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making dummies

Here I've just glued the extended fold out fly-leaf into the very back of the body of Oculus. In the actual printed book it will be on a matte red paper. It contains notes on the preface and general text in the book, as well as a personal note (this note was the subject of my last blog entry "getting personal with Nabokov").

The text proofed, the layouts tweaked and final adjusted and edited image files complete. Two years of work left on a plane yesterday. Bound for The Netherlands, the files are to be hand delivered to the director of the Noorderlicht Foundation by my friend Jeroen Kramer, a Dutch (former)war photographer living in Lebanon. Last year Noorderlicht published his book Room 103. He was here in NY to give a talk at the NY Photo Festival. You can read a review of his book here. Otherwise, read more about Oculus on this blog, or here on my website.

Glued edge to edge, the book folds out nicely revealing the spreads. ...Still have to make the covers. Note: the fold out in the final published book will be red — the same paper as the red end pages.

About Oculus

We infuse the world we encounter with meaning, with social and symbolic significance based on the value we place upon representations we share. This, perhaps, is the irony of our conceptualizations: We make and share images so that we may know the world.

Oculus takes you on a personal philosophic journey that points beyond the shadow-play of images. It is a meditation on the nature of perception and existence in the gray light of this world.

Oculus, a photographic book about images, memory, and the metaphor of light.

About kenschles

Ken Schles is the author of Invisible City (1988; reprint 2015 and 2016), The Geometry of Innocence (2001), A New History of Photography: The World Outside and the Pictures In Our Heads (2007), Oculus (2011) and Night Walk (2015 and 2016). His work has been nominated for the Deutsche Börse Prize, exhibited by The Museum of Modern Art, noted by the New York Times Book Review, cited in histories of the medium (Parr/Badger, Auer & Auer, 10x10 American Photobooks) and issued by some of the foremost publishers of our time (Steidl, Hatje Cantz, Twelvetrees Press). They're considered “intellectual milestones in photography” (Süddeutsche Zeitung), “hellishly brilliant” (The New Yorker). Ken Schles’ work is included in private and public collections such as The Museum of Modern Art, The Rijksmuseum, The Metropolitan Museum of Art, Museo d"Arte Contemporanea (MACRO) Testaccio Museum, and more than 100 other museum and library collections world-wide. 
 Ken Schles is a NYFA Fellow. http://www.kenschles.com


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