On Wright Morris and Photo-Texts

January 29, 2020

Wright Morris, White-Sided Grain Elevator, Nebraska, 1940

 

Born in the Great Plains state of Nebraska, Wright Morris was a pioneer of what he called “photo-texts,” books that combine his photographs and words— most notably The Inhabitants (1946), The Home Place (1948), and God’s Country and My People (1968). More often than not, he focused on his home state, creating a unique and symbiotic relationship between his writings and his 4×5 images: “Two separate mediums are employed for two distinct views,” Wright said in an interview. “Only when refocused in the mind’s eye will the third view result.”

Beginning in 1934, Morris explored this new creative territory steadily for some fifteen years. At their best, Morris’s paired words and photographs do indeed shine. The lyrical text below accompanies his photograph White-Sided Grain Elevator, Nebraska, 1940, in The Home Place, which touches on the widespread loss of farms in drought-ravaged eastern Nebraska during the Great Depression:

There’s a simple reason for grain elevators, as there is for everything, but the force behind the reason, the reason for the reason, is the land and the sky. There’s too much sky out here, for one thing, too much horizontal, too many lines without stops, so that the exclamation, the perpendicular, had to come. . . . On a good day, with a slanting sun, a man can walk to the edge of his town and see the light on the next town, ten miles away. In the sea of corn, that flash of light is like a sail. It reminds a man the place is still inhabited.

 As someone who also interweaves words and photographs in my books, I’ve learned from Morris’s photo-texts that looking closely at a landscape—especially one where you’ve lived or spent considerable time—is akin to a kind of listening. If you look deeply enough—especially in a place rich in memory and poetic associations—you may very well begin to hear what you see. This became evident to me while working on my third book, My Dakota. South Dakota, where I came of age, is, like its southern neighbor Nebraska, a sparsely populated state of disappearing family farms and struggling small towns, a place dominated by space and silence and solitude, by brutal wind and extreme weather. In 2006, after my brother died unexpectedly of heart failure, it felt like all I could do was drive through the prairies and badlands of South Dakota and photograph. And I began to wonder: Does loss have its own geography?

Look closely enough and you can almost hear the low hum of loss in many of Morris’s unpeopled photographs, which seem uncannily filled with the presence of others, reflecting the sensibility of someone well acquainted with absence. And from time to time, Morris’s words address his deepest loss, which lies beneath much of his work—the death of his mother Grace, a farmer’s daughter, six days after his birth—including this passage from God’s Country and My People:

I have not forgotten. She sees the new world through my eyes. . . . The landscape lies within me and proves to be a fiction that resists erosion.

Perhaps Morris’s words “enhance and enlarge” his photographs by evoking a different kind of landscape. Ultimately, could it be that Morris’s writing—the second of his “two distinct views”—creates a kind of private and interior Nebraska, one that suggests what all that emptiness feels like to those of us who grew up on the Great Plains, a place that was also growing up in us?—Rebecca Norris Webb, from Pier 24’s Photographers Looking at Photographs: 75 Pictures from the Pilara Foundation, edited by Allie Haeusslein, published by Pier 24, 2019.

For more about the new book, including how to order it online, please follow this link.

 

New Book: Photographers Looking at Photographs

January 29, 2020

Photographers Looking at Photographs, Pier 24, 2019

 

Alex and I are honored to be part of this wonderful new book, Photographers Looking at Photographs, edited by Pier 24’s Allie Haeusslein, a kind of creative conversation with John Szarkowski’s famous book, Looking at Photographs, in which the noted MOMA curator wrote about 100 photographs from the museum’s collection. We were among 75 photographers chosen—including Mark Steinmetz, Mimi Plumb, Jim Goldberg, Deborah Luster, Alec Soth, Catherine Opie, Hank Willis Thomas, Linda Connor, Robert Polidori, and An-My Le—to write about photographs from the Pilara Foundation collection. Alex and I wrote about two of our photographic inspirations—Josef Koudelka for Alex, Wright Morris for me.—Rebecca Norris Webb

To learn more about this book—including details about how to order it online—please follow this link.

