Andrew W. Mellon Fellowship in Critical Bibliography Deadline: Nov 1, 2018

Rare Book School’s Andrew W. Mellon Society of Fellows in Critical Bibliography invites applications for its (2019-2020) fellowship cohort. The deadline is November 1, 2018.

Continuing the work of the Andrew W. Mellon Fellowship in Critical Bibliography (2012–17), this scholarly society works to advance the study of texts, images, and artifacts as material objects through capacious, interdisciplinary scholarship—and to enrich humanistic inquiry and education by identifying, mentoring, and training promising early-career scholars. Fellows will be encouraged and supported in integrating the methods of critical bibliography into their teaching and research, fostering collegial conversations about historical and emerging media across disciplines and institutions, and sharing their knowledge with broader publics. The fellowship includes tuition waivers for two Rare Book School courses, as well as funding for scholars to participate in the Society’s Annual Meeting and Orientation. Additional funds are available for fellows to organize symposia at their home institutions, and fellows will have the option of attending a bibliographical field school to visit libraries, archives, and collections in New York City.

The Society is committed to supporting diversity and to advancing the scholarship of outstanding persons of every race, gender, sexual orientation, creed, and socio-economic background, and to enhancing the diversity of the professions and academic disciplines it represents, including the professoriate, museums, libraries, archives, public humanists, digital humanities, and the humanist academic disciplines. We warmly encourage prospective applicants from a wide range of disciplines, institutions, expertise, and interest.

For more information and to apply, please visit:

For more information about diversity and the society, please visit the Diversity & Outreach Committee’s Welcome Letter:

Informational inquiries can be directed to Prof. Elizabeth Yale, Chair, Selection Committee, at


Call for Submissions: ISEA2019 Gwangju, South Korea June 22-28 2019

ISEA is one of the world’s most prominent international arts and technology events, bringing together scholarly, artistic, and scientific domains in an interdisciplinary discussion and showcase of creative productions applying new technologies in art, interactivity, and electronic and digital media.

A topic inspired by a literal meaning of the host city Gwangju, “City of Light”, includes subcategories embracing complex themes that allow open interpretations in culture, science, and history. For example, religiously, light is implied as divinity and immortality and scientifically. it is an energy collection of particles and wavelength signals. It symbolizes the enlightenment and rationale in humanities. Also, the presence of light creates Umbra and Penumbra. In light of the fact that light is the most specific example of versatility in which various interpretations can occur, it will provide us with the context where cohesion of procedural logic based on the human sensibilities and technology of artistic inspirations is freely presented, which is in line with what ISEA has been pursuing.


VR Creators will come together on Thursday October 4th and discuss their

work at the *Immersive Stories Summit



VUE Piccadilly cinema, our annual symposium of eye-opening talks and panel

discussions, shining the spotlight on new voices and leading creators from

around the world.



Raindance Immersive Stories: 7 Miracles | World Premiere | 70 mins


7 MIRACLES is the world?s first feature-length VR experience, nominated for

the festival?s Grand Jury Prize: Best Immersive Story.

Raindance Interactive Worlds: VR Games | 120 mins


Featuring 5 VR Games such as the highly acclaimed TRANSFERENCE (co-directed

by Elijah Wood), AWAKE, KOBOLD, THE ARCHIVIST (based on Twin Peaks) and


Raindance Interactive Worlds: Multi-Person Experiences | 60mins


Featuring 2 multi-person VR experiences, THE APPLE and IS ANNA OK?

*VR LOUNGE featuring 360 films:*

Raindance Immersive Stories: 360? Films | Playlist 1 | 60 mins


Raindance Immersive Stories: 360? Films | Playlist 2 | 60 mins


Raindance Immersive Stories: 360? Films | Playlist 3 | 60 mins


*VR Animations:*

Animated VR Experiences | Collection 1 | 60 mins


Animated VR Experiences | Collection 2 | 60 mins


Engagement program for international curators Deadline: Nov 5, 2018

Engagement program for international curators

Deadline: Nov 5, 2018

The Association for Art Museum Curators (AAMC) Foundation is currently accepting applications for its Engagement Program for International Curators, made possible by major support from the Terra Foundation for American Art. Through fostering international relationships between curators, AAMC aims to not only provide opportunities for professional development and exchange, but also expand and strengthen the international curatorial community and amplify the curatorial voice in the global dialogue between museum professionals.

