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John Gossage Le Livre Photographique : Considérations Sur Quelques Projets Récents John Gossage the Photobook: Reflections on Several Recent Projects Alexis Desgagnés

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John Gossage Le Livre Photographique : Considérations Sur Quelques Projets Récents John Gossage the Photobook: Reflections on Several Recent Projects Alexis Desgagnés Document generated on 09/25/2021 6:43 a.m. Ciel variable Art, photo, médias, culture John Gossage Le livre photographique : considérations sur quelques projets récents John Gossage The Photobook: Reflections on Several Recent Projects Alexis Desgagnés Cyber / Espace / Public Number 95, Fall 2013 URI: https://id.erudit.org/iderudit/70004ac See table of contents Publisher(s) Les Productions Ciel variable ISSN 1711-7682 (print) 1923-8932 (digital) Explore this journal Cite this article Desgagnés, A. (2013). John Gossage : le livre photographique : considérations sur quelques projets récents / John Gossage: The Photobook: Reflections on Several Recent Projects. Ciel variable, (95), 62–66. Tous droits réservés © Les Productions Ciel variable, 2013 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ FOCUS JOHN GOssage Le livre photographique : considérations sur quelques projets récents Alexis Desgagnés S’il est un secteur de l’édition qui semble échapper à la crise de l’imprimé engendrée par l’essor de l’édition numérique, c’est bien The Photobook: celui du livre photographique. La multiplication actuelle des publi- Reflections on cations de ce type est telle qu’il paraît légitime de croire qu’elles supplanteront éventuellement l’exposition comme principal moyen Several Recent Projects de diffusion et, surtout, de création de la photographie. Démocratique et protéiforme, le livre photographique a en effet permis l’ouverture If there is one category that seems to have escaped the crisis in the d’une brèche au sein des instances traditionnelles de consécration book-publishing sector engendered by the rise of digital publishing, du médium. En marge des galeries, des musées et des magazines, it is photobooks, which are currently appearing at such a rate that it le livre apparaît désormais pour un nombre croissant de créateurs is legitimate to think they will eventually supplant exhibitions as the et d’adeptes comme étant un champ distinct de la discipline, une main means of dissemination of photography and, especially, photo- « forme d’art autonome1 », comportant ses propres institutions, graphic creativity. Easily accessible and available in a variety of forms, ses publics et ses communautés d’intérêts. photobooks have opened a breach through which photography has Amorcée au tournant du XXIe siècle avec la publication des pre- escaped its traditional exhibition venues. Existing beyond the margins miers ouvrages de référence portant sur le sujet 2, l’autonomisation of galleries, museums, and magazines, photobooks are seen by a du champ du livre photographique est grandement imputable à la growing number of artists and devotees as a distinct field in the disci- parution, en 2004 et en 2006, des deux volumes de The Photobook: pline, an “autonomous art form,”1 with its own institutions, publics, A History3. Fort de l’expertise indéniable des auteurs – le photo- and communities of interest. graphe Martin Parr et le critique Gerry Badger –, l’ouvrage recense The photobook began its journey to autonomy at the turn of the les livres photographiques qui constituent, selon ces spécialistes, twenty-first century, when the first reference books on the subject des contributions marquantes de cette histoire parallèle de la pho- came out,2 and it was greatly helped along by the publication, in tographie : du Pencil of Nature de Talbot au Fauna de Fontcuberta, 2004 and 2006, of the two-volume The Photobook: A History.3 Drawing en passant par les livres d’artistes d’Ed Ruscha ou encore d’Hans- on the undeniable expertise of the books’ editors – photographer Peter Feldmann. Fournissant au champ du livre photographique des Martin Parr and critic Gerry Badger – this work inventories photo- assises histori ques suffisamment solides pour fonder un nouveau books that have made remarkable contributions to this parallel his- territoire d’investigation, le panorama international proposé par tory of photography, from William Henry Fox Talbot’s Pencil of Nature Parr et Badger a ouvert la voie à d’autres publications abordant la to Joan Fontcuberta’s Fauna and books by Ed Ruscha and Hans-Peter question du point de vue national ou stylistique4. Si la publication Feldmann. Providing the subject of the photobook with a solid enough de ces ouvrages, témoigne de l’existence d’un lectorat suffisamment historical basis to found a new field of research, the international considérable pour la justifier, leur efflorescence atteste principale- panorama offered by Parr and Badger has opened the way to other ment de la nécessité éprouvée par les acteurs de ce champ de puiser authors who address the