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Product Description
Product Description
"Outland" is the third installment in a trilogy of works and the conclusion of a journey begun by "Dorps" and "Platteland". Incorporating a small selection of Ballen's photographs from the 1980s and early 1990s, but dominated by new work from the late 1990s, his work has progressed to a new level entirely. Continuing to work with poor South African whites, now mainly in the Guateng urban area at the heart of South Africa (the cities to which many poor whites have migrated following the end of apartheid), Ballen's portraits have become disturbing and personal, he has begun to weave his own narratives out of recurring visual themes -animals, masks and chaotic electric wiring - the result is a collection of strangely posed tableaux showing a world of alienation and poverty, contradicting notions of white supremacy for which South Africa has become infamous.
About the Author
Roger Ballen was born in New York in 1950. His mother was a picture editor and Ballen grew up connected to the characters of New York's photography scene. On leaving school, he spent several years travelling before settling in Johannesburg, South Africa, in 1982, where he established a practice as a geologist, prospecting mineral deposits across Southern Africa. While travelling to outlying regions of South Africa, he also made photographs. He published two books of his photographs: Dorps: Small Towns of South Africa in 1986, and Platteland: Images from Rural South Africa in 1994. Dorps was a poetic, even romantic portrait of South Africa's village life - a world of old houses, trading stores, folk artefacts and humble people - a book which followed firmly in the documentary photography tradition of Walker Evans. The photographs in Platteland, however, were much stronger, uncovering the world of poor whites in the same small dorps, previously unconsidered by photographers. Unquestionably these photographs were important social documents, but were they calling for justice? Or, like Diane Arbus, was Ballen simply captivated by the extraordinary characters of a disturbed world? Photographer's Residence: Johannesburg, South Africa
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Most Helpful Customer Reviews
4 of 4 people found the following review helpful
Format:Hardcover
Outland, American born photographer Roger Ballen’s, fifth book features the impoverished white occupants of the South African hinterland dorps, or small towns, he has documented in previous publications. In one breath, in the fact they portray the real occupants of these real places, in their own environment, the images begin a documentary dialogue. From another standpoint however they transcend the realm of documentary towards a narrative structure just short of fiction in which subject and photographer combine to make a picture. In so doing, in spite of being traditionally made black and white photographs, they begin to layer meaning in a manner popular with artists practising in the digital arena.
There is a very straight story to be told here of social decline, and societal neglect, amongst misfits left over from generations of colonial occupation. Ballen however chooses to avoid the obvious, instead adopting the square format and direct flash stylistic devices of Diane Arbus in his stark presentation of these outsiders whose existance is ignored by the majority. Time may have moved on since Arbus presented her documentary portraits of fringe dwellers but in this age of the politically correct Ballen, originally the documentarist, exposes still relevant issues on borders where we fear to tread.
1 of 3 people found the following review helpful
Format:Hardcover
Roger Ballen has produced a collection of monochrome images which will never be used to promote the small villages or 'dorps' in rural South Africa.The photographs contained within this book are mainly of the white South African farmers who have adjusted poorly to loosing the benefits of apartheid. The subjects used are eye catching in that they are not easy on the eye to begin with. There appears to be a lack of sensitivity towards the residents in that the warts and all approach is extreme and unflattering. The use of harsh lighting does nothing to prevent the characters from appearing freakish. Ballens work in the dorps has spanned twenty years and these later images are more staged than his earlier documentary photography. The residents are often photographed holding small animals in ways that could be percieved as threatening. The fact that a great deal of the shots are staged does not take away from their impact. The fact that Ballen has known many of the 'models' for years enters an element of exploitation to the book. This does not detract from their impact and the powerful nature of the images.
0 of 2 people found the following review helpful
Format:Hardcover
This is not a classic photography book where the photographer shoots models and famous personalities under the most flattering light he can find. Ballen really develops its own aesthetics presenting us marginal characters in a brilliant way. He doesn't need to show explicit violence or sexuality to call our attention, yet some people might feel this is censurable material.
Being bored of "fine art" photographs of women laying naked on couches, this book really respawned my enthusiasm for photography.
Being bored of "fine art" photographs of women laying naked on couches, this book really respawned my enthusiasm for photography.
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