1 00:00:02,120 --> 00:00:05,240 Hi. Thanks for coming. Um, this is nice. 2 00:00:06,020 --> 00:00:09,770 Welcome to the Bodleian Library, the home of books. 3 00:00:10,220 --> 00:00:14,000 Um, which is interesting for this talk, I think, um. 4 00:00:14,220 --> 00:00:18,020 I'm Phillip, I'm the photography curator here at the library. I've been here for two years, 5 00:00:18,980 --> 00:00:26,150 and I've been furiously collecting photographs and archives and all kinds of wild things to try and help the 6 00:00:26,150 --> 00:00:33,410 library to acquire what we hope will one day be one of the greatest collections of photographs in the world. 7 00:00:33,410 --> 00:00:39,950 We're getting there. We've got the archive of William Henry Fox Talbot and the archive of Daniel Meadows, 8 00:00:39,950 --> 00:00:45,190 and we're going to get the archival market and look at each other and Harrisonville and etc., etc., etc., which is good. 9 00:00:45,290 --> 00:00:46,850 It's gonna be great. That's nice. 10 00:00:48,140 --> 00:00:56,170 But there is a whole other history of photography that is represented in this library, and that is the history of photo books. 11 00:00:56,180 --> 00:00:59,089 Because history of photography is not only the history of photographs, 12 00:00:59,090 --> 00:01:04,910 it is also the history of printing or finding ways to put photographs in mass produced books without them fading. 13 00:01:04,920 --> 00:01:10,520 There's a whole wild plethora of attempts that happened in the 19th century about this, 14 00:01:10,520 --> 00:01:17,980 and we've got a lot of all these books as well, because we get. We are entitled to every book in the UK and Ireland. 15 00:01:18,280 --> 00:01:24,040 Um. Which means that we've lowkey collected one of the greatest collections of photo books in the world without even trying. 16 00:01:24,400 --> 00:01:29,390 Um, they just all come here. Um, we missed a lot. 17 00:01:29,410 --> 00:01:32,500 Of course, we don't get the American stuff necessarily. 18 00:01:32,500 --> 00:01:38,530 Or the Japanese stuff, or the Sri Lankan stuff and all that juicy good things around the world. 19 00:01:38,650 --> 00:01:45,960 Um. But because we know that this is important, we are trying to collect for the books as well as photographs. 20 00:01:46,410 --> 00:01:51,899 Um, and this is led to a remarkable acquisition that came a couple of years ago that 21 00:01:51,900 --> 00:01:57,810 was donated by a great photo book collector called Sir Charles Chadwick Healey, 22 00:01:57,840 --> 00:02:00,180 who is in the room with us today. Thank you very much. 23 00:02:00,510 --> 00:02:12,300 Um, and he gave us an incredible collection of rare photo books from the middle of the 20th century, great modernist works. 24 00:02:13,620 --> 00:02:16,160 Things by you know you've heard of man rare, right? 25 00:02:17,040 --> 00:02:23,790 You know, people like him working out how to assemble photographs in sequence, to say a things more than a photograph on its own. 26 00:02:23,790 --> 00:02:33,239 Consider. Um, and this great collection of photo books brought us a great photo books researcher, um, Donna Bretz, 27 00:02:33,240 --> 00:02:40,530 who came all the way from the University of Sydney in Australia to see this collection of photo parks. 28 00:02:40,860 --> 00:02:44,670 Um, she's our photography fellow. 29 00:02:45,480 --> 00:02:49,890 Um, she's been here for. I don't even have a. As 7 million. 30 00:02:50,010 --> 00:02:58,079 Nearly seven weeks going through our collections of photo books to find some great works that she's never seen. 31 00:02:58,080 --> 00:03:00,870 Despite being a modernist photo book expert. 32 00:03:01,470 --> 00:03:10,560 There's stuff here that she's never held in her hands before, and she's here to tell us today what she has found, why this stuff is worthwhile. 33 00:03:11,570 --> 00:03:17,140 What do we need to do with it? Well, um, I am delighted to have, uh. 34 00:03:17,180 --> 00:03:22,490 Um. Donna is the chair of the history of art at the University of Sydney. 35 00:03:22,670 --> 00:03:30,190 She's published widely on mid century photography, particularly on, um, German photography. 36 00:03:30,200 --> 00:03:33,880 She's got a really wonderful book on post 45, German photography. 37 00:03:33,890 --> 00:03:38,030 Really good. What's it called? Talk of new place, photography and place. 38 00:03:39,140 --> 00:03:42,900 Yeah, it's a pretty generic name, and it's a long time ago. 39 00:03:43,720 --> 00:03:48,709 Anyway, she's going to walk us through the research that she's been doing in the Bodleian collections. 40 00:03:48,710 --> 00:03:51,860 I am very pleased to have, uh, please put your hands together for Diana Bracks. 41 00:03:58,130 --> 00:04:01,910 Thank you for that. That was such a lovely introduction. You made me sound like. 42 00:04:01,910 --> 00:04:06,220 I know something is really lovely. Thank you. Uh, thanks, everyone for coming. 43 00:04:06,230 --> 00:04:09,410 Um, it's great to see, um, so many people here today. 44 00:04:09,950 --> 00:04:17,689 Uh, so I wanted to start by, um, recognising and paying my respect to the people of the Indian nation on whose 45 00:04:17,690 --> 00:04:22,550 unceded lands I live and work and whose knowledge is embedded in country. 46 00:04:23,060 --> 00:04:26,150 I extend that respect to any First Nations people here today. 47 00:04:27,260 --> 00:04:33,350 I'd also like to extend my sincere gratitude to the Bodleian librarian, Richard Irvington. 48 00:04:34,040 --> 00:04:38,300 Doctor Christopher Fletcher, uh, Keeper of Special Collections here at the board. 49 00:04:38,870 --> 00:04:42,740 Uh, curator of photographs, Philip Roberts. Thank you for that lovely introduction. 50 00:04:43,220 --> 00:04:46,340 Um, the Bodleian Library fellowship program. 51 00:04:46,370 --> 00:04:48,169 Who have made this possible? 52 00:04:48,170 --> 00:04:57,379 And also the donors for the Sloan Fellow in Photography, um, to Doctor Alexander Franklin and Rachel Lane Smith to Trinity College, 53 00:04:57,380 --> 00:05:05,150 and Professor Jeffrey Bateson for hosting me and for my dear friends here and the new and old in Oxford, who have kept me fed and watered. 54 00:05:05,160 --> 00:05:06,830 So thank you very much and welcome. 55 00:05:08,240 --> 00:05:16,790 Um, most particularly, I'd like to thank Sir Charles Jeffrey Healey for donating this extraordinary collection of photo books, 56 00:05:16,790 --> 00:05:21,920 which, yes, took me all the way here from Sydney. Um, and he's here today. 