Book Review: Work In Progress By Peter Essick

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Book Review: Work In Progress By Peter Essick

October 18th, 2024 by Michael Ernest Sweet

In Work in Progress Peter Essick compellingly reaffirms the vitality of photography as an art form. In an era saturated with imagery, where social media has dulled our senses to the remarkable, it is rare to encounter photographs that genuinely captivate. Yet, Essick’s latest volume does precisely that, offering a stunning collection that is both adept and refreshingly original—truly brilliant.

As photographers collectively navigate the challenges of distinguishing their work in an increasingly visually cluttered landscape, many resort to either analog techniques or drone photography, for example. While aerial perspectives have become commonplace, they have not been exhausted to the same extent as, say, street photography. Essick stands out as a pioneering voice in drone photography, presenting aerial views of construction sites in the American South that appear both wondrous and novel. Indeed, one might argue that we have not truly seen these scenes in this way before. My counsel to Essick is to act swiftly; he will undoubtedly attract imitators once others recognize that returning to film will not inherently elevate their work, just as digital techniques have often failed to do. The quest for visual uniqueness is at an all-time high, and Essick has astutely positioned himself at the forefront of this pursuit. He has hit a kind of jackpot, so to speak.

The photographs in this collection possess a monumental quality. Even in a scaled-down format, they evoke the sensation of viewing vast, imposing images. This is a distinct strength, as the powerful yet subtle nature of the photographs invites contemplation. They bear the aesthetic quality one might expect in grand displays, such as eight-foot prints showcased in a corporate art collection. For Essick’s sake, one can only hope that such prestigious venues embrace these works—they are most deserving of such recognition and reward.

Additionally, I find myself intrigued by the notion that these photographs often resemble paintings. Their inherent abstraction is accentuated by the publisher’s astute choice of matte, textured paper. In light of contemporary viewer fatigue with photorealism—an inevitable consequence of the democratization of photography—it is both refreshing and provocative to witness images that embrace abstraction, especially from a grand perspective. This contrasts sharply with the prevailing trend of macro photography abstractions focusing on mundane objects. Essick has accomplished a remarkable feat in 2024: he has created photography that stands out.

However, I must address a concern regarding Fall Line Press, the publisher of this exquisite work. While the book is undeniably beautiful, it reflects a troubling trend in which artists are often compelled to finance the production and publication of their own works—a modern form of vanity press. This practice, which publishers have dubbed “hybrid publishing” to void the accumulated stigma of “vanity press” moniker, allows publishers to evade the inherent risks of their business while normalizing a troubling paradigm. Despite the book’s stunning presentation, it is disheartening to think that Essick’s exceptional work (especially after a three-decade-long career helping promote the works of others) did not attract the investment it merits from a more established publisher like Taschen, Phaidon, or Laurence King—companies capable of assuming the financial responsibility of promoting genuine artistry and doing this photography the service it has earned.

There remains a wealth of innovative and stunning photography worthy of publication in book form. I refuse to overlook the shortcomings of the publishing industry in this regard. Publishers must take risks and shoulder financial burdens; artists already grapple with the challenges of creation and visibility. It is unjust for them to also bear the costs of publication. The solution is clear: cease the publication of mediocrity driven by celebrity or political trends, and instead champion the true artistry that resonates with audiences for its quality, originality, and inherent value. Bottom lines will then allow publishers to publish the old fashioned way, the way artists like Peter Essick deserve.

Work in Progress
By Peter Essick
Published by Fall Line Press
Released May 2024
9 x 12″ Softcover
65 Color Photographs
136 Pages
Essays by Peter Essick and Dan Chapman
ISBN 979-8-9876258-3-5

About Michael Ernest Sweet

Michael Ernest Sweet is a Canadian photographer, writer, and art critic. He is the author of The Human Fragment and Michael Sweet's Coney Island. Michael has written about photography for over a decade for publications such as the HuffPost, FStoppers, StreetPhotography.com, as well as print-based magazines like Photo Life and Digital Camera. He is the recipient of a Queen's Medal for significant contributions to the arts and education in Canada.

View all posts by Michael Ernest Sweet →

Location: Online Type: Book Review

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