In his Habitatseries, Olaf Otto Becker (born 1959) presents idyllic dreamlike places—paradisical tableaus from the jungles of Malaysia and Indonesia. (Romantic floodplains, tree trunks slung with liana vines, niches for countless life forms—these are the untouched tropical rainforests of legend.) Even the temperate rainforest of Redwood National Parks in California seems reassuringly intact: the mammoth trees are surviving thanks to rigorous conservation measures. By contrast, in the second half of his series Becker shows what happens across the globe when international corporations clear large tracts of land and giant areas of barren, treeless terrain result. Erosion also does its work, and no life can survive in these places. In the final section, Becker presents the artificial "forests" conceived by various international architects to insert greenery into urban space.
Ever since his first visit to the Arctic in 2003, the photographer Olaf Otto Becker (*1959 in Travemünde, Germany) has returned there again and again. Starting in Ilulissat, one of the oldest settlements in western Greenland, Becker and his camera have traveled by boat on the polar sea, looking for icebergs. Like floating giants, the white mountains jut out of the water, their many majestic shapes reflected in it below. In their peaceful sublimity there is always also a sense of fragility, as he himself says: "For me, icebergs are wonderful temporal sculptures created of their own accord, yet at the same time they are also natural monuments, reminders of the continuing process of climate change, which we humans are now influencing to a great extent for the first time in the history of our planet."
Revelatory images of Siberia's rapidly transforming landscapes in the permafrost summer Siberia might not be the first place most people think of when they begin planning their summer vacation. But German photographer Olaf Otto Becker (born 1959) is no stranger to the permafrost zone: since the 1990s, he has documented remote areas such as Iceland and Greenland and gained recognition for his photographs of icebergs, capturing their increasingly ephemeral beauty in the face of climate change. In his most recent adventure, Becker trains his eye on Siberia's varied landscapes as he follows a group of researchers taking soil samples during the Russian province's unusually warm summer of 2019. Collected in this clothbound volume are a selection of Becker's most compelling images: children play in the declining harbor town of Tiksi, while inhospitably craggy cliffs loom over wet beaches like enormous abstract sculptures. Siberia's unique splendor is a sight to behold for as long as we have the opportunity to behold it.
Northern landscapes are both real places and representations, imagined spaces - notions which are bound to collide in landscape photography. In this book, photographers, academics, curators, and archivists from Germany, Finland, Scandinavia, the US, and the UK address urgent questions about environmental degradation, globalization, consumerism, and the role of new technologies of representation in relation to landscape. Wide-ranging case studies examine the interpretation, experience, and appropriation of landscape in northern Europe, northern England, Scotland, and the Nordic countries. The book explores tensions in landscape photography between an emphasis on proximity and the embodied experience of place and space, and an advocacy of distance and critical engagement and a questioning of the primacy of direct experience.
"Art is made everywhere," says Peter Piller in an interview. The forty-nine-year-old knows what he’s talking about. He has spent years looking through the archives of regional newspapers or at aerial photographs of single-family homes in Germany, then making a selection available to the public in book and exhibition form. In effect, these mostly anonymous photographs have something ridiculous, humorous, and fathomless in common. For his new series, Erscheinungen (Manifestations), Piller spent more than three years at freeway rest stops, taking pictures of the often filthy or damaged backsides of trucks displaying figures of women from ads. Because he removes all typography, however, the ladies’ gestures and poses relate to nothing. The results are meaningful, yet ultimately mysterious "manifestations." Like Piller’s other volumes, this new publication of his archive is a veritable artist’s book - a real collector’s item.