The 12-month program provides a framework for two curator pairings to interact regularly, reflecting on and developing their self-identified areas of advancement with each other. The program includes travel funding for International Awardees, a participant stipend for US Liaisons, networking, and more, which are outlined in greater detail in the Program Components area of the application.

At the core of this Program is a year-long partnership between a non-US based curator (International Awardee) and a US-based curator (US Liaison) dedicated to professional development and exchange in areas including but not limited to research, project management, leadership development, cross-border exhibitions, loans, fundraising, marketing, dealer and donor relationships. Two pairings are awarded each year.

All applicants must be art curators working on or having worked within exhibitions and projects that explore historic American Art (c. 1500–1980), including painting; sculpture; works on paper, including prints, drawing and photography; decorative arts; and excluding architecture; design; and performance. Additional requirements include a minimum of 50% of the time for/with non-profit organizations will be considered. Please note that curators working in four-wall collecting and non-collecting, community based, and non-four wall organizations, at any location in the globe are eligible.

Read more about program details, eligibility, and application guidelines:
Application deadline: November 5, 2018, 12PM ET

*Advertising 2 New Roles at Furtherfield

*Executive Director Financial Administrator*

Furtherfield is an international organisation disrupting and democratising the arts in a world of advanced technologies. We diversify the people involved in shaping emerging arts and technologies through open tools and free thinking. In a range of physical and digital contexts we collaborate locally and globally with artists, technologists, academics, organisations and the public to formulate new ideas and possibilities for art and technology.

*Executive Director* Deadline for applications 12pm Midday 5 October 2018

We invite applications for the role of Executive Director with a minimum of 5+ years experience working in the art and technology sector to realise the vision, cultivate the values and manage the growth of Furtherfield in a moment of great potential.

*Financial Administrator* Deadline for applications 12pm Midday 19 October 2018

A reliable, diligent, Finance Administrator is required with a track record of successful financial administration and/or project management. The role will support the Executive Director to ensure the organisation has excellent accurate financial systems and reporting processes in place to ensure the organisation meets its business objectives.

Once again, the Bibliothek Andreas Züst is conducting an open call for three studio residency stipends for stays in April 2019.

Residency: Bibliothek Andreas Zuest

Oberegg, St. Anton

Application deadline: Oct 31, 2018

Located at a majestic site on the Appenzell Alps, the residency program offers the best working conditions for inspiration and concentration. For a stay in April 2019, application submissions will be accepted until 31 October 2018 from national and international cultural workers (individuals or teams of up to four persons) in all disciplines (e.g., visual arts, literature, new media, music, theatre, design, architecture, film, photography as well as applied arts and art-related sciences including art history). The duration of the stay is exclusively limited to four full weeks. Accommodations are provided at the Alpenhof Panoramaherberge. Depending on the Alpenhof’s bookings, the lodge can be bustling with activity or very quiet. The stay is on a self-organized basis.

The Bibliothek Andreas Züst includes approximately 10,400 titles on topics ranging from, e.g., the weather, geology, astronomy, physics, literature, photography, art, kitsch, and popular culture. Sought are projects that deal with the Bibliothek as a whole or one of its sub-sections. Thereby we are especially interested in how the main focus of the creative work is brought into relation with the cosmos of the Bibliothek. The stipend award includes a free-of-charge stay as well as travel expenses to the Alpenhof. A subsistence allowance of CHF 250/week may be additionally requested.