question of national or stylistic point of dans l’histoire les ressources pour légitimer la contemporanéité du view.4 Although such studies are justified by the inherent interest livre photographique en tant que forme d’art. in the subject, their proliferation attests mainly to the need felt Cette entreprise de légitimation, qui n’est d’ailleurs pas étrangère by researchers to draw on history to legitimize the photobook as à l’inflation phénoménale connue, sur les sites d’enchères en ligne, a contemporary art form. par la valeur des ouvrages sanctionnés par l’histoire, a permis This enterprise of legitimization, which is not unrelated to the l’institution d’un marché organisé, comme celui des tirages photo- phenomenal inflation in the prices on online auction sites of works graphiques5, en fonction de la rareté. Et celui-ci autorise l’exercice with a historical stamp of approval, has resulted in the institution agressif de la spéculation6. Alors qu’il y a quelques années à peine, of an organized market, like that for photographic prints,5 based on le livre photographique n’était prisé que par un cénacle de collec- rarity, and this has led to aggressive speculation.6 Just a few years tionneurs avertis, de nouvelles institutions spécialisées en la matière ago, photobooks were valued only by an inner circle of knowledgeable jouent aujourd’hui un rôle capital au sein de ce nouveau marché7 : collectors; now, specialized institutions play an essential role in this 62 CIEL VARIABLE N ° 95 Martin Parr et Gerry Badger, éd., The Photobook: A History, vol. 1 et 2, Londres, Phaidon, 2004 et 2006 The Actor, Loosestrife Editions, 2012 CIEL VARIABLE N ° 95 63 elles contribuent, dans un même geste, à démocratiser un certain new market7 by helping to spread connoisseurship, constantly connoisseurship, à actualiser constamment l’offre et la demande de updating the supply and demand of new titles, and increasing nouveaux titres et, enfin, à faire augmenter le nombre de consom- the number of consumers – not to mention speculators. mateurs, pour ne pas dire de spéculateurs. The historical, economic, and sociological implications linked to Bien qu’intéressantes, ces implications historiques, économiques the rise of the photobook, though interesting, are simply indications et sociologiques liées à l’essor du livre photographique ne sont of an even more exciting reality, which is the raison d’être for this type jamais que les symptômes d’une réalité encore plus passionnante of publication: their basis in creativity. The primary interest in every qui constitue la raison d’être de ce type de publications : leur ancrage photobook, we can hope, is not its value as a tax shelter but its cap- dans la création. Car l’intérêt premier de tout livre photographique acity to take advantage of the intrinsic characteristics of the book n’est pas, espérons-le, sa valeur-refuge, mais bien sa capacité à tirer form to raise a body of photographic work to the rank of artwork. profit des caractéristiques intrinsèques de la forme du livre pour Although the photobook is recognized as an “autonomous art form,” faire accéder un corpus photographique au rang d’œuvre d’art. Si it is appropriate to ask what exactly this art form is and whether l’on reconnaît que le livre photographique constitue une « forme there is a canon that, notwithstanding the diversity of books, would d’art autonome », il convient de se demander en quoi consiste cette provide a single, encompassing definition. Rather than seeking an essentialist, and thus disembodied, answer to this question, it seems Le livre apparaît désormais pour un nombre preferable to turn our attention to an art practice exemplary of the croissant de créateurs et d’adeptes comme current issues underlying the production of photobooks because it is completely justified by such production: that of American pho- étant un champ distinct de la discipline, tographer John Gossage. une « forme d’art autonome », comportant Within the rapidly expanding world of the photobook, Gossage is a recognized authority. Since publication by Aperture in 1985 of ses propres institutions, ses publics his book The Pond, which has been widely seen and appreciated for et ses communautés d’intérêts. having considerably raised the standards of the genre, Gossage’s reputation has been consolidated through projects designed expressly dernière ou s’il existe un canon qui, nonobstant la diversité des for presentation in books rather than exhibitions.8 Parr and Badger livres, les subsumerait tous sous une seule et même définition. regarded him to highly that they asked him to define a series of cri- À la perspective d’une réponse essentialiste, et donc désincarnée, teria for the photobook for The Photobook: A History: “Firstly, it should à cette question, il semble préférable de tourner notre attention contain great work. Secondly, it should make that work function as vers une pratique artistique exemplaire des enjeux actuels sous- a concise world into the book itself.
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