On Storms, Fathers and Daughters

January 7, 2020

©Rebecca Norris Webb, Unafraid of Storms, 2019, Rush County, Indiana, from the work-in-progress, Night Calls.

“I’m not afraid of storms, for I’m learning how to sail my ship.”—Louisa May Alcott, from the book, Little Women.

Lately, I’ve been thinking a lot about fathers and daughters, while working on the book dummy for Night Calls—about my kind and supportive 99-year-old country doctor father—a photo-text book in which all the text pieces are addressed to him, in the spirit of an extended conversation or series of epistolary prose poems. Recently I saw Greta Gerwig’s adaptation of Little Women. In that darkened Cape Cod movie theater, I was transported back to my childhood, remembering the feel of my older sister’s worn, hand-me-down copy—with its olive cover and drawing of the four March sisters. I was eight, around the time Dad quietly took me aside and said, “Becky, you can be anything you want to be.” Jo March was the first woman writer I’d ever come across, and a window of possibility opened. After watching Gerwig’s Little Women, I reread the New York Times obituary of Louisa May Alcott, who died in 1888. Growing up in Concord, Massachusetts., Alcott, besides being an Abolitionist and early feminist, was one of the few women Transcendentalists, an idealistic philosophical and social movement that counted Thoreau, Emerson, Hawthorne, and her father, Amos Bronson Alcott, among its ranks.

The lives of Amos Bronson and Louisa May were deeply intertwined—sometimes bewilderingly so. She was born on her father’s birthday, November 29, and, sadly, died of a stroke within 40 hours of his death. A more complicated picture of their relationship comes into focus in the twinned biography, Eden’s Outcasts by John Matteson, which in 2008 won the Pulitzer Prize for Biography. (Matteson said his own daughter’s fascination with the Alcotts inspired him to write the book.) The Alcott father-daughter relationship was loving, but far from easy. Her father was an idealist and a dreamer, time and again sending the family into financial ruin (they moved some 25 times in Louisa’s childhood, often just steps ahead of the creditors). Louisa—with her seemingly tireless work ethic and creative drive (she taught herself to write ambidextrously, so she could write continuously for hours)—was by far the more productive and pragmatic of the pair, eventually supporting the family for years by having the business savvy to retain the copyright of Little Women, a perennial best seller. Ultimately, they both became 19th century luminaries. But would Louisa have become the writer she was without the freedom to roam the library of Emerson—a close friend of her father’s—or without the burden of poverty to overcome? Could it be that sometimes inspiration is as complicated as love?

In my relationship with my father, he’s long been the pragmatic one (he told me he’d once dreamed of being a poet or an explorer, that is, before he turned 17, and his father died of lung cancer). Is my father’s groundedness partly why I could become the daydreamer and bookmaker that I am today? That said, I know I’m very much my father’s daughter in at least two ways. First, we share a deep love of landscape—first the rolling countryside of rural Indiana, then the Black Hills and Badlands of South Dakota. Like him, I also have a passion for looking closely, both at the natural world as well as its inhabitants, but looking at both from a compassionate distance. For in our darkest times, doesn’t someone among us have to feel for a pulse? Doesn’t someone among us have to feel for the words?—Rebecca Norris Webb, January 2020.

BROOKLYN: Signed Books Now Available

October 18, 2019

Aperture is now offering signed copies of our new book, Brooklyn: The City Within.

FINDING YOUR VISION: NYC 2019

September 4, 2018
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©Alex Webb, from the upcoming book with Rebecca Norris Webb: Brooklyn: The City Within, Aperture fall 2019

Finding Your Vision: NYC 2019, from Friday May 3, 2019-Wednesday May 8, 2019

This six-day workshop will be about finding your own unique vision of New York City by using the camera to explore the city in a direct, spontaneous way. Open to both serious amateurs and professionals alike, it is a workshop that will emphasize the development of your own personal way of seeing photographically. This workshop will also be about learning how to edit your work intuitively, and also include discussions about how to take your photography to the next level.

