Published by Strandberg Publishing. Edited by Marianne Krogh. Text by Greta Thunberg, Superflex, Dehlia Hannah, Bill McKibben, Timothy Morton, Kirsten Halsnæs, Minik Rosing, Diana Coole, Connie Hedegaard, Darren Sharpe, Alice Waters, Dehlia Hannah, Gaia Vince, Elke Krasny, Bruno Latour, Saskia Sassen, Peter Weibel, et al.
Surveying humanity's impact on the planet, with contributions from Donna Haraway, Bill McKibben, Greta Thunberg, Bruno Latour, Alice Waters and others
PUBLISHER Strandberg Publishing
BOOK FORMAT Paperback, 6.75 x 9.75 in. / 416 pgs / 140 color.
PUBLISHING STATUS Pub Date 9/15/2020 Active
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2020 p. 50
PRODUCT DETAILS ISBN 9788793604865TRADE List Price: $39.95 CDN $55.95
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
FloodZone is Miami-based Russian photographer Anastasia Samoylova’s (born 1984) account of life on the knife-edge of the Southern United States: in Florida, where sea levels are rising and hurricanes threaten. But this book is not a visualization of disaster or catastrophe. These beautifully subtle and often unsettling images capture the mood of waiting, of knowing the climate is changing, of living with it. The color palette is tropical: lush greens, azure blues, pastel pinks. But the mood is pensive and melancholy. As new luxury high-rises soar, their foundations are in water. Crumbling walls carry images of tourist paradise. Manatees appear in odd places, sensitive to environmental change. Water is everywhere and water is the problem. Mixing lyric documentary, gently staged photos and epic aerial vistas, FloodZone crosses boundaries to express the deep contradictions of the place. The carefully paced sequence of photographs, arranged as interlocking chapters, make no judgment: they simply show.
Published by Lars Müller Publishers. Edited by Mohsen Mostafavi.
Is democracy spatial? How are the physical aspects of our cities, houses, streets, and public spaces—the borders, the neighborhoods, the monuments—bearers of our values? In a world of intensifying geo-economic integration, extreme financial and geopolitical volatility, deepening environmental crises, and a dramatic new wave of popular protest against both authoritarian government and capitalist speculation, cities have become leading sites for new claims on state power and new formations of political subjectivity. This volume brings together perspectives from history, sociology, art, political theory, planning, law, and design practice to explore the urban spaces of the political. A selection of contemporary photography from around the world offers a visual refl ection of this timely investigation.
The Death and Rebirth of Glen Canyon on the Colorado
Published by Radius Books. Photographs by Mark Klett, Byron Wolfe. Text by Rebecca Solnit.
In 1963 the waters began rising behind Glen Canyon Dam and 170 miles of the Colorado River slowly disappeared as the riverbed and surrounding canyons filled with water. Environmentalists considered it a disaster and mourned Glen Canyon as gone forever. The Sierra Club joined forces with photographer Eliot Porter to document what would be lost under the dam’s waters, resulting in the publication of the landmark 1963 photobook The Place No One Knew: Glen Canyon on the Colorado.
But in an unexpected victory that speaks to the pervasive disaster of climate change, the reservoir is now declining and the Colorado River is coming back. Photographers Byron Wolfe (born 1967) and Mark Klett (born 1952), along with writer Rebecca Solnit (born 1961), spent five years exploring the place as expectations and possibilities changed, and the river reemerged at the upper end of the reservoir.
In dialogue with Porter’s book, Klett and Wolfe retraced the physical locations where Porter made his photographs, now often submerged by the reservoir’s waters. Solnit’s accompanying text meditates on the meanings and histories of the place, drawing from both the trio’s explorations and archival research.
Drowned River is a book about climate change, about “the madness of the past and the terror of the future” (as Solnit puts it). But it is also a book about how photography can describe beauty and trouble simultaneously, and what it takes to understand a place and to come to terms with the changes we have set in motion.
