It's a slim volume, but one that is bursting with life. There are no words, but you can read a lot into the 40 photos. The book is "A Social Event Archive: Volume 3," with photo selections and an essay by David Robbins.
The book is the third installment in a project, The Social Event Archive, created and maintained by Milwaukee artist Paul Druecke. Four years ago, Druecke began asking people to donate a snapshot from their photo albums to the archive.
Now with about 600 photos, the ongoing Social Event Archive unites images never intended to be associated with one another. The books collect some of the photos, which illuminate everyday life.
We recently asked Druecke about the project. Here's what he had to say.
OMC: How did you arrive at the idea of going door-to-door to collect snapshots? What were you hoping to find?
PD: These photographs document society in all of its drama, humor, banality, preciousness, weirdness and weird sameness. The medium is very democratic; accessible to everyone. Given that, I wanted to get everyone involved, or at least, let everyone know they are invited to participate. Of course, that's impossible, but how to get started? I began by going door-to-door in Milwaukee neighborhoods.
I know that people have these photos. I hope that people will take time to think about the project, and that this compels to them to contribute a photo. After visiting 200 plus houses, I had 20 photographs. Not a glamorous percentage, and yet, I didn't expect any more than that.
OMC: The project has been around now for almost four years, but were you successful from the outset? Were people eager to give you photographs or skeptical of your motives?
PD: I am always scheming for new ways to spread the invitation to contribute. It is then up to the public.
Besides a close circle of family and friends, it has never been easy to get photos. Even though people love the project -- they love the project and they love the idea -- but that doesn't always equal a contribution. I just recently figured out, that the most thoughtful people, (those most likely to contribute), take forever deciding which one photo to give.
So, it is a slow process, with lots of reminding. Let me be clear, everyone is invited to participate, but the project is not about quantity. The act of deciding on a photo, and sending it to me, this individual moment is the fuel of the project.
OMC: What's the perfect snapshot?
PD: The one that you dig out from the bottom of a jumbled drawer. The one that animates your thoughts as you place it in an envelope and send it to me.
OMC: People treasure their own photos as memories of family, friends, vacations, milestones of life. They're extremely personal. What do you think people derive from seeing other people's snapshots? Do they get them or are they almost like abstract paintings, allowing viewers to assign their own interpretations?
PD: The Archive brings together a group of photos never intended for association. Tensions result. There is a tension between the photos old status as private memorabilia, and its new one as a social document/artwork. There are tensions between particular photographs.
There are comparisons: the funny photo is not always funny, the artsy photo can seem contrived, some awkward moment can seem magical and a playful smirk can seem ominous when these different worlds collide. And there is another tension, in that this new dynamic of interrelation never manages to erase a photo's individual identity. I can still be wowed by how little Susie opening gifts on Christmas morning is distinct from the other 50 photos of "Tots at Christmas." I think people respond to how a simple shift in context can so enliven this familiar medium.
OMC: Do you plan to keep growing the archive or is there a goal which when met will signal the end of the project?
PD: I have no end in sight. I feel, that eventually, the Smithsonian will take it over.
OMC: Is there a place interested people can view the entire archive?
PD: At this point and time, no. The Web site will continue to be updated, with more photos, current exhibition info, publications, info on contributing your photo. Any questions can be addressed to Paul Druecke through the website.
OMC: Where can people buy the books?
PD: Through the Web site and at Woodland Pattern.
A Social Event Archive has been featured in exhibitions in Milwaukee, Madison, Chicago, Raleigh, N.C. and at the Liverpool Biennial in England.
Born in Brooklyn, N.Y., where he lived until he was 17, Bobby received his BA-Mass Communications from UWM in 1989 and has lived in Walker's Point, Bay View, Enderis Park, South Milwaukee and on the East Side.
He has published three non-fiction books in Italy – including one about an event in Milwaukee history, which was published in the U.S. in autumn 2010. Four more books, all about Milwaukee, have been published by The History Press.
With his most recent band, The Yell Leaders, Bobby released four LPs and had a songs featured in episodes of TV's "Party of Five" and "Dawson's Creek," and films in Japan, South America and the U.S. The Yell Leaders were named the best unsigned band in their region by VH-1 as part of its Rock Across America 1998 Tour. Most recently, the band contributed tracks to a UK vinyl/CD tribute to the Redskins and collaborated on a track with Italian novelist Enrico Remmert.
He's produced three installments of the "OMCD" series of local music compilations for OnMilwaukee.com and in 2007 produced a CD of Italian music and poetry.
In 2005, he was awarded the City of Asti's (Italy) Journalism Prize for his work focusing on that area. He has also won awards from the Milwaukee Press Club.
He has be heard on 88Nine Radio Milwaukee talking about his "Urban Spelunking" series of stories, in that station's most popular podcast.
