This volume sets out to challenge and ultimately broaden the category of
the 'photobook'. It critiques the popular art-market definition of the
photobook as simply a photographer's book, proposing instead to show how
books and photos come together as collective cultural productions.
Focusing on North American, British and French photobooks from 1920 to
the present, the chapters revisit canonical works - by Claudia Andujar
and George Love, Mohamed Bourouissa, Walker Evans, Susan Meiselas and
Roland Penrose - while also delving into institutional, digital and
unrealised projects, illegal practices, DIY communities and the poetic
impulse. They throw new light on the way that gendered, racial or
colonial assumptions are resisted. Taken as a whole, the volume provides
a better understanding of how the meaning of a photobook is collectively
produced both inside and outside the art market.