Kate Greenberg

Daylight: Photographs Not Taken

Edited by Will Steacy
Introduction by Lyle Rexer

Daylight is pleased to announce the release of Photographs Not Taken (March, 2012), a project conceived and edited by Will Steacy with an introduction by Lyle Rexer. This is the third book in Daylight’s burgeoning book program.

Photographs Not Taken is a collection of photographers’ essays about failed attempts to make a picture. Editor Will Steacy asked each photographer to abandon the conventional tools needed to make a photograph­––camera, lens, film––and instead make a photograph using words, to capture the image (and its attendant memories) that never made it through the lens. In each essay, the photograph has been stripped down to its barest and most primitive form: the idea behind it. This collection provides a unique and original interpretation of the experience of photographing, and allows the reader access to a world rarely seen: the image-making process itself.

Photographs Not Taken features contributions by: Dave Anderson, Timothy Archibald, Roger Ballen, Thomas Bangsted, Juliana Beasley, Nina Berman, Elinor Carucci, Kelli Connell, Paul D’Amato, Tim Davis, KayLynn Deveney, Doug Dubois, Rian Dundon, Amy Elkins, Jim Goldberg, Emmet Gowin, Gregory Halpern, Tim Hetherington, Todd Hido, Rob Hornstra, Eirik Johnson, Chris Jordan, Nadav Kander, Ed Kashi, Misty Keasler, Lisa Kereszi, Erika Larsen, Shane Lavalette, Deana Lawson, Joshua Lutz, David Maisel, Mary Ellen Mark, Laura McPhee, Michael Meads, Andrew Moore, Richard Mosse, Zwelethu Mthethwa, Laurel Nakadate, Ed Panar, Christian Patterson, Andrew Phelps, Sylvia Plachy, Mark Power, Peter Riesett, Simon Roberts, Joseph Rodriguez, Stefan Ruiz, Matt Salacuse, Alessandra Sanguinetti, Aaron Schuman, Jamel Shabazz, Alec Soth, Amy Stein, Mark Steinmetz, Joni Sternbach, Hank Willis Thomas, Brian Ulrich, Peter Van Agtmael, Massimo Vitali, Hiroshi Watanabe, Alex Webb, and Rebecca Norris Webb.

Will Steacy (b. 1980) is an American photographer and writer based in New York. His photographs have been featured in numerous solo and group exhibitions, including venues such as the New Orleans Museum of Art, Museum of the City of New York, FotoFest Biennial, African American Museum of Art, among others, and his work is represented in major collections, including The Haggerty Museum of Art, Ogden Museum of South Art, and The Library of Congress. Steacy is a recipient of the Aperture Foundation Green Cart Photography Commission and Tierney Fellowship. His work has been published in the New Yorker, Harper’s, the Paris Review, Aperture, Newsweek, Metropolis, New York Magazine, and featured on HBO and CNN. He is represented by Mazzeo Projects in New York and Christophe Guye Gallery in Zurich.

Lyle Rexer was born in 1951. He was educated at the University of Michigan, Columbia University, and Merton College, Oxford University, which he attended as a Rhodes Scholar. He is the author of several books, including Photography’s Antiquarian Avant-Garde: The New Wave in Old Processes (2002); Jonathan Lerman: The Drawings of an Artist with Autism (2002); How to Look at Outsider Art (2005); and The Edge of Vision: The Rise of Abstraction in Photography (2009). Rexer has written many articles on art, architecture, photography and culture for a variety of publications, including The New York Times, Art in America, Modern Painters, Aperture, Metropolis, Parkett, Tate, etc., and Raw Vision. In addition, he curated “Fernando Canovas,” at the Institut Valencia d’Art Modern and “The Edge of Vision,” an exhibition of contemporary abstract photography produced in collaboration with the Aperture Foundation (now traveling through 2013). Lyle Rexer teaches at the School of Visual Arts in New York City and is a columnist for Photograph magazine.

Book Details:
5 ½ x 8 inches
232 pages
ISBN: 978-0-983231-61-5
$14.95 US/$14.95 Canadian
International distribution via Distributed Art Publishers (D.A.P.)
Available as eBook download in March 2012

Daylight is a non-profit organization dedicated to publishing art and photography via book, magazine, and multimedia programs. By exploring the space between documentary photographs and the more conceptual concerns of fine-art photography, Daylight’s high-quality, uniquely collectible art books revitalize the relationship between the photograph and the world-at-large.