Apply now! Detailed information about the studio residency stipend and the application process can be found at:

Globe, Asian Aesthetics, American Art& Material Culture (Delaware, 12-14 Oct 18)


Winterthur, Delaware, October 12 – 14, 2018
Registration deadline: Oct 12, 2018

In Search of the Global Impact of Asian Aesthetics on American Art and Material Culture, University of Delaware-Winterthur Museum

With support from the Terra Foundation for American Art and the University of Delaware, the Department of Art History and the Winterthur Program of American Material Culture invite you to join the following 24 academics and curators at the symposium “In Search of the Global Impact of Asian Aesthetics on American Art and Material Culture” at the Winterthur Museum, Garden &Library.

The three-day symposium is free and open to the public; advance registration is requested.

Graduate Student Dissertation Workshop: October 11-12, 2018
Thursday October 11
Old College, University of Delaware, 8:30am- 5:30pm (Invited participants only)
Friday October 12
The Rotunda, Winterthur, 8:30am- 2:00pm (Open to the public)

SYMPOSIUM: October 12-14, 2018
October 12, 2018
ROUNDABLE (The Rotunda, Winterthur) Open to the public
Ritchie Garrison, University of Delaware, Professor and Director of Winterthur Program of American Material Culture
Michael Leja, University of Pennsylvania, James and Nan Wagner Farquhar Professor of History of Art
Partha Mitter, University of Sussex, Professor of History of Art, emeritus
Alexandra Munroe, Guggenheim Museum, Samsung Senior Curator of Asian Art and Senior Advisor of Global Arts
Nasser Rabbat, Massachusetts Institute of Technology, Professor and Director of the MIT Aga Khan Program in Islamic Architecture
Vimalin Rujivacharakul, University of Delaware, Associate Professor of History of Art and Architecture, and Tsinghua University, Visiting Professor, 2018-2021

October 13-14
Symposium (Copeland Hall, Winterthur) Open to the public

Each presentation team consists of two presenters who have been working together on a collaborative project.
Team Cloth
Giorgio Riello, University of Warwick, Professor of Global History and Culture
Linda Eaton, John L. & Marjorie P. McGraw Director of Collections and Senior Curator of Textile, Winterthur Museum, Garden & Library

Team Dislocation
Darielle Mason, Stell Kramrisch Curator of Indian and Himalayan Art, Philadelphia Museum of Art,
Asma Naeem, Chief Curator, Baltimore Museum of Art

Team Eco-Aesthetics
Edward Cooke, Charles F. Montgomery Professor of American Decorative Arts, Yale University,
Dorothy Ko, Professor and Chair, Department of History, Barnard College

Team Flow
Jens Baumgarten, Professor, Universidade Federal de São Paulo
Dennis Carr, Carolyn and Peter Lynch Curator of American Decorative Arts and Sculpture, Museum of Fine Arts, Boston

Team Fusion
Forrest McGill, Wattis Senior Curator of South and Southeast Asian Art and Director of the Research Institute for Asian Art, Asian Art Museum of San Francisco
Medill Harvey, Curator of American Decorative Arts and the Henry R. Luce Center for the Study of American Art, Metropolitan Museum of Art

Team Screen
Catharine Roeber, Assistant Professor of American Material Culture and Chief Editor of Winterthur Portfolio, Winterthur Museum, Garden & Library
Marco Musillo, Senior Research Associate, Kunsthistorisches Institut in Florenz

Team Shiny
Karina Corrigan, H. A. Crosby Forbes Curator of Asian Export Art, Peabody Essex Museum
Femke Diercks, Head of Decorative Arts Department, Rijksmuseum

Team Taste
Greg Landrey, Head of Academic Program, Winterthur Museum, Garden & Library
Liu Chang, Associate Professor, Tsinghua University and Director of the Craft Project, the Palace Museum, Beijing, China

Team Translation
Lee Glaser, Director and Chief curator, Lunder Institute, Colby College
Stacey Pierson, Senior Lecturer, School of Oriental and African Studies, University of London

We thank the following institutions and grant agencies for support: The Terra Foundation for American Art, the University of Delaware’s Office of Professional and Graduate Education and Center for Material Culture, the UniDel Foundation, and the National Endowment for the Humanities, in addition to other sponsoring units.