International students can request early acceptance. 

DEADLINE FOR EARLY ACCEPTANCE: Tuesday, Sept. 18, 2018

NOTIFICATION OF EARLY ACCEPTANCE: Monday, Sept. 24, 2018

FINAL APPLICATION DEADLINE: Monday, Sept. 24, 2018

Please note: This workshop is not for photographers who radically alter their photographs digitally.

TO BE CONSIDERED FOR THE WORKSHOP

All former workshop participants of Alex and Rebecca’s are invited to apply (no need to send images, since we already know your work), but other photographers will also be considered. If you’ve never taken a workshop from Alex and Rebecca, please email 10jpgs (72dpi; 15 inches longest side) that represent who you are as a photographer, or direct us to a series or two on your website or other online link.  If you work in a series, please include a selection from one or two personal projects –– the work that represents your passions, your obsessions. (We aren’t interested in photographs done simply to satisfy an editor or art director or client.)  Also include a short description of why you’d like to take this workshop, and what or where you’d like to photograph for the week (no more than 150 words in a word doc). Also include a short bio (not more than 100 words) that includes where you live and something about your relationship to photography.

Please write on the email’s subject line—FYV: NYC 2019—and email your application to: webbnorriswebbworkshops@gmail.com

OTHER WORKSHOP DETAILS

WORKSHOP COST: $1900 USD

WORKSHOP LIMIT: 14 PHOTOGRAPHERS

WORKSHOP LOCATION: NYFA, 20 Jay Street, 7th Floor, Dumbo, Brooklyn

THE SCHEDULE

There are two main components of this class: the spontaneous act of photographing and intuitive editing.  The workshop will begin with Alex and Rebecca, a creative team who often edit projects together (including their joint books Memory City and Alex Webb and Rebecca Norris Webb on Street Photography and the Poetic Image), who will critique each participant’s past work as a starting off point for a larger discussion about various photographic issues. By that first afternoon, participants will be working on their first assignment, which they will choose themselves. It may be a specific street, neighborhood, subculture, ethnic group, profession, family or individual; it may be photographing various events or festivals around the city, such as the Cinco de Mayo celebrations in Mexican communities around the city; it may be continuing work on an ongoing project in New York City; but it must be something that you’re passionate enough to return to every day to photograph.

 

For the rest of the workshop, we will meet in the mornings and critique as a group each student’s ongoing work. Throughout the workshop, we will try to build a coherent set of images for each photographer that will begin to represent his or her photographic stance or attitude toward the city of New York. We will view this work as a group at the end of the workshop.

 

Besides photographing and editing each day, there will also be print and book demonstrations and an editing exercise.  We will also touch on a variety of topics, including the process of photographing spontaneously and intuitively; how to photograph in cultures other than one’s own; the relationship between images (such as the sequencing and juxtaposition of photographs); how to edit photographs intuitively; an introduction on being on press with a book; how to work with a designer on a book; the practical realities of the magazine and art worlds; the emotional and psychological implications of working in color vs. black and white; the difference between images in a book and images on the wall; and how long-term projects can evolve into books and exhibitions. There will also be a chance for each participant to have a one-on-one meeting with Alex and Rebecca, and, near the end of the workshop, there is an optional long-term project review for those participants who’d like Alex and Rebecca to review and discuss a long-term project or work-in-progress that the participant is passionate about.

WHAT TO BRING THE FIRST DAY

The first day we would like all participants to bring about 30 PRINTS (NOT digital files), representing the work that they feel best represents who they are as photographers. We are interested in each participant’s individual vision, rather than whether he or she can work professionally or not. So bring the personal project or projects –– the work that represents your passions, your obsessions –– not the set of portraits done simply to satisfy an editor or art director. For the first reviews, we find that working with prints has huge benefits. The prints do not have to be fine prints: they can be cheap 4×6 machine prints, inkjet prints, etc. – just prints that enable us to see the image.

