£55, Thames & Hudson, hardback, 240 pages, ISBN: 9780500026212
Blending photography with a physical art form creates an interesting addition to your bookshelf, says Amy Davies
The American photographer Deborah Turbeville made a name for herself as a major photographic and artistic talent in the 1970s – but it’s very hard to categorise her work as belonging to any particular style.
That said, she became well-known for work with photocollages. This book focuses solely on that aspect of her practice and makes for fascinating reading, far removed from the typical pictures we see from the era. We don’t see full colour, glossy and highly stylised fashion images that we might usually expect from 1970s fashion photography, but something which, in the modern era, probably resonates far more. We get to see how Deborah eschewed the typical style of her contemporaries working in fashion photography. She used cutting, scraping, photocopying and pinning prints together, writing in the margins and creating sequences to create pieces that are more than the sum of their parts and have lots to draw the viewer in with every creation.
In the book, which has been created after extensive research in the Deborah Turbeville archive, we see images that span both commercial and personal projects. Many of the images have been published for
