The Arctic is warming faster than any other region on earth. This rapid climate change has had a devastating effect on the region’s ecology and, consequently, on the Inuit peoples who depend on the Arctic ice for their livelihood and culture. Hailed as one of the greatest documentary photographers of our times, Ragnar Axelsson has been recording the changing face of life in the Arctic for some 30 years. This second edition of The Last Days of the Arctic (which was first published in 2010 and quickly became a rarity) presents 160 of his stunning photographs from Canada and Greenland, with superb duotone printing, captions added for the black-and-white photographs and new images. Axelsson’s gorgeous photographs show vast glaciers, sleds gliding across ice and houses buried in snow, but they also depict how the Inuit’s changing way of life prefigures the changes that are on their way to the rest of the world. Ragnar Axelsson was born in Iceland in 1958. He has been a staff photographer for Morgunbla, Iceland’s largest newspaper, since 1976. He has been traveling to the Arctic for almost three decades, and his photographs of the continent have won him worldwide recognition, with photographs and picture essays published in Life, National Geographic, Time and elsewhere. The first edition of Last Days of the Arctic, published in 2010, won critical acclaim, with photo features in The New York Times. Nominated Book of the Year in the (London) Times, it was described as “a gift for the eyes, mind and heart.” Axelsson’s documentary of the same name was aired on PBS (in the station’s Global Voices series) in 2012, also to great acclaim.
BOOK FORMAT Hardcover, 12 x 11.5 in. / 272 pgs / 34 color / 136 duotone.
PUBLISHING STATUS Pub Date 12/31/2013 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2013 p. 34
PRODUCT DETAILS ISBN 9789935420305TRADE List Price: $75.00 CDN $90.00
Published by Hatje Cantz. Text by Dr. Konrad Steffen. Interview by Freddi Langer.
Following Broken Line, a prizewinning portrait of the coast of Greenland, Olaf Otto Becker (born in Travemünde, 1959) turns his attention to the interior of the island in his new series, Above Zero. Second only to Antarctica, Greenland has the largest inland ice surfaces in the world. Becker's spectacular portraits of this region are taken during physically strenuous, sometimes life-threatening treks among glacial crevasses and melting ice floes, with a cumbersome large-format camera. His photo studies draw out the overwhelming beauty of this icy landscape, while documenting their present fragility: dust and rust in the air form black, crusty deposits, which, in conjunction with global warming, accelerate the melting of the ice sheets--with what will probably be inevitable, catastrophic results. Becker warns that even in these uninhabited regions, human actions can have fatal consequences.
Published by Joan Perlman. Foreword by Pétrún Pétursdóttir. Introduction by Lawrence Rinder. Text by Anne Brydon. Poetry by Brad Leithauser.
I traveled for many years to Iceland in my dreams. When I finally arrived there, I felt an affinity with its spare volcanic landscape; this resonance has sustained my creative work for over a decade… Joan Perlman's large-scale abstract paintings reflect the artist's enduring interest in the landscape and geologic phenomena of Iceland. This first monograph explores, through works on canvas and the video installation, "From Ice," the shifting light, colors and energy patterns of the powerful waters of the southeast coast's glacial rivers. In addition, it features a thoughtful and humorous introduction by the esteemed curator and critic, Lawrence Rinder, poetry by Brad Leithauser, an essay by cultural anthropologist Dr. Anne Brydon and photography by the Icelandic geologist Oddur Sigurdsson.
Joan Perlman was born in New York and currently lives in Los Angeles. Her work has been the subject of exhibitions in Los Angeles, San Francisco and Reykjavik. In 2008, it will be featured in a solo show at David Cunningham Projects, San Francisco.
PUBLISHER Joan Perlman
BOOK FORMAT Paperback, 8 x 9 in. / 36 pgs.
PUBLISHING STATUS Pub Date 2/1/2008 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2008 p. 179
PRODUCT DETAILS ISBN 9780970340764TRADE List Price: $24.95 CDN $33.95 GBP £22.00
AVAILABILITY In stock
in stock $24.95
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North Warning System is Donovan Wylie's third and final book of photographs on the themes of vision and power in military architecture, and draws a close to his Tower Series. Surveying a radar station just inside the Canadian Arctic, Wylie examines the detection of invisible threats through unmanned observation posts in remote regions. The development of long-range bombers and missiles after the Second World War made Canada's arctic frontier vulnerable to attack from the air. This forced Canada and the United States to jointly construct a matrix of short and long-range radar stations in the 1950s. Known as the Distant Early Warning Line, these stations provided electronic observation and surveillance capability across Canada's northern frontier throughout the Cold War. In the 1990s, these stations were upgraded to form the North Warning System (NWS) which is increasingly active—as international maritime traffic develops throughout the north, so does military presence. In North Warning System, whiteness takes on the quality of a blank canvas, a metaphor for the sweep of history.
