Loading Events

« All Events

After the Image: Making Books and Exhibitions

May 9, 2019 - May 11, 2019

  • Philip Blenkinsop / VII

    Philip Blenkinsop / VII

    “Monks, Dogs, Death and Men With Guns” Handmade Book

  • Philip Blenkinsop / VII

    Philip Blenkinsop / VII

    Blenkinsop working on his handmade book, “The Troubled South” in Biort, France 2007.

  • Philip Blenkinsop / VII

    Philip Blenkinsop / VII

    An image from Blenkinsop’s “Troubled Sout”‘ series, titled “Portrait of an Unexploded Bomb,” exhibited in Blenkinsop’s 2SnakeStudio in Bangkok 2012.

  • Sara Terry / VII

    Sara Terry / VII

    “War is Only Half the Story: 10 years of the Aftermath Project”

  • Sara Terry / VII

    Sara Terry / VII

    Lookbook

  • Sara Terry / VII

    Sara Terry / VII

    “Forgiveness And Conflict” Artist’s Book

  • Daniel Schwartz / VII

    Daniel Schwartz / VII

    “Travelling through the Eye of History“ / Exhibition View Martin-Gropius-Bau, Berlin 2011.

  • Daniel Schwartz / VII

    Daniel Schwartz / VII

    “Travelling through the Eye of History“ / Exhibition View Martin-Gropius-Bau, Berlin 2011.

  • Daniel Schwartz / VII

    Daniel Schwartz / VII

    “Travelling Through the Eye of History” And “While the Fires Burn: A Glacier Odyssey” Spread And Foldout

Introduction

This three-day workshop with Philip Blenkinsop, Daniel Schwartz and Sara Terry in Sarajevo addresses the critical period between the end of a photographic project and the moment when a designer genius embarks on squeezing your images and vision into a book that will neither make you proud nor rich, or when an artist-turned-curator hijacks them to illustrate his agenda. In other words, the period when you need to exercise an author’s authority but still want to listen to those with experience in making books and exhibitions. Generally, it is a period marked by mental exhaustion, self-doubt and, disappointment. Nothing you had envisaged in the field seems to work on pages or walls. Your ‘best’ images prevent you from seeing the true good ones, and there are gaps in the narrative which you are not able to bridge. You stare at your work and your work stares back at you. You are locked in a struggle that is neither stalemate nor armistice. What you need is a breakthrough! To see your work from the outside. But how to achieve this perspective? Moreover, not every great photographer is the best editor or curator of her/his own work.

Sometimes it is hoped that a book will make the author immortal, while exhibitions by nature are transient. Errors committed in a book can stick with you forever. Errors committed in an exhibition might challenge a reviewer, but you will survive.

Myriad photographers wander the streets with great work waiting to be published or exhibited. However, not every body of great photographs makes a lasting book or a seminal exhibition. Consequently, the workshop, while discussing the possibilities regarding the presentation of your work both on pages and in space, will ask critical questions:

  • Why, in the first place, make a book or an exhibition?
  • If you can choose, which should it be: a book or an exhibition?
  • When should you think about a book or an exhibition?
  • What are the motivation and raison d’être of a book or an exhibition?
  • Will it be a book or an exhibition that flatters your ego or that makes an impact?
  • Do you envisage a book or an exhibition before you set out to take the photographs?
  • Or do you want to turn an existing body of work into a book or an exhibition simply because you want to move on?
  • Who will publish the book? Who will host the exhibition?
  • Who is your audience?

Once these fundamental questions have been answered and the urge for a book or an exhibition persists there will be the practical and creative questions to be addressed including:

  • Must there be a narrative and if so, what?
  • What are the elements of a book dummy (maquette) and how do you create one?
  • How do you conceive an exhibition? What are its components?
  • For design and curation, do you look for outside expertise or do you go down the path of solitary confinement?
  • Do you proceed precisely, like an architect, or wildly, like a drunk? At which point do you look for help?

Finally, there are as many avenues towards a book or an exhibition as there are authors. Hence, the ultimate question that the workshop will be dealing with concerns authenticity.

Participants are expected to bring existing bodies of work or work in progress, photocopies or prints of the images considered, flat plan sketches and drafts of book dummies or maquettes (a requirement), graphic materials like (cardboard, glue, ruler, etc.). During the workshop you will spend time moving pictures around on cardboard spreads on the desk and floor rather than by scrolling InDesign files—and by studying and discussing selected books and exhibition catalogues.