Lodging allocated for registered participants is available at the hotels on the following weblink:

Anthropology& Contemporary Visual Arts from the Black Atlantic (Dec 18-Apr 20)

Anthropology& Contemporary Visual Arts from the Black Atlantic (Dec 18-Apr 20)

verschiedene, December 1, 2018 – September 19, 2019

Deadline: Oct 31, 2018

Call for Applications

Anthropology and Contemporary Visual Arts from the Black Atlantic: between the Art Museum and the Ethnological museum in the Global North

A Series of three Summer Schools to be held in Dakar, Senegal (December 2018), Port-au-Prince, Haiti (June 2019) and Hannover, Germany (April 2020) funded by the Volkswagen Foundation.

What are the effects of a ‚global‘ approach in art history and its institutions? Which place for the arts of the Black Atlantic therein? Taking as a starting point the recent move within the ‚global‘ museum world – the ongoing debates on the West-centric histories of many museum collections, the opening of new art institutions and museums in the Global South, the ‚struggle‘ for an adequate art historical and anthropological approach within these transcultural contexts and flows, the search for new cooperations and a new curatorial practices – this summer school aims to critically discuss and frame these developments with regard to the arts of the Black Atlantic. In a team of international experts and with PhD students from different countries and backgrounds we also aim to practically engage in the application of our findings  by working on a joined exhibition project.

Organised in three modules, this Summer School brings under one umbrella contemporary visual arts from Africa and its American and European diasporas which are considered as fragments of the wider framework of Black Atlantic arts. Investigating the relationships between art historical and anthropological discourse and methodology on the one hand, established museographic conventions on the other, it critically addresses the place/s assigned to Black Atlantic arts in ethnographic and art museums in the West as well as in the Black Atlantic. Our major objective is to explore future potentialities of collaboration between art history and anthropology in the light of the specificities of Black Atlantic visual arts, their interwoven historical trajectories and contemporary practices on both sides of the ocean.

Each module comprises five course days. Regular course assignments include readings, lectures and key-notes delivered by renowned specialists on the visual arts of the Black Atlantic, the presentation and discussion of PhD and postdoc research projects, roundtable discussions with local resource persons – curators, artists, researchers, and civil society activists. In addition, the main distinctive feature of the overall project is an exhibition workshop to be conducted throughout all three modules. Its topic will be decided upon by the participants on-site (Dakar venue). As a result of shared curating, the exhibition will open at the WeltenMuseum Hannover during the last module of the Summer School in 2020.

Conveners and Course leaders

El Hadji Malick Ndiaye (Art Historian & Curator, Université Cheikh Anta Diop / Musée Théodore Monod, Dakar); Kerstin Pinther (Professor for Art History & Curator, Ludwig-Maximilian Universität München); Brigitte Reinwald (Professor for African History, Leibniz Universität Hannover); Christoph Singler (Professor for Literatures and Visual Arts in Latin America, Université Bourgogne-Franche-Comté, Besançon); Romuald Tchibozo (Senior Lecturer & Deputy Director, Institut National des Métiers d’Art, d’Archéologie et de la Culture, Université d’Abomey-Calavi, Benin); Sterlin Ulysse (Assistant Professor& Director, Institut d’Histoire de l’Art/Université d’État d’Haiti, Port-au-Prince).

Furthermore, lectures and key notes are delivered by high-profile academics, researchers, curators and museum experts from the wider field of Cultural Anthropology, Cultural Studies, Art History, Philosophy, and Provenance Research, from Brazil, Côte d’Ivoire, France, the Netherlands, Senegal and the United States.

Target group & Conditions for Applications

We invite PhD students and Post-Doc researchers in the fields of art history, cultural anthropology, cultural studies, who pursue projects pertaining to Africa and its diasporas (the Americas, the Caribbean, Europe) to apply for the Summer School.

Applicants should be based in Germany and are expected to submit a short statement of purpose (one page) and a synopsis of their PhD or Post-doc project (max. 5 pages) in one of the following languages: English, French, Spanish, and Portuguese. They are expected to attend all three modules and to be fluent in at least one or better two of the languages mentioned above.