Published by Kerber. Edited by Jutta Hülsewig-Johnen. Text by Christine Heidemann, Nicole Schuck.
For more than two months in 2006, Berlin-based artist Nicole Schuck hiked across Iceland, carrying just a rucksack and a tent. This volume collects the drawings, films and performances that resulted from her hikes, all of which helped her to process her experiences of the island.
Published by Damiani Factory. Text by Eduardo Cadava.
American photographer Sabine Mirlesse’s As If It Should Have Been a Quarry was shot in Iceland and was inspired by the country’s frequent volcanic activity, specifically the eruption in the village of Heimaey in 1973. Mirlesse's work investigates themes of impermanence, survival and humanity's connection to landscape.
Published by Louisiana Museum of Modern Art. Edited by Michael Juul Holm, Mathias Ussing Seeberg, Poul Erik Tøjner. Text by Minik Rosing, Geoff Dyer, Robert McGhee, Peter Davidson, et al.
Looming large in the cultural imagination as a wild territory to be conquered and the ultimate perimeter of human power, the seemingly untouched landscape of the Arctic has been an inspiration to artists from the Romantic age to the present. Arctic, published to accompany a major exhibition at the Louisiana Museum of Modern Art in Denmark, brings together a range of artists responding to the terrifying sublime of the Arctic, from Caspar David Friedrich to Sigmar Polke, Sophie Calle, Mark Dion and Joachim Koester. With contributions from geologists, historians, archeaologists and glaciologists, as well as a new essay by Geoff Dyer about the photographs from the nineteenth-century expeditions that provided some of the first glimpses of the region and its inhabitants, this catalogue considers the place of the Arctic in the history and culture of the West at a moment when the region is taking on a new significance as a threatened, vanishing space.
Published by Hatje Cantz. Text by Duncan Forbes, Rolf Hengesbach.
The landscape photographs of Michael Reisch (born 1964) show nature as spookily pristine and oddly frozen. Upon closer inspection, the viewer senses that something is amiss. These landscapes are indeed based on existing places, but Reisch has processed his images digitally, and arrived at a visual effect that both fascinates and disquiets in its airless perfection.
Published by MFA Publications, Museum of Fine Arts, Boston. Text by Al Miner, Yoav Rinon. Interview by Ronni Baer.
History Repeating is the first comprehensive survey of the Israeli-born photographer and video artist Ori Gersht (born 1967). This richly illustrated book presents the best of Gersht’s achingly beautiful images, and explores how he intertwines spectacles of painterly and narrative imagery with personal and collective memory, metaphysical journeys, contextualized spaces and the history of art and photography. Be it in the scars left on the sunlit yet war-torn buildings in Sarajevo, the white noise of his train journey to Auschwitz, or the clearing of trees in a forest that once stood witness to mass murder in Ukraine, Gersht’s vision bridges a history that is full of violent horror and a world of emergent, transcendent beauty. From the radiant optical glow of pollution in the atmosphere to his freeze-frame shots of shattering floral arrangements frozen by liquid nitrogen, Gersht’s calm is one that comes after the storm. In his 2010 series of Japanese landscapes, the ghostly visual static of cherry-blossom petals echo the militarism and sacrificed youth of World War II and the more recent nuclear fallout of Fukushima, but in their own extreme transience, they also manage to embody the possibility of spiritual renewal. History Repeating demonstrates the thin line between beauty and brutality and the sublime draftsmanship behind history’s various traumatic scars. History repeats itself: first as tragedy, then as unexpected beauty.
In the mid-1990s, Swiss photographer Guido Baselgia, who was born in 1953, set out with his camera to explore the Engadin valley, where he grew up. He discovered a primitive highland region in which nature developed unhindered. He went on to visit the plains of northern Finland and Norway, where, between the Arctic Circle and the Barents Sea, he found undisturbed wastelands. During his recent travels to the Bolivian Altiplano and to the Atacama Desert in Chile, Baselgia took a deeper delve into extreme landscape. Light is the dominant theme in Silberschict, a collection which, alongside previous publications Hochland and Weltraum, forms the final section of a breathtaking trilogy. The themes that formed the basis of Guido Baselgia’s work 10 years ago are explored with new depth in this masterful work.