The essay is available in its entirety at the Journal of Artists’ Books website, but here’s an excerpt:

The page layout of the series is sensible yet jarring: the page spreads of the original books are reproduced smaller than the pages of the book-on-book itself. A white border surrounds the images of the original page spreads. This is eminently practical as the Books on Books are all the same size (7 by 9.5 inches) and the originals they commemorate are not. Thus Killip’s In Flagrante, a more typical photobook size (11 ¾ x 9 ¾ inches) fills most of the spread, while Ristelhueber’s Fait (smaller but taller and narrower at 6 ¾ x 4 ¼ inches) floats in a pool of white with a 2 inch border on the book’s fore-edge. But this is only the case when one opening of the original is reproduced within one opening of the Errata Edition; some openings are reproduced 4-up to an opening (two openings on one page). The visual effect of this layout is not unlike the old schoolboy trick of clandestinely hiding an issue of “The Amazing Spider-Man” behind a wider, taller textbook.

Read the rest at JAB Online!

Here’s a brief excerpt:

The photographers of “The Edge of Intent” revealed today’s cities as catalysts of social disparity, insatiable resource hogs, and crumbling, erstwhile places, while the show’s more conceptual image-artists used digital scissors to rearrange urban landscapes. Far beyond cheery Burnham boosterism, “The Edge of Intent” unflinchingly confronted the gulf between the fever dreams of urban visionaries and their resulting realities.

Subscribe to Photography and Culture through Berg Publishers (U.K.).

The Art Writing Workshop is a partnership between the International Art Critics Association/USA Section (AICA/USA) and the Creative Capital | Warhol Foundation Arts Writers Grant Program designed to give practicing writers the opportunity to strengthen their work through one-on-one consultations with leading art critics.

Wish me luck!

UPDATE: I received word today (11.17.2009) that I was not selected to take part in the Workshop. Oh well! It was an honor to be considered nonetheless.

Above: April 2009 Weather Report by Luke Strosnider

Awhile back, SP Weather Station – an artist-run weather station in New York – asked
me to participate in their 2009 “Weather Reports” project. In May, they sent me their
weather data for April 2009, and I was free to visually interpret it however I wanted. My
report is currently on view at AHN/VNS in Philadelphia, and the show received some
kind words in the Philadelphia Weekly!

The print will be part of an portfolio of 2009 weather reports by 12 different artists,
produced by SP Weather Station. Visit their site (or check back here) for forthcoming details.

It was great fun, so please do check it out.

By the way, Sean is an adventurous Polaroid artist in his own right, so be sure to have a look at his excellent artwork!

And if arts writing isn’t your cup of tea, do check out the other twenty (!) excellent course offerings in photography, film, video, artists’ books, web design, and more for this year’s Summer Institute. Registration is going on now!

The critics have been weighing in, and while some like the work …

“[Strosnider's histograms of Ansel Adams's landscapes] are both beautiful and funny, referencing simultaneously the landscapes of Adams photos and the concepts, like the Zone System, behind them.” Boston Cyberarts Festival founder George Fifield, interviewed on HubArts.com, April 21, 2009

others don’t:

“… Strosnider’s charts are shallow, gimmicky insider jokes.” 
Our Digital Landscape, Boston Phoenix, April 28, 2009

I guess you’ll just have to go check it out for yourself!

Photographic Resource Center at Boston University
832 Commonwealth Avenue | Boston, Massachusetts | 617.975.0600
Open Tues., Weds., Fri. from 10am-6pm | Open Thursday from 10am-8pm
Open Saturday and Sunday from 12-5pm | Closed Monday