work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 With Inger  in collaboration with JENNIFER KEATS &  THE DONUT SHOP   At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  BOOK DETAILS  41 pages / 91 folds 1 unique dye sublimation print Edition of 25  Printed on Neenah Classic Crest - Solar White + Neenah UV/Ultra II 3-Ring Bound Printed with Canon imagePress C800 Color Digital Press

With Inger

in collaboration with JENNIFER KEATS & THE DONUT SHOP

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

BOOK DETAILS

41 pages / 91 folds
1 unique dye sublimation print
Edition of 25

Printed on Neenah Classic Crest - Solar White + Neenah UV/Ultra II
3-Ring Bound
Printed with Canon imagePress C800 Color Digital Press

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 With Inger  in collaboration with JENNIFER KEATS &  THE DONUT SHOP   At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  BOOK DETAILS  41 pages / 91 folds 1 unique dye sublimation print Edition of 25  Printed on Neenah Classic Crest - Solar White + Neenah UV/Ultra II 3-Ring Bound Printed with Canon imagePress C800 Color Digital Press

With Inger

in collaboration with JENNIFER KEATS & THE DONUT SHOP

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

BOOK DETAILS

41 pages / 91 folds
1 unique dye sublimation print
Edition of 25

Printed on Neenah Classic Crest - Solar White + Neenah UV/Ultra II
3-Ring Bound
Printed with Canon imagePress C800 Color Digital Press

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 With Inger  in collaboration with JENNIFER KEATS &  THE DONUT SHOP   At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  BOOK DETAILS  41 pages / 91 folds 1 unique dye sublimation print Edition of 25  Printed on Neenah Classic Crest - Solar White + Neenah UV/Ultra II 3-Ring Bound Printed with Canon imagePress C800 Color Digital Press

With Inger

in collaboration with JENNIFER KEATS & THE DONUT SHOP

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

BOOK DETAILS

41 pages / 91 folds
1 unique dye sublimation print
Edition of 25

Printed on Neenah Classic Crest - Solar White + Neenah UV/Ultra II
3-Ring Bound
Printed with Canon imagePress C800 Color Digital Press

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 With Inger  in collaboration with JENNIFER KEATS &  THE DONUT SHOP   At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  BOOK DETAILS  41 pages / 91 folds 1 unique dye sublimation print Edition of 25  Printed on Neenah Classic Crest - Solar White + Neenah UV/Ultra II 3-Ring Bound Printed with Canon imagePress C800 Color Digital Press

With Inger

in collaboration with JENNIFER KEATS & THE DONUT SHOP

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

BOOK DETAILS

41 pages / 91 folds
1 unique dye sublimation print
Edition of 25

Printed on Neenah Classic Crest - Solar White + Neenah UV/Ultra II
3-Ring Bound
Printed with Canon imagePress C800 Color Digital Press

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

 With Inger  in collaboration with JENNIFER KEATS &  THE DONUT SHOP   At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  BOOK DETAILS  41 pages / 91 folds 1 unique dye sublimation print Edition of 25  Printed on Neenah Classic Crest - Solar White + Neenah UV/Ultra II 3-Ring Bound Printed with Canon imagePress C800 Color Digital Press

With Inger

in collaboration with JENNIFER KEATS & THE DONUT SHOP

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

BOOK DETAILS

41 pages / 91 folds
1 unique dye sublimation print
Edition of 25

Printed on Neenah Classic Crest - Solar White + Neenah UV/Ultra II
3-Ring Bound
Printed with Canon imagePress C800 Color Digital Press

 work in progress: With Inger  At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.  ‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’

work in progress: With Inger

At the core of ‘With Inger’ is a chance encounter with a three-ring binder of 35mm black and white contact sheets dating from the early 1970’s. Aimée Beaubien combines her own photographs with those of a stranger. Guided by the photographs of Inger Helene Boasson, Beaubien builds bridges between past and future via the visual records of two women, unknown to one another. Through an unfolding visual expedition of the geographic, architectural, and social landscape of Iceland, Beaubien’s artists’ book embodies an incomplete archive while conjuring a woman whose works were left to the historical periphery.

‘I really didn’t know what to look for when I landed in Iceland for the month of June. Inside the reading room of a museum I systematically surveyed the names written along the spines of three-ring binders. Working my way through an army of men lined up for days and years - really wanting to find a woman represented on the shelves of contact sheets - I randomly pulled binders out to study the range of work. More than two-thirds of the way through, I almost started over, almost gave up. And then I found you.’