57 00:05:22,250 --> 00:05:29,840 But as Philip said, there is a there are so many books that, of course, there's no way we could actually access them in Australia. 58 00:05:29,850 --> 00:05:33,710 So it's been quite a remarkable, um, six and a half weeks so far. 59 00:05:35,000 --> 00:05:45,170 So this is a photograph of books by one of the earliest proponents of photography, William Henry Fox Talbot, titled A scene in a library. 60 00:05:45,830 --> 00:05:49,430 It may be a photograph of books, but it's not a photo book. 61 00:05:50,240 --> 00:06:03,170 It did, however, feature in Fox Talbot's first photo book series, titled The Pencil of Nature, issued in six fascicles between 1844 and 1846. 62 00:06:03,920 --> 00:06:08,840 But what is a photo book, you might ask? Since I started this project, so many people have asked me. 63 00:06:09,960 --> 00:06:17,490 There are different opinions, with some commentators discounting Anna Atkins talk of Siena talks from 1843, 64 00:06:17,490 --> 00:06:21,560 arguing that it might be a book and they might be images. 65 00:06:21,570 --> 00:06:26,370 It's not a photo book because they don't consider the cyanotype to be photographs. 66 00:06:27,180 --> 00:06:33,120 These questions and differences point to the inherent challenges of photographic ontology, 67 00:06:33,420 --> 00:06:38,190 but also to definitions in general about what is and what isn't a particular medium. 68 00:06:38,850 --> 00:06:43,620 And I'm not going to go into that because that is like a huge subject on its own. 69 00:06:44,580 --> 00:06:51,330 Putting that aside. My talk today will focus on modernist books from the 1920s and 30s that predominantly feature 70 00:06:51,330 --> 00:06:58,950 photographs by either a single or a small number of photographers or artists working with photography, 71 00:06:59,460 --> 00:07:01,800 where the image is actually the primary concern. 72 00:07:02,430 --> 00:07:10,830 Most contain text to varying degrees, but even within these very small descriptive, the range of material is vastly diverse. 73 00:07:11,430 --> 00:07:16,919 Photo books are a radical format that enabled the widespread dissemination of 74 00:07:16,920 --> 00:07:22,140 modernist aesthetics through either bespoke or commercial publishers and printers. 75 00:07:22,920 --> 00:07:31,110 So today's lecture is concerned with photo books produced by largely artists photographers, a term loosely applied that portray the everyday, 76 00:07:31,380 --> 00:07:40,800 the familiar, the practical, the ordinary via either objective or surrealist aesthetics, and its intersection with the visual languages of propaganda. 77 00:07:42,270 --> 00:07:49,440 So the burgeoning of photographic books in this period coincided with the centrality of photography to the illustrated press, 78 00:07:50,220 --> 00:07:54,390 to magazines and journalism led by several different publishing houses. 79 00:07:55,080 --> 00:08:00,270 Such progress was also enabled by advances in printing technology like the illustrated press. 80 00:08:00,630 --> 00:08:09,840 Photo books provided unprecedented means for photographers to disseminate their work beyond the studio or even exhibition remodels, 81 00:08:10,620 --> 00:08:17,370 and simultaneously and the same benefits were recognised as a means to reach the wider public to disseminate social, 82 00:08:17,580 --> 00:08:20,340 cultural or political material which will see. 83 00:08:21,840 --> 00:08:30,210 Suffice to say that the book was central to the development of modernist practice and thought across the literary and also the visual arts. 84 00:08:31,230 --> 00:08:35,639 So the first photo book published by volt was by, um, Albert Ring. 85 00:08:35,640 --> 00:08:40,800 A patch titled Developed Oestrogen or The World is Beautiful. 86 00:08:41,190 --> 00:08:46,769 In 1928, he despised the title Ring of Patches. 87 00:08:46,770 --> 00:08:51,540 Original title for this book more clearly designates the concept that he desired, 88 00:08:52,500 --> 00:09:02,640 or the things things in um as a singular as well as a collective and everyday collection of plants, objects, animals, people and places. 89 00:09:03,240 --> 00:09:09,270 Each is treated in an object of manner, with the photograph acting as a descriptor of things. 90 00:09:09,480 --> 00:09:13,380 No one else I can think of can make trails look so beguiling. 91 00:09:14,640 --> 00:09:19,460 The approach comes from an object of view to photography that reduces the thing to an image, 92 00:09:19,470 --> 00:09:22,650 and in so doing we say the object in a very different way. 93 00:09:23,620 --> 00:09:28,750 The object nurse is emphasised by the framing of the subject and the placement on the page. 94 00:09:30,370 --> 00:09:37,300 It is a visual concept common in what was known as New Objective or New objectivity and New vision photography. 95 00:09:37,750 --> 00:09:41,860 Uh, a bit later on, as coined by the Ballhaus Laszlo Mahoney nage. 96 00:09:42,160 --> 00:09:46,690 And we also see it made strange by the Surrealists, um, in the 1930s. 97 00:09:47,380 --> 00:09:54,910 Here, ring a patch groups various things together across the book so that the viewer encounters not just the singular images, 98 00:09:55,150 --> 00:10:02,200 both in and of themselves, but also as a collective narrative of visual connections across works of art for the viewer. 99 00:10:02,560 --> 00:10:06,070 But here the photographer designates our seeing. 100 00:10:06,730 --> 00:10:16,060 It is purposeful. The choice of images across the book and how they flow is directed to the viewer, an outcome that is not uncommon in such media. 101 00:10:16,600 --> 00:10:22,630 Proving it's not too late to make a photobook, Car Blossom produce the best selling author in the Kunst, 102 00:10:23,080 --> 00:10:30,820 translated as archetypes of art, but also sometimes by the very dull title Art forms in the Plant World. 103 00:10:31,390 --> 00:10:43,180 In 1929, four years before his early death, aged 67, the book features 120 plates of the remarkable nature of plants such as winter horsetail. 104 00:10:44,310 --> 00:10:51,300 The detail is extraordinary in these images, um, which they reportedly numbered about 6000 in total. 105 00:10:51,540 --> 00:11:00,210 Many of them are now lost, and they were originally taken to personally reference images for his work as a sculptor and also a teacher. 