UH Undergrad Curates a Book Display for the Jenkins Library
What Comes After Truth?
Books on Post-Documentary Photography
Curated by UH Photo | Video student Josh Peterson
Undergrad Joshua Peterson is one of our biggest library patrons. Library Supervisor Brooke Bailey says, “Josh always checks out the most interesting books. I love photography, so I would ask him about the books, and he always elucidated with such interesting insight and enthusiasm. I joked, ‘you should curate a book display for us.'”
Josh was geniunely interested in the idea, and Jenkins Head Librarian Catherine Essinger gave him the go-ahead. Josh not only handpicked each book on display, but he suggested new monographs for the library to purchase. Because of his expertise, the Jenkins Library now has two new acquisitions, Knit Club and The Adventures of Guille and Belinda.
The Adventures of Guille and Belinda, by Alessandra Sanguinetti
Josh writes:
“Post-documentary photography emerged in the late twentieth century as photographers began to question the assumptions and authority of a documentary practice. Traditional documentary photography is similar to photojournalism in its pursuits to inform, persuade, or advocate, often presenting images as transparent records of reality. In contrast to that, post-documentary work emphasizes uncertainty, subjectivity, and critical reflection. Rather than claiming to show the world “as it is,” post-documentary projects acknowledge that every photograph is shaped by choices: where to stand, when to press the shutter, what to exclude, and how images are sequenced or contextualized. In this sense, the photograph is not treated as evidence alone, but as a reflection of the photographer’s intentions and relationship to the subject.
Knit Club, by Carolyn Drake
Post-documentary projects often incorporate text, archival materials, staged elements, personal narrative, or conceptual strategies alongside photographic images. Traces of events and seemingly banal details are frequently used to suggest social realities indirectly, inviting viewers to read between images rather than rely on a single, authoritative account. As the post-documentary genre developed, the photobook emerged as one of its most prominent vessels for articulation and circulation. Unlike single images or exhibition displays, books allow a body of work to be reflected upon over time and shared in a democratic fashion through libraries and personal collections.
This display is comprised of a collection of photobooks from the past 18 years that represent all the messiness of contemporary documentary photography. Even though the post-documentary tradition has largely been focused in and around the United States, I tried to give a global perspective with this display. Some of them are almost entirely staged, some of them could be considered
photojournalism, but all of them contain photographs taken from the world and reckon with photography as an indexical artifact.”
Thank you for sharing your knowledge and passion, Josh!
*All books in this display are available to be checked out.