Published by Steidl. Introduction by Jeff L. Rosenheim.
In late September 2005, Robert Polidori traveled to New Orleans to record the destruction caused by Hurricane Katrina and by the city's broken levees. He found the streets deserted, and, without electricity, eerily dark. The next day he began to photograph, house by house: "All the places I went in, the doors were just open. They had been opened by what I collectively call Îthe army,' of maybe 20 National Guards from New Hampshire, 15 policemen from Minneapolis, 20 firefighters from New York... On maybe half of them or a third of them that I went in, I think that the occupants had been there prior. And some of them did leave certain funeral-like mementos before they left. Maybe right after the waters receded they had the chance to just--to go back to their place and just see, and realize there's nothing worth saving." Amidst all this, Polidori has found something worth saving, has created mementos for those who could not return, documenting the paradoxically beautiful wreckage. In classical terms, he has found ruins. The abandoned houses he recorded were still waterlogged as he entered and as he learned (by trial and error, a process that including finding a dead body) the language of signs and codes in which rescue workers had spray-painted each house's siding. He sees the resulting photographs as the work of a psychological witness, mapping the lives of the absent and deceased through what remains of their belongings and their homes.
Published by Cabinet. Edited by Sina Najafi. Text by Joshua Foer, D. Graham Burnett, Thomas van Leeuwen, Margaret Wertheim, Amanda Miller.
One of the four classical elements, capable of both remarkable destructive and generative effect, the heat and light product of chemical reactions that we know as fire is one of the baseline phenomena of human experience. Harnessing and controlling fire is perhaps the single most important achievement of the human animal, and its use--from cooking fires that changed diet and hunting patterns of early man to the forges in which the Industrial Revolution was born--has shaped the development of our history like no other force. Cabinet issue 32, with its special section on "Fire," features Thomas van Leeuwen on the history of fire escapes; D. Graham Burnett on the alchemy of spectroscopy; Amanda Miller on the relationship between forgery and fire; an interview with one of the world's foremost aerial firefighters and more. Elsewhere in the issue: an interview with Eyal Sivan on the cultural history of the Jaffa orange; Joshua Foer's timeline of incidents of falling from great heights; and a special portfolio of artworks and writing on the strange flatfish known as the plaice.
Since 1994 Scottish-born Canadian photographer David McMillan (born 1945) has journeyed 21 times to the Chernobyl Exclusion Zone. Inspired by his teenage memories of Nevil Shute’s On the Beach (1957), a disturbing vision of the world following nuclear war, McMillan found in Pripyat the embodiment of an irradiated city still standing but void of human life. As one of the first artists to gain access to “The Zone,” McMillan initially explored the evacuated areas with few constraints and in solitude, save for an occasional scientist monitoring the effects of radioactivity. Returning year after year enabled him to revisit the sites of earlier photographs—sometimes fortuitously, sometimes by design—bearing witness to the forces of nature as they reclaimed the abandoned communities. Above all, his commitment has been to probe the relentless dichotomy between growth and decay in The Zone.
Published by Lars Müller Publishers. By Andreas Seibert.
China’s spectacular growth has brought not just prosperity, but also serious damage to the environment. For photographer Andreas Seibert, the present state of the Huai River is a clear example of these problems. Several stretches of the river have been so seriously polluted by toxic waste that people are advised not to even touch the water. Seibert has traveled along the river from source to mouth in order to record how it changes from a stretch of water rising amidst unspoiled nature into a large and poisonous river. Pictures taken on his travels present the poor hinterlands which are generally forgotten in discussions on China, and show the people who live on and near the river—in a habitat on the brink of destruction. Andreas Seibe rt was born in 1970 in Wettingen, Aargau, Switzerland. He studied photography at the Hochschule der Künste in Zürich and German literature and philosophy at the University of Zürich. He has lived in Tokyo since 1997. His photographic work has been published in numerous international magazines and shown in exhibitions all over the world.