106 00:11:01,050 --> 00:11:08,250 The German writer and critic Walter Benjamin wrote in his 1931 essay A Small History of Photography, 107 00:11:08,490 --> 00:11:15,450 quote loss felt brought out the forms of ancient columns in horse tales the bishop's staff in a bunch of flowers, 108 00:11:15,750 --> 00:11:23,070 totem poles in chestnut, an acorn sprouts in large ten times, Gothic tracery in tasteful. 109 00:11:24,430 --> 00:11:29,470 Even today. These photographs challenge how we see and how we understand the form of plants, 110 00:11:30,430 --> 00:11:36,130 which have been transcribed as extraordinary objects made strange by the camera I. 111 00:11:37,380 --> 00:11:44,100 A cornerstone for the noise that when you objectivity movement in Germany we see both lost skilled and also 112 00:11:44,100 --> 00:11:51,929 Alvis Sanders lens and approach employed in the aesthetics of the powerhouse much later and in contemporary art, 113 00:11:51,930 --> 00:11:58,860 such as with Bert and Liberty's Aiming Magic photographs of structural types from the 1970s. 114 00:11:59,220 --> 00:12:02,100 And you can see some correlations in which I won't go into. 115 00:12:02,340 --> 00:12:09,810 But it is this kind of approach to, um, a collectively taught and collecting types of things. 116 00:12:11,490 --> 00:12:16,800 So in this same essay, Benjamin wrote of the photographs of Alexander. 117 00:12:18,580 --> 00:12:22,360 As being what he referred to as beyond portraits. 118 00:12:22,720 --> 00:12:31,630 But what was it that made it so? He asked. Benjamin conceded that Sander took the viewer through all levels and professions, 119 00:12:32,140 --> 00:12:39,070 up on one hand to the highest representations of civilisation, and down on the other to idiots. 120 00:12:39,340 --> 00:12:49,450 His words, something that we might see in common with the photographer Bill Brandt, who photographed the differing British social classes. 121 00:12:50,320 --> 00:12:57,129 Benjamin quotes Alexander Doblin in the essay who wrote this photographer pursues comparative 122 00:12:57,130 --> 00:13:03,910 photography and thereby achieves a scientific standpoint above and beyond that of photographic details. 123 00:13:04,660 --> 00:13:09,010 In other words, Sander saw beyond the surface of social structures. 124 00:13:10,020 --> 00:13:16,950 And fizzy anomic features and categorise people by social type and occupation by a painter, 125 00:13:17,190 --> 00:13:22,430 farmer, not a painter or farmer a it is just painter farmer. 126 00:13:22,440 --> 00:13:33,419 It is an object. The person is reduced to an object and an image, and therefore forms a document of the individual in the context of social hierarchy, 127 00:13:33,420 --> 00:13:38,880 as Skilton describes it, it is his observation that got Sandy into trouble. 128 00:13:40,340 --> 00:13:44,120 On seeing Saunders work, the Nazis declared it unfit. 129 00:13:44,870 --> 00:13:48,170 Here was a photographer capturing non desirable people, 130 00:13:48,620 --> 00:13:59,360 revealing the diversity of the German folk in a compelling portrait of real German people and seen as too acute in its analysis of society and class. 131 00:14:00,200 --> 00:14:05,930 Strangely ironic, given that Hitler's own features did not comply with the desired Aryan purity, 132 00:14:06,230 --> 00:14:15,630 a weakness he recognised and made efforts to overcome. In 1936, the Ministry of Culture confiscated the published edition of Athletes Gunsight. 133 00:14:16,200 --> 00:14:19,980 This book here faces of our time and destroy the printing plates. 134 00:14:20,960 --> 00:14:27,770 Relocating to Cologne. Much as Sanders, over 10,000 negatives at that time were destroyed in Allied bombing. 135 00:14:30,210 --> 00:14:37,950 Yet many other photographers took up the objective lens to record the world around them, including the rising industrialisation of Europe, 136 00:14:38,400 --> 00:14:46,620 manufacturing, advertising and design, many of whom later faced the same adversity with rising fascism throughout Europe. 137 00:14:48,320 --> 00:14:51,920 Books can be dangerous. And I also don't behave. 138 00:14:52,430 --> 00:14:59,420 They don't lie flat. This surfaces reflect light and they're often fragile, reminding us that these objects have been made, 139 00:14:59,720 --> 00:15:04,880 bought, handled, caressed, sold, collected, categorised or archived. 140 00:15:05,570 --> 00:15:06,290 In other words, 141 00:15:06,290 --> 00:15:14,810 they have a life and the books as objects tell us as much about themselves as I do about the images they hold and those that made them. 142 00:15:16,480 --> 00:15:21,370 The haptic materiality of a book is therefore often unexpected, 143 00:15:21,610 --> 00:15:25,929 and I've had some moments looking at the books in this collection where I have 144 00:15:25,930 --> 00:15:31,060 had quite a few surprises in gingerly opening the first book here in January. 145 00:15:31,300 --> 00:15:41,290 Germaine Kroll's Mittal I encountered firstly, its weight, its size, the quality, thickness and texture of the cover and pages inside. 146 00:15:42,160 --> 00:15:49,870 The book comprises a portfolio of images, meaning each work is printed on a separate thick piece of card, 147 00:15:50,110 --> 00:15:56,140 and you can see one of them here, which you can actually lift, um, by itself as an object. 148 00:15:56,830 --> 00:16:03,730 So the images can be individually observed as unique items that nevertheless remain as part of a sequence of images. 149 00:16:04,570 --> 00:16:10,000 The Chadwick Heeley copy in the collection is made even more special by the fact that the book is intact. 150 00:16:10,780 --> 00:16:18,700 Many volumes are often marred by missing pages, which are either sold as individual prints, framed, or even lost. 151 00:16:20,700 --> 00:16:24,490 Studying this extraordinary book of images by Krall. 152 00:16:24,510 --> 00:16:26,430 You can see the eyes, the artist's eye, 153 00:16:26,430 --> 00:16:33,659 reflecting on the marvel of modern engineering through the lens of new vision photography with its sharp angles, 154 00:16:33,660 --> 00:16:41,050 cinematic framing, and poetic sensibility. The haptic experiences are unique, personal and intimate. 155 00:16:41,350 --> 00:16:42,520 It's just you in the book. 156 00:16:43,470 --> 00:16:52,590 This experience with photographic images that are either individual components, such as crowds at home or encountered as a viewer or reader turns. 