 

ADDITIONAL INFORMATION FOR THE WORKSHOP

During the week all participants will be photographing every day, except the last day. We encourage you to work digitally, but film is also an option, although a more complicated one. (For film, you’ll be responsible for film processing each night with work prints ready each morning before class; on Thursday afternoon, you’ll also need to have scans made of your week’s final edit –– for instance, at a NYC photo lab ––for the final slide show Friday night.) Those working digitally must bring a laptop and memory stick or portable hard drive. All work needs to be downloaded into a single workshop computer attached to a digital projector. (We do not have time to shut down the projector and hook up individual laptops.) We need to be able to see work (from the previous day) at the beginning of the class everyday.

©

©Rebecca Norris Webb, The Night Before the Queen Died, from the upcoming book with Alex Webb, Brooklyn: The City Within, fall 2019, Aperture Foundation

Finding Your Vision: Oaxaca Workshop 2019

July 2, 2018
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©Alex Webb, Oaxaca, Mexico, 1990, from the book, La Calle

APPLICATIONS NOW OPEN: FINDING YOUR VISION: OAXACA WORKSHOP 2019, SAT. MARCH 2-SAT. MARCH 9, 2019

This workshop will be about finding your own unique vision of the airy southern Mexican city of Oaxaca by using the camera to explore the region in a direct, spontaneous way.  Open to both serious amateurs and professionals alike, from fine art photographers to documentary photographers, from college students to seasoned photographers, it is a workshop that will emphasize the development of your own personal way of seeing photographically.  This workshop will also be about learning how to edit your work intuitively, and will include discussions about how to take your photography to the next level.

For more information about this week-long workshop, Sat. March 2-Sat. March 9, 2019, produced by La Luz Workshops, please follow this link.

OUR CUBA BOOK: BACK IN PRINT!

February 27, 2018

WORKSHOP NEWS

ONLY A FEW SPOTS LEFT: FINDING YOUR VISION: BOWEN ISLAND, CANADA: MAY 19-20, 2018. Find out more about the Fotofilmic weekend workshop here, including how to enroll online.  APPLICATION DEADLINE: APRIL 20, 2018.

DUE TO A LAST-MINUTE CANCELLATION, there’s now a space left in the five-day FINDING YOUR VISION: OSLO WORKSHOP.  Please get your applications in soonest. For emerging photographers under 40 in Norway, there is also a tuition-free scholarship available.  See below for details. Deadline: Monday, March 12.

TWO SPOTS LEFT: ART OF EDITING: STOCKHOLM at Fotografiska, Friday June 8-Sunday June 10, 2018.  Limited to only 14 photographers. Find out more about the workshop here, including how to enroll online.

LAST 2018 WORKSHOP NOW OPEN FOR APPLICATIONS: NYC IN OCTOBER

ART OF EDITING: NYC 2018: Thursday October 18-Monday, Oct. 22, 2018. Limited to only 12 photographers.

Do you know how to listen to your photographs—including how they talk to one another—in order to select and sequence your work? Learn the challenging art of selecting and sequencing your photographs in this five-day intensive workshop in New York City. This workshop is open to both serious amateurs as well as seasoned photographers who may be working on a long-term project or book. This intimate workshop is limited to 12 photographers.

HOW TO APPLY: Any former Webb Workshop student doesn’t need to formally apply by sending jpgs. Everyone else needs to email 10 small jpgs (1080 pixels on longest side, 72 dpi) from a project, an event, or recent trip to Alex and Rebecca: webbnorriswebb@gmail.com. Additionally we need a short bio (100-word limit), and short note about why you’d like to take this workshop (100-word limit).  Email Mark Davis at Webb Workshops if  you have any questions: webbnorriswebbworkshops@gmail.com

EARLY ACCEPTANCE NOTIFICATION (for former Webb Workshop students and international students): Monday, March 26, 2018

ENROLLMENT CLOSES: MONDAY, MAY 12, 2018, or whenever workshop fills.