Course Material (Reading Assignments) will be made available in due course via an e-cloud. Assiduous and intensive reading is imperative, and will be rewarded by being part of an exciting venture of transatlantic exchange, involving junior and senior academics, curators and artists from the wider Atlantic space, most of whom will attend all modules of this Summer School, too. This project will hopefully generate a dense network between all participants, thus multiplying and deepening the transatlantic transfer of knowledge and creative ideas.

The project coordination assumes the coverage of travel expenses (flights, accommodation, and per diems) as well as baby sitting for all selected participants.

A total of 25 Phd and postdoc are expected to attend these Summer Schools, with 10 among them being based in Germany.

Please address your application by October 31, 2018  to

Christoph Singler:

Circulating Photographs: Materials, Practices, Institutions (Rome, 18-22 Mar 18)

Circulating Photographs: Materials, Practices, Institutions (Rome, 18-22 Mar 18)

Rome, Bibliotheca Hertziana, March 18 – 22, 2019

Deadline: Oct 22, 2018

Circulating Photographs: Materials, Practices, Institutions

A photo-historical course organized by the Bibliotheca Hertziana (Max Planck Institute for Art History) Rome and the Folkwang Universität der Künste Essen

Photography has always been a powerful tool of communication and has developed into an instrument of our everyday experience: Through photographs we are able to communicate quickly and easily with each other. As a medium of social interaction, photographic images are used as a handy alternative to language, supplementing or even replacing it. They transport us to sites and individuals, connecting the distant and the temporally remote. This far-reaching development is increasingly driven by the digitization of our everyday culture. Photography is both part of this process, and its most visible expression.

Photo-historical research can contribute important observations to this diagnosis of our own time. From the moment photographic images became a matter of public interest, they served as objects of circulation and social connection. Already by the middle of the 19th century photography had opened global routes of image-based economies, providing and distributing our interpretations of visible worlds. As commodities or gifts, they are traded and exchanged, distributed and collected. The proliferation of photographically based information and the trading of photographic objects constitute important aspects of social interaction in the early stages of globalization.

These observations are our point of departure for the course titled “Circulating Photo-graphs: Materials, Practices, Institutions”. Our aim is to develop a focused, multi-disciplinary analysis of the photographic image as an object of circulation, especially over the course of the 19th and early 20th centuries (up to 1950). In the context of photo-historical research it is common practice to ask about processes of production or reception. In contrast, by putting circulation modalities at the centre of our interest, we would like to accentuate the importance of such interactions for the production of photographic meaning. Acts of transmission constitute an important framework for the semantics of photographic imagery. Thus, we are interested in the realm of photo-graphs as a foundation and tool for social interaction and in the practices that lead to our current understanding of image exchange. The vernacular image and its everyday practices are as important as highly professional appropriations within the domain of the arts and sciences. We are particularly interested in strategies of networking that have been enabled, shaped, modified or rejected by photography.

Looking for historical conditions that enabled photographs to circulate requires a closer investigation of premises related to such interactions:

1. The material foundations of photography, i.e., its historically shifting concreteness in terms of production processes and technologies.

2. The ensemble of practices, i.e., the methods and channels that have been developed, cultivated and refined for the circulation of photographs.

3. The diversity of institutions that have been created or adapted to this purpose.

Examining the variety of connections between these aspects will provide a new under-standing of photo-historical developments that lean on the idea of exchange within the domain of visual media. We are especially interested in practices and strategies that have been developed in photography’s pre-digital era and we ask whether, and how, they can be regarded as a foundation for current media practices of transmission and exchange. Such an interest stimulates a variety of questions:

– What types of circulation can and should we distinguish?

– How does the materiality of photographic images affect and shape their circulation? And how does the circulation of photographs have an impact on their materiality?

– What differences are there in professional and private practices among the networks of circulation?

– What kinds of channels have been developed and used for the circulation of photo-graphs?

– In what ways do modes of circulation differ – modes such as sending, exchanging, transferring, sharing, dissemination, dispersion, etc.? How do we perceive and evaluate these historical practices today, and vice versa, how does our current practice shed light on the meaning of past exchanges of photographs?