157 00:16:52,590 --> 00:16:56,880 Each page is directed by the artist and also the reader. 158 00:16:57,780 --> 00:17:05,520 While some commentators assert the ability to rearrange the order of such images, Kroll's photographic sequence is purposeful. 159 00:17:05,760 --> 00:17:13,450 Please don't do that. The photographer determines certain relationships and meanings that read across the book, 160 00:17:14,080 --> 00:17:18,580 but it also is the reader who touches, caresses, and turns pages. 161 00:17:18,880 --> 00:17:22,510 And this is in stark contrast to what we're allowed to do in an exhibition. 162 00:17:23,470 --> 00:17:28,090 Don't try and touch something in an exhibition. You will find out pretty quickly it's not allowed. 163 00:17:29,350 --> 00:17:34,810 But photographing things may at times seem pretty dull. 164 00:17:35,560 --> 00:17:43,900 But surely with a title such as matchmaking being some glances at the British matchmaking industry in the factories of branch and May. 165 00:17:44,940 --> 00:17:49,110 This book from 1931 has its own surprises. 166 00:17:49,350 --> 00:18:00,510 I didn't expect any. Alongside what one might expect from a publication focusing on the exciting industrial progress of making matches. 167 00:18:00,930 --> 00:18:08,550 British artist Paul Nash on the writing your left, uh, Paul Nash designed the cover, 168 00:18:09,180 --> 00:18:16,800 and the American photographer Francis Perugia inflicted an avant garde aesthetic of doubling and reflections into the images. 169 00:18:17,310 --> 00:18:21,720 So you have very standard photographs of mill manufacturing. 170 00:18:22,260 --> 00:18:31,950 Uh, but then you get to these. Boucher was known for his experimentations as early as 1912, with multiple exposure, 171 00:18:32,310 --> 00:18:36,900 solar ization and abstraction across photography, film, and stage design. 172 00:18:38,000 --> 00:18:44,750 The opening text of the book, written in a chipper tone, asks the reader how lost you feel without a match. 173 00:18:45,890 --> 00:18:49,760 You cannot carry on at home. Have you a match by chance? 174 00:18:49,970 --> 00:18:54,410 Oh, no, I'm afraid I haven't. Good gracious. Very soon. 175 00:18:54,410 --> 00:18:57,530 However, someone there is usually someone at hand. 176 00:18:58,570 --> 00:19:02,980 Yes. Pleasure. They say handing over a match and all is well again. 177 00:19:03,580 --> 00:19:07,780 But supposing there was not. Imagine England waking up one morning. 178 00:19:07,900 --> 00:19:17,890 Matchless picture the awful mental and physical repercussions from so gargantuan a catastrophe, a grim spectacle it does not bear thinking about. 179 00:19:19,090 --> 00:19:27,639 The book is continuously along these lines as a company booklet distributed to employees and shareholders, 180 00:19:27,640 --> 00:19:36,550 with details on its profit sharing scheme and pension data published share value and company capital of £2 million at the time. 181 00:19:36,640 --> 00:19:40,240 It would be easy to overlook it as a purely commercial venture. 182 00:19:41,330 --> 00:19:44,600 And an egalitarian company. But. 183 00:19:46,150 --> 00:19:51,729 The cheery rhetoric and employee sentiment is indeed a far cry from the company's 19th 184 00:19:51,730 --> 00:19:57,490 century reputation for employing their 5000 workers under the so-called switching system, 185 00:19:57,970 --> 00:20:01,150 which meant workers were not covered by the British factory acts. 186 00:20:02,230 --> 00:20:12,490 In a market that sold nearly 28 million boxes of matches a year by 1860, staff were poorly paid and often fined for workplace inefficiencies. 187 00:20:13,030 --> 00:20:19,300 In 1888, the infamous London Mexico strike was held, partly in response to such poor treatment, 188 00:20:19,900 --> 00:20:25,450 but also due to the horrendous working conditions of using white phosphorus in the manufacturing 189 00:20:25,450 --> 00:20:32,860 process that led to Fossey jaw and ailment described by Charles Dickens as early as 1852. 190 00:20:33,220 --> 00:20:38,400 And this is a very gentle image, believe me. On complaining of toothache. 191 00:20:38,520 --> 00:20:42,979 Many workers were fired on the spot. It's not difficult to think of. 192 00:20:42,980 --> 00:20:49,280 This book then produced a mere 21 years after the use of white phosphorus was banned 193 00:20:49,580 --> 00:20:55,280 as an exercise in soft propaganda for a company attempting to re-establish its brand. 194 00:20:58,000 --> 00:21:00,130 As we look at Russia's doubled women, 195 00:21:00,400 --> 00:21:06,790 their faces partially obscured by the machinery and matchmaking processes that had once disfigured and killed them. 196 00:21:07,240 --> 00:21:12,340 A haunting presence is felt within these images that build a narrative across the pages. 197 00:21:14,920 --> 00:21:17,920 Engaging with doubling through multiple exposure. 198 00:21:18,070 --> 00:21:26,920 Sandwich negatives or montage in photographs lends multiple readings, often subversive, subliminal, and intentional. 199 00:21:27,670 --> 00:21:31,090 Doubling therefore produces a form or rhythm of spacing. 200 00:21:31,360 --> 00:21:34,060 According to American art critic Rosalind Krauss, 201 00:21:34,510 --> 00:21:42,790 and is listen to the notion that when an original is accompanied by its copy, it forms a simulacrum, or indeed a visual echo. 202 00:21:42,970 --> 00:21:49,190 And this is how I've read these images. Did Perugia intend for this interpretation? 203 00:21:49,430 --> 00:21:55,610 I don't know. But nevertheless, this seems to be a subversive intent, even if it is merely aesthetic, 204 00:21:55,850 --> 00:22:00,470 with the images seeming to build a narrative against the grain of the text. 205 00:22:00,950 --> 00:22:08,359 And interestingly enough, this image on the right here, um, even though it doesn't have, uh, doubling it, 206 00:22:08,360 --> 00:22:17,260 is a composite image with the landscape bereft of trees at the front, with the matches at the top in a negative. 207 00:22:17,270 --> 00:22:23,000 So he's obviously, I think, trying to convey, um, purposefully various meanings. 208 00:22:26,510 --> 00:22:34,890 In another book from the Chadwick Haley collection from 1929, bridges collaborated with the British radio drama writer Lancey Wickham, 209 00:22:35,390 --> 00:22:45,200 in which can only be described as a new media extravaganza with experiments in abstract photography, photo montage, and multiple exposure. 