Across the Ravaged Land is the third and final volume in Nick Brandt's trilogy of books documenting the disappearing animals of eastern Africa. The book offers a darker vision of this world, still filled with a stunning beauty but now tragically tainted and fast disappearing at the hands of man. In addition to a range of starkly powerful animal portraits, Brandt introduces some new themes, as humans make an appearance for the first time. He also contributes two essays summing up his photographic odyssey, which has taken more than a decade of intensive work to complete.
Three years after the conclusion of his trilogy, On This Earth, A Shadow Falls Across the Ravaged Land, Nick Brandt returns to East Africa to photograph the escalating changes to the continent's natural world. In a series of epic panoramas, Brandt records the impact of man in places where animals used to roam, but no longer do. In each location, Brandt erects a life size panel of one of his animal portrait photographs, setting the panels within a world of explosive urban development, factories, wasteland and quarries. The people within the photographs are oblivious to the presence of the panels and the animals featured in them, who are now no more than ghosts in the landscape. Some of the animals in the panels appear to be looking out at these destroyed landscapes with sadness, as if lamenting the loss of the world they once inhabited. By the end, we see that it is not just the animals who are the victims in this out of control world, but also the humans. Inherit the Dust also includes plates of the original portraits of the animals that are featured in the life-size panels, the unique emotional animal portraiture for which Brandt is recognized. There are also two essays by the artist: a text about the crisis facing the conservation of the natural world in East Africa, and behind-the-scenes descriptions of Brandt's elaborate production process, with accompanying documentary photographs.
A new collection of images by celebrated photographer Nick Brandt, whose epic, disturbingly beautiful panoramas address the escalating destruction of the natural world at the hands of man. Moving into color photography for the first time, this monograph of new work from photographer Nick Brandt is both a technical tour de force of contemporary image making and an ambitiously scaled project that uses constructed sets of a scale typically seen in major film productions. Each image is a combination of two photographs taken weeks apart, almost all from the exact same camera position. The starting point of each composition is always the animal photographed in its native savannah landscape. Brandt then designs and builds sets in the precise location of the original photograph depicting the human developments, such as gas stations, highway and bridge construction sites, and bus stations, that are invading the East African landscape. A second sequence is then photographed with the completed set, populated by a large cast of people drawn from local communities and beyond. The final images are powerful composites of the two source photographs, which presents the wild animals and the people as equal victims of the environmental—both now aliens in their once-natural, once-native habitat. Including an introductory essay by Nick Brandt and a descriptive behind-the- scenes section, this new book is a must-have publication for all fans of Brandt’s work.
Nick Brandt depicts the animals of East Africa with an intimacy and artistry unmatched by other photographers who choose wildlife as their subject. He creates these majestic sepia and blue-tone photoscontrasting moments of quintessential stillness with bursts of dramatic actionby engaging with these creatures on an exceptionally intimate level, without the customary use of a telephoto lens. Evocative of classical art, from dignified portraits to sweeping natural tableaux, Brandt's images artfully and simply capture animals in their natural states of being. With a foreword by Alice Sebold and an introduction by Jane Goodall, On This Earth is a gorgeous portfolio of some of the last wild animalsand a heartfelt elegy to a vanishing world.
