How We See Photobooks By Women

A “book on books” anthology that documents How We See, a traveling public and hands-on reading room of a global range of 100 photography books by female photographers. In addition to all one hundred books in the How We See Reading Room, the publication includes three essays, an annotated history, reference lists of historical books by women photographers, an author index and a visual index. Paris Photo-Aperture Foundation Photobook Awards 2019 – Jury’s Special Mention Les Rencontres d’Arles Photobook Award 2019 – Shortlisted 50 Books 50 Covers / AIGA 2019 – Best Book Winner ADC Merit Award 2020

What They Saw: Historical Photobooks by Women, 1843 - 1999, 10×10 Photobooks' most recent "book-on-photobooks" anthology in its ongoing examination of photobook history, explores photobooks created by women from photography's beginnings to the dawn of the 21st century. Presenting a diverse geographic and ethnic selection, the anthology interprets the concept of the photobook in the broadest sense possible: classic bound books, portfolios, personal albums, unpublished books, zines and scrapbooks. Some of the books documented are well-known publications such as Anna Atkins' Photographs of British Algae: Cyanotype Impressions (1843-1853), Germaine Krull's Métal (1928) and Diane Arbus: An Aperture Monograph (1972), while other books may be relatively unknown, such as Alice Seeley Harris' The Camera and the Congo Crime (c. 1906), Varvara Stepanova's Groznyi smekh. Okna Rosta (1932), Eslanda Cardozo Goode Robeson's African Journey (1945), Fina Gómez Revenga's Fotografías de Fina Gómez Revenga (1954), Eiko Yamazawa's Far and Near (1962) and Gretta Alegre Sarfaty's Auto-photos: Série transformações-1976: Diário de Uma Mulher-1977 (1978). Also addressed in the publication are the glaring gaps and omissions in current photobook history-in particular, the lack of access, support and funding for photobooks by non-Western women and women of color. Paris Photo–Aperture Foundation Catalogue of the Year Award 2021 Kraszna-Krausz Photography Book Award 2022 Time Magazine 20 Best Photobooks of 2021

"On the one hand Müller's pictures show that every moment in everyday life has its cliché, but at the same time they seem to want to find nothing but a moment of authenticity." Flash Art Magzine

A powerful collection of photographs and essays by trailblazing women that celebrates Maria Grazia Chiuri's feminine and feminist spirit within the House of Dior. Since being appointed the first female creative director of Dior in 2016, Maria Grazia Chiuri has infused the illustrious fashion brand with a strong current of femi-nism. Her approach is at once refreshing and needed, while still paying homage to the avant-garde ethos that has been at the heart of the house since its founding by Christian Dior in 1947. This beautifully produced volume presents 160 images by leading female photographers such as Nan Goldin, Sarah Moon, Brigitte Niedermair, Coco Capitán, Vanina Sorrenti, Julia Hetta, Katerina Jebb, Zoë Ghertner, and Bettina Rheims. The women creators featured among these pages represent the breadth of style and diversity upheld by the Maison Dior. Thought-provoking quotes and poems from inspirational women--Chimamanda Ngozi Adichie, Linda Nochlin, Claire Fontaine, Judy Chicago, and Tomaso Binga, to name a few--accompany the striking photographs. Showcasing Chiuri's haute couture and ready-to-wear collections from 2017 to 2021, Her Dior captures the creative director's innovations at the house--where, for the past five years, she's reclaimed the narrative creating Dior fashions for women, by women.

From acclaimed photographer Elinor Carucci, a vivid chronicle of one woman's passage through aging, family, illness, and intimacy. It is a period in life that is universal, at some point, to everyone, yet in our day-to-day and cultural dialogue, nearly invisible. Midlife is a moving and empathetic portrait of an artist at the point in her life when inexorable change is more apparent than ever. Elinor Carucci, whose work has been collected in the previous acclaimed volumes Closer (2002, 2009) and Mother (2013), continues her immersive and close-up examination of her own life in this volume, portraying this moment in vibrant detail. As one of the most autobiographically rigorous photographers of her generation, Carucci recruits and revisits the same members of her family that we have seen since her work gained prominence two decades ago. Even as we observe telling details--graying hair, the pressures and joys of marriage, episodes of pronounced illness, the evolution of her aging parents' roles as grandparents, her children's increasing independence--we are invited to reflect on the experiences that we all share contending with the challenges of life, love, and change.

A three-decade-long documentary follows a group of middle-class New York City girls.