– How can we conceptualize the difference between circulating photographs as original prints on the one hand, and circulating reproductions of them on the other?

– How does the photographic picture become a social entity in the process of its circulation?

– How is meaning produced and altered through processes of circulation?

– How can we describe the ongoing media change of photography from the point of view of circulation?

– What conclusions can be drawn by examining specific time periods regarding the processes of circulation?

– What kind of media practices of transmission from previous periods of media history are still in use today?

The course is aimed at advanced M.A. students, Ph.D. candidates and recent post-docs in art history and related disciplines with a strong photo-historical component. The course will be held in English. During the course, all participants will present their current research project, which should exhibit a close connection to the course subject matter. The course is supplemented by visits to photographic archives in Rome.

The Bibliotheca Hertziana will offer lodging and reimburse half of the incurred travelling expenses. In addition, participants will receive a daily allowance.

Please send the following application materials as a single PDF-document to (subject “Studienkurs”) by October 22 2018:

– Abstract of proposed subject/case study

– Brief CV

– Brief summary of your master’s thesis, dissertation or postdoctoral project

– Names and contact details of two references

For further information please contact:

The course is organized and led by Tatjana Bartsch (Bibl. Hertziana, Rome), Maria An-tonella Pelizzari (Hunter College, CUNY, New York), Johannes Röll (Bibl. Hertziana) and Steffen Siegel (Folkwang Universität der Künste, Essen).

The Photobook (Oxford, 14-16 Mar 19)

Maison Française d’Oxford, March 14 – 16, 2019

Deadline: Nov 15, 2018

Maison Française d’Oxford 2019 Photobook Conference :

The British, American and French Photobook:

Commitment, Memory, Materiality and the Art Market (1900-2019)

A conference to be held at the Maison Française, Oxford

Thursday 14 to Saturday 16 March 2019

The Maison Française conference committee invites proposals on the social history of the British, American or French photobook from 1900 to the present. Papers will address: commitment or explicit political engagement; memory, commemoration and the writing of history; materiality (whether real or virtual), and how material form affects circulation, handling, critical responses and the social life of the photobook. We invite contributors to analyse these topics with respect to the growth of the market for the photobook as a commodity and an object of bibliophilic attention. Proposals focusing on contemporary productions are particularly welcome.

Recent illustrated anthologies in the vein of The Photobook: A History (Gerry Badger and Martin Parr, 2004, 2006, 2014) have established three things: firstly, the photobook-photographer is an editor and an author, or auteur (in the cinematographic sense, but applied to “directing” the production of a book); secondly, the photobook is an autonomous work of art, and a collectible object of connoisseurship; thirdly, the photobook “art world” now exists and can be studied.

This conference will concern itself with the social history of the photobook, whether photographer-driven, writer-driven, editor-driven, or publisher-driven. For the purposes of this conference, the definition of the photobook will be extended to include all photographically illustrated books, regardless of subject matter or the proportion of text to image, or indeed whether or not the images are “illustrative” in the strict sense of the word.

Three major questions arise concerning the photobook as a medium:

• Firstly, what place is there for literary fiction or imaginative picture-making in photobooks committed to documentary truth-telling or historical accuracy? In a word, how do fact and fiction, objectivity and subjectivity, cohere?

• Secondly, to what extent does the self-fashioning of the photographer in the art market interfere with the narrative meaning of a photobook? What is the influence of the art market on the photobook or on the writing of photobook histories? And how has the art market for photobooks changed since the bibliophilic creations of the early twentieth century?

• Thirdly, unlike individual prints that become unmoored without their captions, and which can be appropriated and re-used against themselves, can a photo-text shore itself up against appropriation? Is it a privileged pedagogical medium? A self-sufficient medium? This leads to a related question: how have certain photobooks changed with time? How have famous or reprinted photobooks been differently interpreted by different audiences? What has been the afterlife of politically committed photobooks? How, and in what circumstances, have certain photobooks contributed to writing or re-writing local memory or “collective memory”, at the time of their publication and over time?