TUITION: $1700

NEWS: EXHIBITIONS/TALKS/BOOK SIGNINGS

Friday, April 6, 4-5pm, Radius Booth, AIPAD, NYC. The Webbs will be signing copies of Violet Isle.  For those who can’t attend the signing, you can contact Radius Books to reserve your signed copy and pick it up another time during AIPAD. Email: orders@radiusbooks.org

At AIPAD, RADIUS BOOKS will also be offering the last copies of the Violet Isle limited edition, which includes two small prints, one of Alex’s and one of Rebecca’s ($200, ed. of 100). If you wish, you can reserve your limited edition ahead of time, and pick up at AIPAD.  Email: orders@radiusbooks.org

Friday, April 20th, Radius Books offices, Santa Fe, NM, book signing following by Webbs’ joint talk, “On Cuba and Collaboration” from 6-8pm

THRU APRIL 15, ETLA, MEXICO: La Calle exhibition at El Centro de las Artes de San Agustin (CASA), Etla, Mexico, curated by the Televisa Foundation.

APRIL 17, DENVER: Anderman Photograph Lecture: Alex Webb and Rebecca Norris Webb, Denver Art Museum, Hamilton Building, 7-8:30pm. Link: https://denverartmuseum.org/calendar/anderman-photography-lecture-alex-webb-rebecca-norris-webb

APRIL 20, SANTA FE: On Cuba and Collaboration: The Photographs of Alex Webb and Rebecca Norris Webb, slide talk followed by a book signing at Radius Books, Santa Fe, 6-8pm. This will also be the opening of the Webb’s Violet Isle exhibition at Radius.

APRIL 26, PACHUCA, MEXICO: Lecture by Alex Webb and Rebecca Norris Webb, FINI Photography Festival, Pachuca, Hidalgo, Mexico. La Calle exhibition, curated by the Televisa Foundation, opens on April 27 at the festival.

 

RECENTLY: WORKSHOPS, EXHIBITIONS

February 2, 2018

 

@Alex Webb, Arcahaie, Haiti; Rebecca Norris Webb, Stained Glass, both from Slant Rhymes.

 

APPLICATIONS OPENING THURSDAY, MARCH 1, 2018: ART OF EDITING: NYC 2018: Thursday October 18-Monday, Oct. 22, 2018

Do you know how to listen to your photographs—including how they talk to one another—in order to select and sequence your work? Learn the challenging ART OF EDITING and sequencing your photographs in this five-day intensive workshop in New York City. This workshop is open to both serious amateurs as well as seasoned photographers who may be working on a long-term project or book. This intimate workshop is limited to 12 photographers.

HOW TO APPLY: Any former Webb Workshop student doesn’t need to formally apply by sending jpgs. Everyone else needs to email 10 small jpgs (1080 pixels on longest side, 72 dpi) from a project, an event, or recent trip to Alex and Rebecca: webbnorriswebb@gmail.com. Additionally we need a short bio (100-word limit), and short note about why you’d like to take this workshop (100-word limit).  Email Mark Davis at Webb Workshops if  you have any questions: webbnorriswebbworkshops@gmail.com

EARLY ACCEPTANCE NOTIFICATION (for former Webb Workshop students and international students): Monday, March 26, 2018

ENROLLMENT CLOSES: MONDAY, MAY 12, 2018, or whenever workshop fills.

TUITION: $1700

CLASS LIMIT: 12 students

OTHER WORKSHOPS: CANADA AND SWEDEN

FINDING YOUR VISION: BOWEN ISLAND, CANADA: MAY 19-20, 2018. Find out more about the Fotofilmic weekend workshop here, including how to enroll online.

