Search results for ""gost books""

Daleside, in the Gauteng Province, once had a predominantly white population and is isolated in the industrial outer suburbs of Johannesburg. Its separation has resulted in Daleside’s residents becoming increasingly inward-facing, and in the space of a decade it has become an isolated ghost town with a dwindling population consisting of mostly mine workers and smallholders. Commissioned by Rubis Mécénat through their Of Soul and Joy programme, the resulting photographs provide a counterpoint—Clément-Delmas’s images show dignified figures whose dreams are at odds with reality whereas Sobekwa’s landscape portraits show no such escapism. Looking beyond the deep-seated Black/white binary, they depict the poverty afflicting Black and white residents alike as forgotten members of society stuck in a dead end. Contrary to his expectations of what he might find there, Sobekwa came face to face with the reality of Black and white residents experiencing the same poverty out of eyeshot of the tightly-guarded houses of the wealthy. In Daleside: Static Dreams, the images by each photographer are presented alongside each other in a foldout book so they can be read individually or as pairs.

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In 2009 Karolina Gembara moved to Delhi to learn photography and stayed for seven years. When we lie down, grasses grow from us, comprises photographs taken during this period, as Gembara developed a love/hate relationship with the city, borne out of a combination of fascination, homesickness and a feeling of transience.

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The book is divided into three sections: Forgotten People - looking at the harsh conditions patients endured in psychiatric wards in China. On the Road - an examination of the Catholic faith in China. Four Seasons - an insight into the lives of Tibetan peasants.

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In this new book, acclaimed photographer, Gideon Mendel, - performed a type of contemporary ethno-archaeology, evoking the camp resident's humanity through what was discarded. Visible ingrained dirt and ashes allow the viewer to sense the refugees' struggle to live ordinary lives under the most extraordinary circumstances. Mendel's alternative portraits of the Jungle residents are representative of the plight of displaced people across the globe. The book's title 'Dzhangal', is drawn from a Pashto word meaning 'This is the forest', the origin of the contentious term 'The Jungle'. The book will include over 40 photographs with texts by refugees, writer and broadcaster Paul Mason and art historian Dominique Malaquais.

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Life, Death and Everything in Between presents key photographs by Don McCullin. The book aims to be neither a retrospective nor definitive publication, but to present a selection of images valued by McCullin with the benefits of both hindsight and wisdom, encapsulating his prolific, varied and ongoing career. The book opens with McCullin’s documentary photographs made in London in the 1950s, followed by reportage made in conflicts across Europe, Africa, the Middle East and South-East Asia. More recent photographs in the book link the legacy of the Roman Empire in the Mediterranean and the latest, previously unpublished landscapes made near his home in Somerset.

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Hayal & Hakikat (translated as Dreams & Fact) takes the form of two booklets- A Handbook of Forgiveness and A Handbook of Punishment- which can be viewed side by side. This book by Cemre Yesil Goenenli was inspired by the workshop 'Interpreting the Encyclopedia of Instanbul with Photographs' organised by Genis Aci Project Office and SALT in May 2019.

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Through an exploration of iconic Australian events, small towns and his own extended family, Big Sky byAustralian photographer Adam Ferguson, attempts to capture a personal vision of Australia that commentson a way of life that is in decline.

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João Pina draws upon his family history to tell the story of the Portuguese concentration campat Tarrafal, Cape Verde which operated between 1936 and 1974.

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Over the course of three years, Greg Gulbransen photographed Malik, a set leader of the violentstreet gang, the Crips. Malik was shot and paralysed in 2018 by the bullet from a rival gang, and as aresult his world now centres around his small Bronx apartment in New York.

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In Silent Witness photographs of private houses and public buildings in which war crimesspecifically rapes of women of all ethnic groups living in Bosnia and Herzegovinawere committed during the Bosnian War (1992-1995) are combined with testimonies from the women who survived.