To answer these questions, specialists in the history of photography, book studies and visual studies are invited to dialogue with researchers in such disciplines as sociology, anthropology, critical race theory, queer theory, gender studies, post-colonial studies and comparative literature. Papers may be disciplinary or multidisciplinary.

Papers shall be given in English.

Proposals are due by 15 November 2018.

Send 300-word abstracts (as an email attachment in Microsoft Word format, RTF, or PDF) along with a one-page CV to

Roundtable sessions of 60 to 90 minutes may be proposed. They should be pre-organised, and include 3 to 5 panellists. To propose a roundtable, the discussion moderator will send a single 300-word abstract describing the chosen topic, as well as supplying the full details of each panellist, namely their contact information (email and phone number), affiliation and a one-page CV for each. Please be sure to confirm the participation of all panellists before submitting an abstract.

Roundtable proposals are due by 15 November 2018.

Confirmation of acceptance will be sent by 15 January 2019.

One-page/500-word abstracts must be sent by 15 February 2019.

Conference venue :

Maison Française d’Oxford

2-10 Norham Road

Oxford OX2 6SE




Paul Edwards (MFO, CNRS/LARCA, Université Paris Diderot)

Conference website :

Bibliography (selection)

AUER M. et M. (2007), Photo Books from the M+M Auer Collection, Hermance, Editions M+M.

BOOM Mattie and SUERMONDT Rik (1989), Photography between Covers: The Dutch Documentary Photobook after 1945, Amsterdam, Fragment Uitgeverij.

BOUQUERET Christian (2012), Paris. Les livres de photographies des années 1920 aux années 1950, Paris, Gründ.

DI BELLO Patrizia, WILSON Colette and ZAMIR Shamoon (eds) (2012), The Photobook: from Talbot to Ruscha and beyond, New York, I.B. Tauris.

EDWARDS Elizabeth and HART Janice (eds) (2004), Photographs Objects Histories: on the Materiality of Images, London, Routledge.

EDWARDS Paul (2016), Perle noire. Le photobook littéraire, Rennes, Presses Universitaires de Rennes.

FERNÁNDEZ Horacio (2011), The Latin American Photobook, New York, Aperture.

FERNÁNDEZ Horacio (2014), Photobooks Spain 1905-1977, Madrid, Museo Nacional Centro de Arte Reina Sofía/RM/Acción Cultural Española.

FERNÁNDEZ Horacio (2017), New York in Photobooks, Barcelona, Editorial RM/Centro José Guerrero.

GIERSTBERG Frits and SUERMONDT Rik (2012), The Dutch Photobook, New York, Aperture.

KANEKO Ryuichi and VARTANIAN Ivan (2009), Japanese Photobooks of the 1960s and 70s, New York, Aperture.

KARASIK Mikhail and Heiting Manfred (2015), The Soviet Photobook 1920-1941, Göttingen, Steidl.

MEIZEL Laureline (2018), “Inventer le livre illustré par la photographie en France 1876-1897”, DPhil, Paris I University.

NEUMÜLLER Moritz and MARTIN Lesley A. (eds) (2017), Photobook Phenomenon, Barcelona, Centre de Cultura Contemporània de Barcelona/Fundació Foto Colectania/RM Editores.

PARR Martin and BADGER Gerry (2004, 2006, 2014), The Photobook: A History, 3 vols., London, Phaidon.

PARR Martin and WASSINKLUNDGREN (2016) : The Chinese Photobook: from the 1900s to the Present, New York, Aperture.

PFRUNDER Peter (2011), Swiss Photobooks from 1927 to the Present, Zurich, Lars Muller Publishers.

RITCHIN Fred and NAGGAR Carole (2016), Magnum Photobook, London, Phaidon.

ROTH Andrew (2001), The Book of 101 Books: Seminal Photographic Books of the Twentieth Century, New York, PPP Editions/Roth Horowitz.

ROTH Andrew (ed.) (2004), The Open Book: A history of the photographic book from 1878 to the present, Gothenburg, Hasselblad Center.

Just because you start a fire, does not mean you have to watch it burn.

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