ART OF EDITING: STOCKHOLMat Fotografiska, Friday June 8-Sunday June 10, 2018.  We expect this intimate workshop (14 students) to fill up quickly, so we encourage you to enroll online soonest by following this link, where you can also learn more about the workshop.

OSLO SCHOLARSHIP DEADLINE: FRIDAY MARCH 12, 2018

NEW SCHOLARSHIP: APPLICATIONS NOW OPEN for the  Bilder Nordic School of Photography  Scholarship for an emerging photographer to attend Alex Webb and Rebecca Norris Webb’s Finding Your Vision workshop in Oslo this June. Applicants must be under 30, or a current student of photography, and based in Norway. This scholarship will be juried by David Chickey, publisher and creative director of Radius Books 

Learn more, including how to apply here.  DEADLINE: March 12, 2018

WAIT LIST ONLY

—WAIT LIST ONLY: FINDING YOUR VISION: OSLOJune 15-19, 2018.  Due to a cancellation there’s one spot left for this 5-day photographic workshop will be about finding your own unique vision of Oslo by using the camera to explore the city in a direct, spontaneous way.  Open to both serious amateurs and professionals alike, it is a workshop that will emphasize the development of your own personal way of seeing photographically.  This workshop will also be about learning how to edit your work intuitively, and will include personalized and immersive discussions about how to take your photography to the next level. This workshop also includes a one-on-one private portfolio review session.   LEARN MORE HERE, INCLUDING HOW TO APPLY ONLINE.

 

LA CALLE exhibition at El Centro de las Artes de San Agustin, Etla, Mexico, opens on Sunday, Feb. 18, curated by the Televisa Foundation.  Alex and Rebecca will attend the opening, which begins at 1pm, in the Galeria del Chalet.

RECENTLY: Exhibitions, Workshops

December 18, 2017

REBECCA NORRIS WEBB

ROBERT KOCH GALLERY, San Francisco, Thurs. December 7 -Feb. 10, 2018

©

©Rebecca Norris Webb, Havana, 2007, from Robert Koch Gallery, San Francisco, exhibition, BLOOMFIELD/BUSSIERES/WEBB, Nov. 18-February 10, 2018. See link here for details.

—LAST CHANCE: FINDING YOUR VISION: OSLOJune 15-19, 2018.  Due to a cancellation there’s one spot left for this 5-day photographic workshop will be about finding your own unique vision of Oslo by using the camera to explore the city in a direct, spontaneous way.  Open to both serious amateurs and professionals alike, it is a workshop that will emphasize the development of your own personal way of seeing photographically.  This workshop will also be about learning how to edit your work intuitively, and will include personalized and immersive discussions about how to take your photography to the next level. This workshop also includes a one-on-one private portfolio review session.   LEARN MORE HERE, INCLUDING HOW TO APPLY ONLINE.

—NEW WORKSHOP TO BE ANNOUNCED ON MONDAY, FEBRUARY 5.  

©Sophie Webb, Great Blue Heron, 2018, one of my “flock” of small paintings that I commissioned from Sophie for my writing desk.

This is a small painting my talented sister-in-law Sophie Webb did in memory of my beloved friend, Debra McGehee, a 5×7-inch painting that will sit on my writing desk above Wellfleet Harbor on outer Cape Cod, because Debi, one of my sources of inspiration, is never far from my thoughts. Below is her favorite poem that I often read to her over the phone while she was in hospice.

Sophie Webb is a wildlife artist, ornithological illustrator, and children’s book author (including “My Season with Penguins”). You can see more of her artwork on her website here.

Publishers Weekly review of Sophie’s “My Season with Penguins: An Antarctic Journal” here.

“Hope” is the thing with feathers—

that perches in the soul—

And sings the tune without the words—

And never stops—at all…

—Emily Dickinson.

