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A woman in a soiled dress shouts at a man whose back is turned--or at the barking dog rearing over his shoulder. A plump fellow in a security guard's uniform stares, wide-eyed, at the camera while one of his meaty hands pins a tiny puppy against the wall. On a patch of raked dirt, a sleeping baby in underpants lies across the intersection of two mysterious tangled lengths of string.
These photographs pose blacks and whites together in ways that suggest enigmatic playfulness or wordless acceptance. In one image, a white woman, blind in one eye, with a face like a rotten apple, wraps her arms around two pug dogs. Next to her, a black woman in a smock stands patiently. Above them, large portraits of children (where are they now?) hang on the dirty wall. It is a scene of care and neglect, loss and resignation.
Ballen's current work occupies an odd niche between documentary and staged photography. The sitters are real people, seemingly in their own environments, and the photographer dignifies them by using their proper names in the captions. But he poses them with live and inanimate objects--a fish, a hammer, a broken baby carriage--in ways that heighten the tension and ambivalence of their situations. Even electrical wire strung on the wall creates a nervous force field. It's as if Diane Arbus and Robert Frank had joined forces with a master of German expressionist theater. --Cathy Curtis
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Book Description Cloth in Pictorial Dust Jacket. Condition: As New. Dust Jacket Condition: As New. Later Printing. 120pp, 61 duotone illustrations. Designed by SMITH. "Outland" is the culmination of almost twenty years' work for artist-photographer Roger Ballen. After beginning in the early 1980s by documenting the small dorps (or villages) of rural South Africa, by the late 1980s and early 1990s Ballen moved on to photographing their inhabitants: isolated rural whites, scarred by history, in the process of losing the privileges of apartheid which had provided them livelihoods and sustained their identity for a generation. The results were shocking, both powerful social statements and disturbing psychological studies". A brand new, pristine example of the 2009 printing (whose first edition is cited on page 124 of Martin Parr and Gerry Badger's "The Photobook: A History Volume III") additionally SIGNED "Roger Ballen" in black ink on the title page. Signed by the Photographer. Photography Monograph. Seller Inventory # 017887