210 00:22:46,640 --> 00:22:51,790 In beyond this point. Which is rather strange, but I have to say, 211 00:22:52,270 --> 00:23:00,760 the viewer is directed in the first instance as to how to read the book with a handy diagram and textual directions. 212 00:23:01,000 --> 00:23:06,670 And you can see that on that middle image. And it is in this flow of energy that you start. 213 00:23:07,060 --> 00:23:13,420 You get to a point, you come back and then you go again. So the text is also written in this very strange rhythmic way. 214 00:23:16,050 --> 00:23:22,260 So the text or directions are very explicit, as the authors say. 215 00:23:22,650 --> 00:23:26,490 This book is an example of absolute collaboration. 216 00:23:27,150 --> 00:23:37,620 The text, which has been written by Siva King, is inseparable from the photographs which have been designed by you in each section of the book. 217 00:23:37,980 --> 00:23:42,090 The photograph and the texts are integral parts of each other. 218 00:23:42,360 --> 00:23:46,350 So the best that is igniting to us how we need to read this book. 219 00:23:46,980 --> 00:23:54,020 The text therefore. Works um, with rather than against the images. 220 00:23:54,320 --> 00:23:58,160 Unlike appreciates other book that I was just discussing. 221 00:23:58,670 --> 00:24:00,770 Um, and it's written in a non-linear way. 222 00:24:00,860 --> 00:24:08,150 It bleeds across pages to purposefully emphasise tensions of desire and loss, and I don't know if you can see it, but there are. 223 00:24:08,630 --> 00:24:16,910 The text basically runs from one page and bleeds onto the other across to emphasise something within the image itself. 224 00:24:19,910 --> 00:24:24,470 It. Yeah. So it brings out these tensions of desire and loss and confusion. 225 00:24:24,680 --> 00:24:30,860 And more, as the book heralds three different crises that could affect modern society. 226 00:24:31,280 --> 00:24:38,470 One. The near approach of death. Two urgings of jealousy and three sexual rhythm. 227 00:24:40,560 --> 00:24:44,290 And it's quite extraordinary. And I think this is the book that you've got, Jeff. 228 00:24:46,560 --> 00:24:50,880 Collaborations such as this are not uncommon with the avant garde modernists. 229 00:24:51,240 --> 00:24:56,760 And in the same year as Beyond This Point was published, Franz wrote and John G. 230 00:24:56,760 --> 00:25:04,200 Showed combined efforts to produce what's called Photo Alga or Photo eye 76 photos of the time. 231 00:25:04,650 --> 00:25:11,400 Democratising the medium, therefore, photo I included images by both professional and commercial photographers, 232 00:25:11,670 --> 00:25:17,460 journalists and press agencies reflecting the multitude of styles and producers at the time. 233 00:25:18,870 --> 00:25:24,240 Although published around the same time as the very famous exhibition Film and Photo, 234 00:25:24,540 --> 00:25:29,100 and often associated with it, this book was actually a separate enterprise. 235 00:25:29,550 --> 00:25:37,560 It was, however, in response to this exhibition and its very poorly illustrated catalogue that wrote And Child saw an opportunity. 236 00:25:38,530 --> 00:25:46,660 So now, despite its iconic status, largely because of this incredible image on the front by L, as it's called the constructor. 237 00:25:47,790 --> 00:25:54,330 Um, and also being voted the one of the 50 most beautiful books in 1929. 238 00:25:54,690 --> 00:26:02,940 Sales revenues were dire, with barely enough salt bar curry first impacted by the world financial crisis at the time. 239 00:26:02,940 --> 00:26:10,320 The two went on to set up a series titled called Photo Take, and you can see some of the images before I go on here, 240 00:26:10,440 --> 00:26:14,630 which, uh, press photos and asks photos and of course, photo montage. 241 00:26:14,640 --> 00:26:19,320 The book is quite extraordinary in its range of, of, uh, photographic medium. 242 00:26:20,790 --> 00:26:27,750 But they set up this company or a publishing house called Photo Tech, uh, with a desire to expand their publishing, 243 00:26:27,810 --> 00:26:35,120 um, efforts, and only published two issues, one on Moholy-Nagy and the other on npm. 244 00:26:35,490 --> 00:26:40,050 But you can see here with her uncanny visual relationships that feature throughout. 245 00:26:40,320 --> 00:26:45,629 And this is common throughout the entire book. There's a shape in one image which is then reflected in the others. 246 00:26:45,630 --> 00:26:51,060 So you read the images across these double page spreads in this extraordinary way. 247 00:26:51,270 --> 00:27:03,670 It's quite an incredible tool. But I couldn't resist including the extraordinary book by Marcia for a vote for uh, by chick uh, 248 00:27:03,970 --> 00:27:13,050 commonly known as Moya Fair uh title Paris 80 photographs from 1931, with an introduction by Fernand Léger. 249 00:27:13,780 --> 00:27:22,990 This is quite an extraordinary book. Moravia was a photographer, graphic artist and painter at the forefront of the 1920s European avant garde, 250 00:27:23,350 --> 00:27:25,600 and he was also a graduate of the powerhouse. 251 00:27:26,140 --> 00:27:34,090 The multiple exposures throughout present a compression of space and time, such as the juxtaposition of a man and cart, 252 00:27:34,090 --> 00:27:39,760 which you can see here with the latest in automobile manufacturing and also design. 253 00:27:40,570 --> 00:27:49,000 It combines the surfaces of the metropolis, roads, posters, buildings and cars with the well-dressed and also the worker, 254 00:27:49,540 --> 00:27:53,020 but most importantly along the lines of Boucher and others. 255 00:27:53,260 --> 00:27:59,920 Moravia used photo montage as a means to exploit the possibilities offered by free association. 256 00:28:00,190 --> 00:28:08,500 By bringing these images together, they reflect the workings of the unconscious mind, often seen, as you might know, in data and surrealism. 257 00:28:09,760 --> 00:28:14,440 But there are two strange images that I want to concentrate on today that work 258 00:28:14,440 --> 00:28:18,790 across the double page spread to create a certain slipperiness of meaning. 