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In 2002, the same year that Edelstein had discovered Minna's photograph, she was commissioned to photograph the South African Sangoma shamans, whose rituals employ the intermediary healing powers of their ancestors. A shaman told Edelstein that her own ancestors were in conflict, fuelling her growing determination to untangle her family's hidden history. Thus Edelstein began a journey that took her from her home in London to the heartland of the Ukraine, and to her grandfather’s birthplace in Latvia. In turn the journey led her to the shores of Lesvos, the West Bank, the Jungle in Calais, to the boat graveyard on the island of Lampedusa. In Here and There, Edelstein refracts images and stories of displaced people through the lens of her family’s own mystery—reaching the refugee history we all have in common, whether its details are known or not. ‘And that’s the theme that runs through my family. A veritable diaspora. South Africa, Israel, Canada, Colombia, United States, Australia, Italy, Mallorca, Ukraine. How many continents can one family possibly inhabit? … I wonder how I would feel if, from the age of my late teens, I never got to see or hear of my siblings ever again.’ Edelstein’s grandfather, two brothers and their sister Minna had grown up in Sassmacken, Latvia, were separated as teenagers and never saw each other again. Minna’s life was a series of escapes from Germans in World War I, the Red Army in the Russian Revolution and during World War II from Ukraine to Uzbekistan where she died, the same year that Edelstein was born.

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It is a piece of tranquil wilderness that overlooks the sprawling concrete of the city below, enveloped in thick brush and old trees, accessible through small winding trails. Photographed over a period of four years, Angels Point, in the words of Ianiello, ‘… stands at the edge of the new and the forgotten. A place to hide, to explore, with no commitments, no judgments.

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Easton’s photographs, alongside texts by writer, poet and social researcher Abdul Aziz Hafiz, aim to confront stereotypes and question the dangerous over-simplification of the challenges facing such communities. They do so by presenting the contemporary experience of residents as an ‘alternative history telling’. The black and white photographs in the book were all made in an area less than half a mile square in Blackburn during 2019 and 2020. Working with a large-format wooden field camera, Easton spent long days and weeks in the neighbourhood talking to residents and sometimes making pictures. The project melds image and text — Easton’s portraiture and landscapes combined with poetry and an essay by Aziz Hafiz and with the testimonies of residents. This long-form collaboration acknowledges the issues and impacts of social deprivation, housing, unemployment, immigration and representation, as well as past and present foreign policy. The result is a collective and nuanced portrait of the town — a sensitive response to the oversimplistic representation of such communities in both the media and by government, which deny the right of Bank Top to tell its own story.

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The histories of these communities have formed the backbone of Cuba, and yet they are rarely depicted in photographic representations of the country. Sharum began researching Campesino communities in late 2015 and his resulting black and white photographs depict the intertwined relationship of people and the land they depend on.

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Since the 1980s, Witold Krassowski has photographed during decisive historical political events that have helped shape society in countries like India, Mongolia and Afghanistan, but perhaps his most well-known images are the ones he took during the transforming conditions in Poland after 1989—choosing to focus on the lives of common citizens—rather than the elite or political entities. Capturing basic human phenomenon such as birth, procreation and death, Krassowski’s work identifies a common thread throughout humanity.

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Working with a large format 5x4 camera, Gli Isolani draws upon the visual language of Tomlinson’s previous projects, lending the black and white photographs a veil of timelessness. At the project’s genesis, Alys researched the literature and poetry connected to the history and culture of the islands of Italy, exploring tradition and identity, ancient myths, folklore and fairy tales. Set against crumbling stone and rural fields, the images depict the elaborate and uncanny costumes and masks worn for Holy Week, and other events and festivals, sometimes inspired by pagan ritual and beliefs. The fantastical tales and precious costumes have been passed down many generations within these communities where customs run deep. The gestures and the costumes depicted in the photographs draw on the relationship between man and the land, the sacred and the profane, and good and evil.

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The photographs in the book illustrate the dichotomy of our relationship with water—the role it has in ancient religious rituals and in building communities, to its exploitation and the devastating result of too little or too much water. They depict Hindus bathing in the Ganges, shellfish-gatherers in coastal Spain; polluted sea surrounding oil infrastructure in Baku, Azerbaijan; fishermen in Greenland navigating melting ice in the ocean; landscapes transformed to dustbowls by drought in South Africa and to villages made into islands by flooding in Bangladesh. It is was not Berry’s intention to make a political book, nor an authoritative catalogue of mans’ interactions with water, but instead to share the most memorable stories from his assignments that illustrate how water shapes our lives and what the future may hold.

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This book has been an opportunity for Erwitt to revisit the photographs he made in his early career and to uncover meaning upon second glance which was not apparent when the image was originally taken. The master of visual one-liners—bold statement images replete with humour, irony and acknowledged absurdity—the photographs selected for this book are quieter, more subtle and suggest Erwitt’s increasing confidence in his own eye. By selecting these photographs he has begun to both examine and challenge how his younger self saw the world.

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