Today, International Holocaust Remembrance Day, January 27 2019, seems like a good time to publish a link to the great British photographer Brian Griffin’s book ‘Himmelstrasse’, published by Browns Editions in a limited edition of 500 in 2015.
… In May 1942, Sobibor became fully operational and began mass gassing operations. Himmelstrasse (Heaven Street) was a cynical Nazi joke used to describe the final journey to the gas chambers.
Brian Griffin has documented the railway tracks in Poland that transported approximately three million prisoners from around Europe to the Nazi extermination camps during WWII. From the railway leading to Hitler’s Eastern Front military headquarters at the Wolf’s Lair, to the State Rail System leading to the camps of Belzec, Chelmno, Sobibor, Stutthof and Treblinka. Griffin’s haunting landscapes are an emotional and personal photographic journey that represents the relentless brutality and inhumanity of the Holocaust.
This publication was launched in September 2015 at The Photographers’ Gallery, London. Followed by a launch at the NY Art Book Fair 2015….
“There’s Jayne Mansfield, striding through New York in a tight dress. There’s fashion designer Diane von Fürstenberg, reclining on a flight with a notepad on her lap. There’s lifestyle icon Martha Stewart, leading ducks round her property dressed in a denim romper suit. They’re all here, along with Susan Sontag, Nora Ephron and countless other celebrities, intellectuals and icons of the 20th century – and all of them women.
Susan Wood, the celebrated photographer who took these shots, found that her subjects all shared certain characteristics. “The first thing is intelligence,” she says. “The second is responsiveness. And they all had tremendous energy, joie de vivre, openness. They could understand things that weren’t quite said.”…”
“History confirms it – the first photobook was made by a woman, with British photographer Anna Atkins publishing Photographs of British Algae: Cyanotype Impressions in 1843, a year before Henry Fox Talbot’s The Pencil of Nature. Still, many historians, including Allan Porter in his introduction to The Photobook: A History, dismiss Atkins’ work as “photographic prints” rather than photography.
“Unfortunately, this is far too often emblematic of the uphill battle women photobook-makers still encounter when we talk about their history,” says Russet Lederman, co-founder of 10×10 Photobooks. “As we conducted research for the How We See project, we discovered that although women photographers produce relatively equal numbers of photobooks to men, their representation in the higher-profile sectors was, and still is, disappointing.”…”