259 00:28:19,360 --> 00:28:25,510 That is unfortunately one of my bad photographs. But as I said, these books don't behave before you. 260 00:28:25,540 --> 00:28:31,330 There are two images on this double page spread of well-dressed women in street in the street, 261 00:28:31,360 --> 00:28:35,230 and they are photo montages with other images behind them. 262 00:28:36,650 --> 00:28:40,969 And these images are off street posters. On the left. 263 00:28:40,970 --> 00:28:47,570 The figure is actually superimposed on a poster designed by the Ministry of Hygiene in France, 264 00:28:47,570 --> 00:28:51,770 instructing the public as to how to defend yourself from the horrors of syphilis. 265 00:28:52,520 --> 00:29:01,099 On the right, the underlying image is of a poster for the film land, which, as I knew or The Night is ours. 266 00:29:01,100 --> 00:29:06,650 This poster here, in which an injured girl is rescued by a stranger who also happens to be a married man. 267 00:29:07,840 --> 00:29:14,080 On the poster, the two lovers are entwined, perhaps would be targets for the hygiene ministry messaging. 268 00:29:14,770 --> 00:29:19,839 This these very clearly intentional associations being multiple, 269 00:29:19,840 --> 00:29:28,540 possibly penalties for meanings to the visual language of photography that were exploited by the avant garde and also by fascists alike. 270 00:29:29,230 --> 00:29:32,950 Um, and I was quite excited to actually find the the posters. 271 00:29:32,950 --> 00:29:46,030 That took a bit of time, but it was worth it. So too did man Ray and also Paul L Bard collaborate in a spectacular book called facil in 1935. 272 00:29:46,690 --> 00:29:56,440 This is unbound copy number 2122 from the edition, which is designed in such a way that the text and images work together across the loose pages, 273 00:29:56,440 --> 00:30:03,450 as if the poems caress the body of Paul, once wife knew as the subject of the text. 274 00:30:03,460 --> 00:30:08,970 It's quite, um, an extraordinary book. The Solarise program. 275 00:30:08,970 --> 00:30:15,920 Photographs. Tend to create a shimmer or a sense of movement adding to the allure. 276 00:30:16,580 --> 00:30:19,070 Summarisation, as many of you will know, 277 00:30:19,280 --> 00:30:29,600 is a form of inversion where tonal qualities are primarily reversed by subjecting the print or the negative to light during the development process. 278 00:30:30,260 --> 00:30:38,600 This results in an image that is both positive and negative in its registers, that sometimes conflicts enough to destroy the latent image. 279 00:30:39,440 --> 00:30:45,020 The Sabatier effect, as it's also known, caused by the solar ization technique, 280 00:30:45,050 --> 00:30:50,060 is an interstitial rendering that disrupts the plane of the surface and our in visual 281 00:30:50,060 --> 00:30:56,420 engagement to such an extent that it creates what Krauss thinks of as a cleavage in reality. 282 00:30:57,330 --> 00:31:05,040 The added bonus of doing this for this book was actually discovering, which I didn't know about the unique print of man Ray. 283 00:31:05,640 --> 00:31:08,670 Oh, by a man right inserted into the book picture. 284 00:31:08,670 --> 00:31:13,770 And Charles Pinion, who was the subject of the dedication on the title page. 285 00:31:16,260 --> 00:31:20,309 That is also my very average video. Um, such discoveries. 286 00:31:20,310 --> 00:31:27,300 And this is the photograph here, which is also, again a separate piece of paper, uh, or mounted on a separate card in the book. 287 00:31:27,960 --> 00:31:31,470 Um, and I was talking to Charles earlier and he mentioned that's how he purchased it. 288 00:31:31,710 --> 00:31:35,770 Uh, which is really lovely. It's such a beautiful surprise, I think, for all of us. 289 00:31:35,790 --> 00:31:39,380 Um, yeah. Um, so that's such discoveries, though. 290 00:31:39,390 --> 00:31:42,360 And this is the dedication to pin you on the right, uh, 291 00:31:42,360 --> 00:31:49,680 the goals of archival research and highlight the centrality of collections such as this to new research. 292 00:31:51,070 --> 00:31:53,830 It's quite a beautiful image, which is really hard to see here. 293 00:31:56,890 --> 00:32:05,080 So, as several commentators have noted, these modernist aesthetics were both derided and mimicked by various right wing regimes, 294 00:32:05,080 --> 00:32:10,389 including that of the National Socialist Party. In the collection is a superb example. 295 00:32:10,390 --> 00:32:19,360 In a promotional brochure from Leni Riefenstahl's triumph this friedan's a propaganda extravaganza made for the NSDAP. 296 00:32:20,530 --> 00:32:28,600 This is an eight page brochure and incorporates photo montage as a means to convey multiple narratives across the images, 297 00:32:29,020 --> 00:32:35,950 finishing in a visual crescendo of the masses on the last page, released in 1935. 298 00:32:36,280 --> 00:32:43,479 The film incorporated modernist aesthetics of distortion with a revolutionary use of music and also cinematography, 299 00:32:43,480 --> 00:32:51,550 as it chronicled the 1934 Congress in Nuremberg, which was attended by over 700,000 Nazi supporters. 300 00:32:54,710 --> 00:32:59,060 But handling and rating these objects carries a certain weight of historical perspective. 301 00:32:59,660 --> 00:33:02,840 Who owned these books? How did they acquire them? 302 00:33:03,110 --> 00:33:06,560 Read them, share them, and what meanings and narratives transpired? 303 00:33:06,920 --> 00:33:13,910 Take, for example, the various books here, with photographs by Heinrich Hoffmann, published for the German National Socialist Party. 304 00:33:14,820 --> 00:33:17,490 Hoffman himself came from a family of photographers, 305 00:33:17,850 --> 00:33:24,180 and during his temporary relocation to London he worked for the emigre photographer Emil Otto Hoppe. 306 00:33:25,010 --> 00:33:32,000 Hofmann's pedigree was well established then. By the time he met Adolf Hitler in and around 1923. 307 00:33:32,510 --> 00:33:39,170 And after much cajoling, he finally convinced the camera shy Hitler of the propaganda opportunities of the photographic medium, 308 00:33:39,830 --> 00:33:42,830 and he became Hitler's official personal photographer. 309 00:33:44,550 --> 00:33:49,860 Hofmann's photographs were largely taken as a record of Führer's achievements and used as propaganda, 310 00:33:50,340 --> 00:33:57,870 manipulating the power of photography to create a public image of the thousand year rush and the superiority of Germany. 