 

BEST BOOKS/TWO SHOWS: NY, SF

December 5, 2017

PHOTO-EYE BEST BOOKS OF 2017

 So honored to have been invited to be a contributor to Photo-Eye’s Best Books of 2017. Nearly impossible to select only three books this year, I chose those I found myself turning to again and again during such an uncertain time. See this link for complete review.—Rebecca Norris Webb

—“A gust of wind sweeps in from across the lake. The curtain shifts, and suddenly everything can be seen. The scales fall from our eyes. The landscape opens. No longer are we alone: they are with us now, have been all along, all our living and all our dead.”—Teju Cole from “Blind Spot.”

— “We are in important ways the sum of the places we have walked. And because the terrain seems so contradictory — peaceful here and terrifying there — the farther we walk the less we are inclined to claim we know.”—Robert Adams from “Art Can Help.”

 —“The world seems to be divided today between those horrified to see history repeat itself and those who eagerly await its horrors.”—Charles Simic from Debi Cornwall’s “Welcome to Camp America.”

ALEX WEBB

HOWARD GREENBERG GALLERY, NY: Thursday, December 14 -Jan. 27, 2018

A

©Alex Webb, San Ysidro, California, 1978, from THE IMMIGRANTS exhibition at Howard Greenberg Gallery, opening with with work by Robert Frank, Manuel Alvarez Bravo, Dorothea Lange, and others. Opening Reception: Dec. 14. See link for details.

LAST CHANCE: TWO WORKSHOPS

—FINDING YOUR VISION: OSLOJune 15-19, 2018.  FILLING UP QUICKLY, This 5-day photographic workshop will be about finding your own unique vision of Oslo by using the camera to explore the city in a direct, spontaneous way.  Open to both serious amateurs and professionals alike, it is a workshop that will emphasize the development of your own personal way of seeing photographically.  This workshop will also be about learning how to edit your work intuitively, and will include personalized and immersive discussions about how to take your photography to the next level. This workshop also includes a one-on-one private portfolio review session.   LEARN MORE HERE, INCLUDING HOW TO APPLY ONLINE.

—A FEW SPOTS LEFT: BOOK WEEKEND @ RADIUS BOOKS, Santa Fe: April 20-22, 2018 with Alex Webb, Rebecca Norris Webb, and David Chickey, Creative director and Publisher, Radius Books. Over the course of two days, this weekend workshop will explore a variety of photobook related topics. This is an exclusive opportunity to develop your photography project with two renowned photographers and a publisher/designer, all award-winning experts in the photobook field. COST $800To apply: Please send link to your project online or 10 small jpgs (72 dpi, 15 inches on longest side) along with a short statement (not more than 250 words) about your project (as a word doc if possible), and a short bio (not more than 150 words) including where you live and your relationship to photography, to Webb Norris Webb Workshops: webbnorriswebbworkshops@gmail.com Please put BOOK WEEKEND @ RADIUS APPLICATION on the subject line of the email. MORE ABOUT THE WORKSHOP HERE.

SLANT RHYMES: REVIEWS

“Alex Webb and Rebecca Norris Webb are a married couple of photographers (friends since 1988, married since 1999) who have pursued separate careers — six books for her, 16 for him — although, inevitably, they have affected each other’s perspectives. SLANT RHYMES (La Fabrica, $45) is their attempt to chart some of these cross-influences, although, as the titular allusion to Emily Dickinson suggests, in a decidedly nonliteral way. Every spread contrasts a picture apiece by each of them, and the connections between them are mostly delicate and elusive — a hue, a texture, an incidental structural effect, now and then an object. She is more attuned to the natural world, he to the vagaries of human existence; both of them are intoxicated by color and enjoy making layered compositions in which the eye flits from close up to far back. By the end of this modest but exquisite book, even viewers unfamiliar with either of the Webbs will have a pretty good idea of their individual strengths and tendencies as well as of, as it were, their house style.”—Luc Sante, from New York Times Book Review Top Photography Books of the Season, in print December 3, 2017. OTHER SLANT RHYMES NEWS AND REVIEWS SEE PREVIOUS COLUMN.

ORDER SLANT RHYMES ONLINE HERE.