship between documentary photography and Surrealism. He has published two books: City Gorged with Dreams: Surrealism and Documentary Photography in Interwar Paris (2002) and So Exotic, So Homemade: Surrealism, Englishness and Documentary Photography (2007). He is now working on a collaborative book on Czech Surrealist photography. Liz Wells edited The Photography Reader, 2003 and Photography: A Critical Introduction, 2009, 4th edn; she is co-editor of Photographies (Routledge Journals). Publications on photography and the land include Land Matters: Landscape Photography, Culture and Identity (2011). She is Professor in Photographic Culture, Faculty of Arts, University of Plymouth. She teaches on the MA in Photography and the Book and convenes the research group viii NOTES ON CONTRIBUTORS for Land/Water and the Visual Arts, within the University’s Research Centre for Media, Art and Design. Colette Wilson lectures at the Institute of Germanic and Romance Studies, where she directs the MA in Cultural Memory and the seminar series ‘Photography: Theory, Practice, and Debate’. Her recent publications include: Paris and the Commune 1871–78: The Politics of Forgetting (2007), and a specially edited number of the Journal of Romance Studies entitled ‘The Well- travelled Lens: Studies in Photography and Cultural Encounter, Memory and Identity’ 8(1) (2008). Shamoon Zamir is Associate Professor of Literature and Visual Studies at New York University Abu Dhabi. He has recently completed a study of Edward Curtis and his photobook The North American Indian. His previous publications include Dark Voices: W.E.B. Du Bois and American Thought (1995) and the edited volumes The Unruly Garden: Robert Duncan and Eric Mottram, Letters and Essays (2007, with A. Evans), and The Cambridge Companion to W.E.B. Du Bois (2008). ix