311 00:33:59,260 --> 00:34:04,360 But despite Hitler's acquiescence to his image being captured by the camera lens, 312 00:34:04,660 --> 00:34:08,770 each photograph was personally vetted by him before it was distributed. 313 00:34:09,580 --> 00:34:19,060 Hence, images of him wearing layers and glasses, using a magnifying glass, etc. were largely censored, and as is well known, 314 00:34:19,300 --> 00:34:23,440 Hofmann also took photographs of Hitler while he practised his speeches, 315 00:34:23,710 --> 00:34:29,170 capturing him while he determined his preferred hand movements and stances ahead of speeches. 316 00:34:29,170 --> 00:34:35,770 And apparently Hitler wanted these to be destroyed. But they weren't in effect, as we can see. 317 00:34:36,040 --> 00:34:40,780 Hitler controlled his image and exactly how it would be seen. 318 00:34:42,250 --> 00:34:50,440 So it comes as no surprise that the photo book is a cheap, mass produced and disseminated object could serve the Führer's political ambitions. 319 00:34:51,130 --> 00:34:56,260 Hoffman published at least seven books on Hitler, and his photographs served to function in many others. 320 00:34:57,380 --> 00:35:05,690 In 1933, a photo album title, battle for the Third Reich, A historical sequence of Images come from Street Trash, 321 00:35:06,020 --> 00:35:10,130 was published by The Cigarette and Beat It builder Dienst, reportedly. 322 00:35:10,250 --> 00:35:15,400 This was published um up to. About a million copies or so. 323 00:35:16,910 --> 00:35:22,970 And they sold for one right mark each. So they were purposefully designed to be accessible to the general public. 324 00:35:23,990 --> 00:35:29,930 The book's text and images chronicle the National Socialist Party's rise to power, 325 00:35:31,250 --> 00:35:35,860 culminating in the Reichstag fire and the appointment of Hitler as chancellor. 326 00:35:35,870 --> 00:35:38,930 So it's quite this big, engrossing story. 327 00:35:39,500 --> 00:35:45,170 Um, it features Hitler as a leader and Hitler at home. 328 00:35:46,130 --> 00:35:50,990 Rather, though, than being published as images in a photo book. 329 00:35:51,020 --> 00:35:55,250 Hofmann's photographs were printed a six by five inch cigarette cards. 330 00:35:55,580 --> 00:35:59,690 Many of them were coloured and distributed to the masses in cigarette packs. 331 00:36:00,050 --> 00:36:02,300 They were either in the cigarette packets or there were. 332 00:36:02,300 --> 00:36:07,700 They were little, I think, um, pieces of paper that you could then trade in for the cigarettes, um, 333 00:36:07,700 --> 00:36:12,649 cigarette cards so that you didn't miss out on any collectors would amass these 334 00:36:12,650 --> 00:36:16,820 cards and stick them into the corresponding numbered spaces throughout the book. 335 00:36:17,090 --> 00:36:25,180 And there are 273 in total. There were two editions, with the second edition omitting the paramilitary ringleader, 336 00:36:25,550 --> 00:36:30,770 Ernst Rome, who posed a threat to the Führer's ultimate power and was executed. 337 00:36:31,660 --> 00:36:36,430 Photos of Rome were removed from all publications, and this is not uncommon. 338 00:36:36,460 --> 00:36:43,120 The Russians did it. Everyone did it. Despite the book being banned also in Austria in 1934. 339 00:36:43,120 --> 00:36:46,270 Others were produced in 1936 on the Berlin Olympics. 340 00:36:46,510 --> 00:36:50,080 Pictures of German history and specialist books on Hitler himself. 341 00:36:52,220 --> 00:36:56,960 Of the very few words Hoffman ever wrote about photography, he remarked. 342 00:36:57,320 --> 00:37:01,760 Is there anything more impartial in the world than a camera? 343 00:37:04,030 --> 00:37:13,150 And yet, when one studies these photo books, we see Hoffman incorporating methods of subterfuge through montage and image manipulation. 344 00:37:13,750 --> 00:37:20,860 Take Hofmann's book Use Around Hitler from 1934, in which montage features on the cover, 345 00:37:21,760 --> 00:37:27,010 and it brings together a this wreath of youthful, adoring faces around the Führer. 346 00:37:27,960 --> 00:37:34,530 On the first page and also throughout the entire book. There are some very strange images, and you can see some of them here, 347 00:37:34,740 --> 00:37:42,000 where Hoffman has clearly manipulated and retouched the images to make children smile. 348 00:37:42,390 --> 00:37:48,719 So I'm not quite sure whether they weren't smiling or whether the image was blurry without seeing the original image. 349 00:37:48,720 --> 00:37:59,250 It's impossible to tell, but they are extraordinarily weird and very much in the vein of I that can't quite get faces right. 350 00:37:59,610 --> 00:38:04,020 They're sort of reminiscent of that. Um, and it's obviously not a very good painter. 351 00:38:04,380 --> 00:38:10,950 Uh, but they just look, um, quite extraordinary, very poorly manipulated. 352 00:38:11,190 --> 00:38:17,160 But we can see this type of manipulation across other photobooks by Hoffman, including Hitler, 353 00:38:17,310 --> 00:38:22,710 like no one else knows him, uh, which gives an intimate view into the Führer's life. 354 00:38:23,070 --> 00:38:28,590 Here, the images are manipulated through the camera, such as Hitler in the German mountains, which, 355 00:38:28,590 --> 00:38:36,989 of course, is the Teutonic natural home of the German folk, um, and his favourite dog, Blondie. 356 00:38:36,990 --> 00:38:40,620 Features. Throughout there are rallies of adoring public, 357 00:38:40,950 --> 00:38:47,730 or the happenstance of a cross appearing above Hitler's head as he departs the Marianne Kirsch in Wilhelmshaven, 358 00:38:47,970 --> 00:38:57,360 which, as the text reinforces, is a photographic coincidence which becomes a symbol and you can see the cross just above his head. 359 00:39:00,180 --> 00:39:10,020 There's also strange images where the text changes the meaning, or makes the reader see the photograph in a specific way. 360 00:39:11,130 --> 00:39:16,830 Some of these include, for instance, this image where the Führer, the sleeping Führer in a car, 361 00:39:17,160 --> 00:39:24,990 is not pictured as being weak, but rather as continuing through the night despite exhaustion. 362 00:39:25,470 --> 00:39:35,610 Um, a he still makes it, you know, to this, you know, from this huge rally, he still makes it again to the next day to see his beloved German people. 