Collecting for Everyone: Photobooks as Timeless Treasures

Together with The Association of International Photography Art Dealers (AIPAD), we recently hosted a talk on collecting photobooks as part of our continued collaborative talk series, Collecting for Everyone. Photobooks carry an artist’s work into the world, preserving it for future generations to encounter while also being objects with unique histories. The discussion aimed to peel back the curtain on photobooks with some of New York City’s professional photobook enthusiasts. Noa Lin, an assistant editor at Aperture; Miwa Susuda, a photobook consultant at Dashwood Books; and Mark Ghuneim, a photobook collector and founder of Hudson St Library, shared their experiences in the photobook world.

Looking Closer at Collaboration

We covered a lot of ground, starting with the importance of photobooks to artists. The artist’s authorship was a key focus since photobook-making involves a distinct process compared to exhibition-making. A photobook allows artists to present their work in a way that enables audiences to understand and engage with it. This process is collaborative, involving the artist, designer, and publisher, to create a physical object that houses the work and distributes it geographically. This allows the work to be found in libraries and homes, reaching audiences who might not otherwise have access to an exhibition in a specific place and time.

As Noa shared, the design of each photobook is tailored to the artist’s goals at a particular time. Books can range from special objects to more utilitarian ones, depending on how the artist’s work has already been presented to the public. For instance, Ming Smith’s photobook, published by Aperture in 2020, was created to cover the scope of her work and included critical writing to establish her place in the photographic canon. This was significant since her work was not widely recognized until an exhibition at MOMA in 2023. In contrast, Aperture’s 2018 monograph of Deanna Lawson focused on a narrower theme, emphasizing the quality of the images with elegant publication details and an oversized format that mirrored her exhibited photographs.

Miwa, as a photobook consultant, highlighted that photobook enthusiasts come from diverse industries and backgrounds, often including other photographers and creatives. This diversity reflects the broad reach of photobooks. Dashwood’s, a community hub for photobook lovers, exemplifies this dynamic. Miwa emphasized the unique experience of engaging with a carefully made physical object in an age dominated by digital imagery. Holding a photobook allows for uninterrupted focus on an artist’s body of work, evoking a deeper emotional response. This emotional connection plays a crucial role in building a personal photobook collection.

Spread the Word

Mark Ghuneim, a seasoned collector, shared his philosophy that collections are meant to be shared, enabling others to appreciate the curation and intention behind them. His collection reflects a commitment to showcasing diverse perspectives and demographics. Initially collecting broadly, Mark refined his approach through conversations with experienced collectors, eventually narrowing his focus. This process made his collection a more personal and expressive endeavor.

By the end of the discussion, it was clear that collecting photobooks provides great value–through both personal discovery and investment with longevity. It’s also an excellent entry point for new collectors to explore subjects and artists of interest.

Our Pearls of Wisdom

Some advice for new collectors from the panelists:

1) Understand what to collect and why.
2) Choose books that break emotional ground or hold importance from a documentation standpoint.
3) Only purchase books that spark enthusiasm.

Happy collecting!

Words by Meredith Breech, Associate Director of Exhibitions

Photos by Jamie Pearl