The must-have photography monograph of the year, this lavish oversized volume celebrates David Yarrow's unparalleled wildlife imagery. For more than two decades, legendary British photographer David Yarrow has been putting himself in harm's way to capture immersive and evocative photography of the world's most revered and endangered species. With his images heightening awareness of those species and also raising huge sums for charity and conservation, he is one of the most relevant photographers in the world today. Featuring Yarrow's 150 most iconic photographs, this book offers a truly unmatched view of some of the world's most compelling animals. The collection of stunning images, paired with Yarrow's first-person contextual narrative, offers insight into a man who will not accept second best in his relentless pursuit of excellence. David Yarrow Photography offers a balanced retrospective of his spectacular work in the wild and his staged storytelling work, which has earned him wide acclaim in the fine-art market. Yarrow rarely just takes pictures--he almost always makes them. This approach sets him apart from others in the field. Yarrow's work will awaken our collective conscience, and--true to form--he plans to donate all the royalties from this book to conservation
A highly personal, deeply political, coldly analytical and achingly optimistic account of what some consider to be one of the most important English political groupings of the 20th Century and beyond. The psycho-mythological legacy left behind by King Mob, nowadays often tied up with its assumed influence on Malcolm McLaren/the Pistols and Punk Rock (and via it's wider Situationist context, Factory Records and the Hacienda) far outweighs the physical imprint they left behind in the form of six glued together copies of it's often wildly and deliberately provocative publication, and the iconic graffiti left up around West London and beyond. From a radical working class perspective, Dave Wise (helped by brother Stuart and longtime collaborator Nick Brandt) gives a first hand account of the (loose) formation of King Mob after their core members were excluded from the Situationist International by the schism-happy Debord in 1967. (Not, unfortunately, as the story used to go, after Debord came to London looking for the crack squad of pro-situ streetfighters he'd heard about, and found Dave and Stuart W. sat in front of Match of the Day getting on the lager- it never happened). "A Critical History ." celebrates their attempt to move "from the Situationist salon to the street," whilst not shying away from identifying tactical, strategic and theoretical holes in the groups day to day actions, as seen by brothers Dave and Stuart. Plans to blow up waterfalls, getting arrested on demos dressed as pantomine horses (the back end got off in court, on the grounds he didn't know what the front end was doing seriously), sharing oversized baked bean costumes with ultra-Maoists on Vietnam marches. Getting high and hungrily devouring Coleridge, De Quincey, Rimbaud, Marx, De Sade, Breton, Joyce and Hegel. Pissing over the lectern whilst declaring the death of art at the 1968 English Surrealist convention, being (falsely) put in the frame for the 1969 Newcastle School of Art firebombing; perhaps most infamously dressing up as Santa Claus in Selfridges toy dept, Xmas 1969, and watching the chaos of consumerism unfold before them as crying children had the King Mob freely-gifted toys wrenched from their arms by confused and desperate employees. There was never any danger of King Mob withering quietly on the vine of ritualised opposition, but the downturn of the early 1970's and the apparent end of any hope for imminent social revolution as the "forthcoming horror of a totalitarian free market society of pseudo-individualism" hoved into view, hit some of them harder than they could have imagined. As more financially independent King Mob individuals drifted off into the warm embrace of various strands of bourgeois counterculture, others faced up to the harsher realities of the "capsized utopia." Some didn't make it through, as an at times unintentionally moving epilogue here recalls. Dave Wise spent the next thirty five years combining casual work on the buildings with travel and immersive writing on everything from the Portugese Revolution to Punk, from deep-ecology to the Inner City Riots of 1984. As he continues with this "maimed praxis" into his seventies, "A Critical, Hidden History" is a living, breathing account of a brief moment in time, when the light got through the cracks in the wall, and a new world felt possible. As we career into the 21st century, with Capitalism apparently in semi-permanent crisis and new (often transient) zones of opposition appearing by the month, the relevance of the playful, life affirming, non-hierarchical, anti-capitalists King Mob seems as great today as it ever did."
Having always felt secure within his small family, Manhattan high school junior Nick is unsettled to discover the existence of an older brother that his father put up for adoption many years ago.
Hongkong im Jahr 2020: Das ist medizinischer, wirtschaftlicher und vor allem auch politischer Ausnahmezustand – alles zugleich. Die Vielschichtigkeit dieser Krise lässt sich kaum in Worte fassen. Aber dafür in Bilder. Elisabeth Neudörfl hat sich auf den Weg in die lebhafte Metropole gemacht, um die Situation vor Ort fotografisch festzuhalten. Sie traf auf eine Stadt, die tief geprägt war von Protesten und ihrem Kampf um Demokratie, der Unnachgiebigkeit der Macht und dem Aufziehen der Covid-19-Pandemie. Neudörfls Bilder entstanden u.a. auf den Demonstrationsrouten und an den Universitäten. Und überall blickt man auf eine Dystopie: geschlossene Läden, Straßen ohne Verkehr, menschenleere Metrostationen. Allein die Graffiti spiegeln die Auseinandersetzungen und die Veränderungen in der Stadt. Mit diesen Aufnahmen vermag man sich selbst ein Bild der Katastrophe zu machen.
Alexey Titarenko: The city Is a novel' is the first major monograph devoted to over 20 years of the artist's distinguished career (1991-2014). The book features his autobiographical novel "City of Shadows" and a poetic visual narrative of more than 140 photographs focused on four cities: Saint Petersburg, Venice, Havana, and New York. Insightful essays about Titarenko's work are contributed by Gabriel Bauret, photography historian, critic and curator, Paris; Brett Abbott, Curator of Photography, High Museum of Art, Atlanta; and Sean Corcoran, Curator of Prints and Photographs, Museum of the City of New York.