363 00:39:36,210 --> 00:39:42,000 So these images, um, uh, either manipulated through text, through the camera, 364 00:39:42,240 --> 00:39:47,520 or the images are retouched to obscure something particularly undesirable, potentially. 365 00:39:47,520 --> 00:39:56,130 I'm not quite sure. But these images for here, for instance, you can actually see that these have the legs of the child and also, 366 00:39:56,160 --> 00:40:02,100 um, of the soldier standing by him have been painted in, and I'm not quite sure why they've. 367 00:40:02,100 --> 00:40:08,160 Oh, very obvious. And also this hat seems to float somewhere is no one is actually holding it. 368 00:40:08,370 --> 00:40:15,060 So I'm not quite sure what's going on there. If only I could see again the original image, but they've been clearly manipulated, 369 00:40:16,050 --> 00:40:21,150 so I wasn't sure whether they was something wrong with the child's foot or what was going on there, but it's rather strange. 370 00:40:21,510 --> 00:40:27,030 Other images, uh, composite image is quite clearly or have been manipulated or, um, 371 00:40:27,240 --> 00:40:35,880 retouched to extent where they actually look like the entire image has been, um, manipulated from his hands right through to the face, etc. 372 00:40:36,150 --> 00:40:40,920 So it's it's kind of strange and I need to spend more time with this material. 373 00:40:43,780 --> 00:40:50,229 So, uh, other books of course, we might think about in terms of propaganda is Lee Miller's book, 374 00:40:50,230 --> 00:40:54,640 uh, Rings in Canberra or Eyes on Russia by Margaret Bourke White. 375 00:40:54,790 --> 00:40:59,829 This gorgeous book is actually dedicated to Charlie Chaplin, which was a really lovely touch, 376 00:40:59,830 --> 00:41:05,530 but we can see even with what we might think of as industrial type images, 377 00:41:05,530 --> 00:41:14,830 the aesthetics of modernism coming through in these extraordinary images, such as the new vision, aesthetics, etc. I'm conscious of the time. 378 00:41:15,520 --> 00:41:19,300 And lastly, I just want to touch on this extraordinary book. 379 00:41:22,300 --> 00:41:25,300 I struggled to carry this to the reading room. 380 00:41:25,480 --> 00:41:37,600 It is. It must weigh like 12kg. The Industry of Socialism features a photograph by Anatoly Shuriken on the cover shuriken, 381 00:41:37,600 --> 00:41:45,610 and also throughout there are photographs of him by him and also photographs by other very famous Russian photographers at the time. 382 00:41:45,850 --> 00:41:51,460 And there's also this beautiful little print in the front, which I think is trying to designate the framing for the cover. 383 00:41:53,250 --> 00:41:57,959 According to the Soviet Photo Journal at the time, the book is, above all, 384 00:41:57,960 --> 00:42:05,640 a significant piece of creative labour expounded in the most expressive language of photographic or photographic art. 385 00:42:06,030 --> 00:42:14,010 Each album, of which there is seven, is a separate chapter snatched directly from our living reality, says the review. 386 00:42:14,400 --> 00:42:20,400 And this is largely because it was designed by enlisted skin from engineering marvels. 387 00:42:21,390 --> 00:42:25,710 Peasants on tractors, pig farming, heavy industry to life at home. 388 00:42:26,070 --> 00:42:30,930 The books read as if they are a filmic translation of the photographic record. 389 00:42:31,200 --> 00:42:40,829 And indeed, Lissitzky tells us as much. Segments of the book are experienced through cut outs, framing the viewer's vision, 390 00:42:40,830 --> 00:42:50,400 and there are cut outs throughout of both of the Lenin and Stalin um, which act as a cinema screen or a viewfinder as one turns the pages. 391 00:42:50,910 --> 00:43:00,989 There are also extraordinary layers of transparent paper with graphs, um, and expounding the growth of industry, 392 00:43:00,990 --> 00:43:10,560 etc. and coloured metal, pieces of paper and all sorts of extraordinary, um, um, elements that he has incorporated into these books. 393 00:43:12,700 --> 00:43:18,070 They include multiple methods of printing and material which were available at the time. 394 00:43:18,280 --> 00:43:21,730 Paper. Film. Fabric. Metal. Plastic. 395 00:43:22,070 --> 00:43:34,510 Um, there is one series. I think they printed about 10,000 of these, and one particular fine, um, uh, separate series actually has metal on the front, 396 00:43:34,690 --> 00:43:40,480 so they differ only slightly, but one is actually much more expensive to produce than the other, obviously. 397 00:43:41,980 --> 00:43:49,300 Um it. The printing took place over nine printing works in Moscow in a very short space of time, which was a remarkable feat. 398 00:43:49,570 --> 00:43:55,420 But what I wanted to point out, which was absolutely extraordinary, are these fold outs that come out from many, 399 00:43:55,570 --> 00:44:04,990 many of the different pages so that they can get this whole long view of trains, of industry, of maps, of cities? 400 00:44:05,140 --> 00:44:07,780 So every page you turn in the book, 401 00:44:07,900 --> 00:44:16,960 there is something where you actually have to look again and to physically interact with the book to see it is quite extraordinary. 402 00:44:17,620 --> 00:44:24,400 This is where I'm going to finish this beautiful image in the section about home life and motherhood. 403 00:44:24,760 --> 00:44:28,270 Is this beautiful picture of this woman looking into the mirror. 404 00:44:28,420 --> 00:44:37,360 Whereas you turn the page, there is a cut-out, but on the next page there is actually a piece of real fabric, uh, which is sitting on top of the page. 405 00:44:37,540 --> 00:44:42,010 So it's a very textural kind of sense to the entire book. 406 00:44:42,400 --> 00:44:49,960 It's one of those things you have to go back to over several days because it's extremely exhausting, I have to say. 407 00:44:51,160 --> 00:44:57,370 But as you can see, these photobooks are really diverse, but they're also really challenging. 408 00:44:57,730 --> 00:45:04,700 And I've barely scratched the surface of this remarkable collection here with the Bodleian published close to 100 years ago. 409 00:45:04,720 --> 00:45:15,190 These books still surprise us and remind us of the power of photography and visual culture in our image set world and how important archives, 410 00:45:15,190 --> 00:45:19,750 libraries, scholars and artists are in reminding us of this very fact. 411 00:45:20,350 --> 00:45:20,800 Thank you.