"One of the great strengths of Arctic Voices is that it shows how Alaska and the Arctic are tied to the places where most of us live. In this impassioned book, Banerjee shows a situation so serious that it has created a movement, where 'voices of resistance are gathering, are getting louder and louder.' May his heartfelt efforts magnify them. The climate changes that are coming have hit soon and hard in the Arctic, and their consequences may be starkest there."–Ian Frazier, The New York Review of Books A pristine environment of ecological richness and biodiversity. Home to generations of indigenous people for thousands of years. The location of vast quantities of oil, natural gas and coal. Largely uninhabited and long at the margins of global affairs, in the last decade Arctic Alaska has quickly become the most contested land in recent US history. World-renowned photographer, writer, and activist Subhankar Banerjee brings together first-person narratives from more than thirty prominent activists, writers, and researchers who address issues of climate change, resource war, and human rights with stunning urgency and groundbreaking research. From Gwich'in activist Sarah James's impassioned appeal, "We Are the Ones Who Have Everything to Lose," during the UN Climate Conference in Copenhagen in 2009 to an original piece by acclaimed historian Dan O'Neill about his recent trips to the Yukon Flats fish camps, Arctic Voices is a window into a remarkable region. Other contributors include Seth Kantner, Velma Wallis, Nick Jans, Debbie Miller, Andri Snaer Magnason, George Schaller, George Archibald, Cindy Shogan, and Peter Matthiessen. From the Trade Paperback edition.
The medium of photography, once reserved for a few professionals, has become ubiquitous in our digital and globalised age. Everyone at any time – whether with mobile, webcam or digital camera – takes shots of people and their immediate environs without needing any great expertise.In order to defy the inflationary omnipresence of the photograph in our everyday life, artists who today decide on the medium of photography have to develop new concepts. The 41 young photographers introduced in this publication convincingly show how they have found new ways in the 'domain of photography' to put their mind's-eye visions into practice.The Swiss duo, Tonk allow the camera to become part of an object; the Berliner, Maziar Moradi, devotes himself to documenting the life of immigrants in their alienated surroundings; Martin Denker helps himself to the world of gaming zones and avatars, while Olaf Otto Becker, Sanna Kannisto or Elina Brotherus transform traditional landscapes, e.g., by artificial lighting or the integration of biographical elements.English and German text.
The new edition of this pioneering book allows students to acquire an essential foundation for digital photography. Fully updated, it clearly and concisely covers the fundamental concepts of imagemaking, how to use digital technology to create compelling images, and how to output and preserve images in the digital world. Exploring history, methods, and theory, this text offers classroom-tested assignments and exercises from leading photographic educators, approaches for analyzing, discussing, and writing about photographs, and tools to critically explore and make images with increased visual literacy. New to this edition: New larger page format Revised and renewed to reflect technological advances Expanded coverage of smartphone/mobile photography Extended coverage of the careers section More than 100 new images
Emerging Landscapes brings together scholars and practitioners working in a wide range of disciplines within the fields of the built environment and visual arts to explore landscape as an idea, an image, and a material practice in an increasingly globalized world. Drawing on the synergies between the fields of architecture and photography, this collection takes a multidisciplinary approach, combining practice-based research with scholarly essays. It explores and critically reassesses the interface between representation - the imaginary and symbolic shaping of the human environment - and production - the physical and material changes wrought on the land. At a time of environmental crisis and the ’end of nature, ’shifting geopolitical boundaries and economic downturn, Emerging Landscapes reflects on the state of landscape and its future, mapping those practices that creatively address the boundaries between possibility, opportunity and action in imagining and shaping landscape.
The North is a complex place that is beautiful, moody, and anything but untouched. The Arctic, part of the international North that is pivotal to the world because of climate change, is no longer a frontier of the past. The same interest in the North that preoccupied artists and explorers of the Romantic era has returned greater than ever, but rather than merely depicting its grandeur, today's artists, scientists, and explorers question the future of the landscape. Up Here connects art, science, and environment at a time when unprecedented climate change requires unprecedented innovation. The contributors explore the ideas of "wilderness" and "remoteness," the lessons to be learned from cold places and indigenous knowledge, and how the Arctic is a signal for global change.
The IBR, published again since 1971 as an interdisciplinary, international bibliography of reviews, offers book reviews of literature dealing primarily with the humanities and social sciences published in 6,000 mainly European scholarly journals. This unique bibliography contains over 1.3 millions book reviews. 60,000 entries are added every year with details on the work reviewed and the review.