Testimonials

Philip Blenkinsop

“Philip, for the first time in my life, during your workshop I could say yes to Photography with my entire heart & soul” — Habiba Nowrose

“Philip’s words and images have opened my eyes.” —  Fabio Bucciarelli, Robert Capa Gold Medal recipient

“Philip, you are an inspiration and you know how precious (and rare) it is to be around inspired, talented and genuine people. Thank you for taking the time to understand where I am today with photography and leading me to take the next step with thoughtful and implementable guidance. It has been a fascinating week upon which I believe I will build for the rest of my life.”    Patrick Firouzian

“Philip, a special thank you for putting me in a position to understand a lot of technical things, framing, shooting and use of the 35mm, but most of all, thanks for showing me the most important things you have, your human side, your motivation in teaching and last but not least to make me better understand the value of a word; one of those words that everyone uses and profers, but none or very few apply in life. Ethics. Thank you very much. For me this is the beginning of a new path. I’ll try to stay focussed and make use of your teachings. This is one of those life experiences that I will treasure.” — Roberto Bianconi

Daniel Schwartz

“I just wanted to say how much I enjoyed and appreciated your time with me last week. The editing session you did with Sara [Terry] was fantastic. I felt honored and happy that you put so much energy and thought into your deliberations. I learned so much over that time.” — Jonathan Dayman

“Thank you one more time for your advice and all your kindness. I enjoyed listening to you and I will remember it for a long time. I admire your work, I particularly like From Burma Road to Wall Street. You are a great photographer but above all great, sensitive human being.” — Malgorzata Hryniszyn

Sara Terry

“Sara and Daniel took me through a thorough editing and sequencing exercise of my work on the VII/EyesInProgress Visual Storytelling Workshop – and it was so useful. They are two very different photographers/editors, with contrasting approaches – Sara is more intuitive and works from the heart, and Daniel is more rationale and logical, working with his head – but goodness, their double act worked so well. They bounced ideas and viewpoints off each other and it really was 2+2=8. And I felt totally involved and engaged the while time. At the end, I was blown away with the value they had offered me and the confidence it has given me is invaluable. I also witnessed them doing another session – and that was brilliant too, so my experience was not a one-off. They are simply great, individually and together.” — Jonathan Dayman, Photographer

You’d be hard pressed to finder a faster, smarter reader of photographs: Sara understands almost instantly the heart of an image or a body of work, and can help shepherd a work that is not fully realized to its full potential. The workshop I took with Sara, in which she offered validation for a tricky conceptual project while also helping me strengthen and expand its framework, was easily the most valuable I’ve ever participated in. Andrew Cullen, Photographer

Terms & Conditions

Please read our Terms & Conditions and Cancellation Policy carefully before enrolling in a workshop.

Enroll Now

Scholarships

Applicants who wish to be considered for a VII Foundation grant to attend this workshop should complete the application here.

Details

Start:
May 9, 2019
End:
May 11, 2019
Event Categories:
, , , ,

Venue

Sarajevo
Sarajevo, Bosnia And Herzegowina + Google Map

Contact us

VII Photo Agency

PO Box 621
Manville, NJ
08835

+1 646-694-8447
info@viiphoto.com

Licensing & Assignments

Redux Pictures
research@reduxpictures.com
+1 212-253-0399

Stay connected

Visit the store

VII Photo Store

The VII Online Bookstore features rare, limited edition, and signed photography books by the photographers of VII.

Photographers

Members

  • Anush Babajanyan
  • Zackary Canepari
  • Jessica Dimmock
  • Linda Bournane Engelberth
  • Danny Wilcox Frazier
  • Ziyah Gafic
  • Ashley Gilbertson
  • Ron Haviv
  • Ed Kashi
  • Maciek Nabrdalik
  • Ilvy Njiokiktjien
  • Carlos Javier Ortiz
  • Ruddy Roye
  • Nichole Sobecki
  • Tomas Van Houtryve

Emeritus

  • Jocelyn Bain Hogg
  • Philip Blenkinsop
  • Stefano De Luigi
  • Gary Knight
  • Joachim Ladefoged
  • Paul Lowe
  • Christopher Morris
  • Seamus Murphy
  • Franco Pagetti
  • Daniel Schwartz
  • Maggie Steber
  • John Stanmeyer
  • Sara Terry
  • The Estate of Alexandra Boulat

Mentor Program

  • Ali Arkady
  • Leonardo Carrato
  • Sharon Castellanos
  • Fabiola Ferrero
  • Hector Guerrero
  • Christopher Lee
  • Esther Ruth Mbabazi
  • Valentina Sinis
  • Line Ørnes Søndergaard
  • Mathias Svold

Whereabouts

© 2018 - VII PHOTO AGENCY, LLC.