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Best known for his striking photographs of people on the fringes of South African society, Roger Ballen makes images that are ambiguous and often disturbing, but also shot through with flashes of dark humour. The photographs in Shadow Chamber blur the boundaries between documentary photography and art forms such as painting, theatre and sculpture, challenging the ways in which we perceive the 'reality' of photography. Ballen's images are completely honest, yet also fabricated.The mysterious, cell-like rooms that Ballen photographs are actual places, but they are unsettling and strange, logical but impossible: their walls are covered with scribbled drawings, stains and dangling wires, the floors are strewn with bizarre props and artefacts. Dogs, rabbits and kittens wander into the frame or are stuffed into unlikely containers. The humans and animals in Ballen's photographs appear isolated and lost, yet strangely empowered at the same time. The resulting images are allegories of lived experiences and surreal takes on human destiny.In his introduction to Shadow Chamber, curator Robert A. Sobieszek analyzes Ballen's unique approach and sets his work in the wider context of the history of documentary photography and critical theory.

The photograph Audience from Roger Ballen's book 'Asylum of the Birds' has been deconstructed to afford viewers a more intimate look at the pictorial elements contained within it. In Ballen's contribution to our One Picture Book series, 'The Audience', the individual drawings from the photographs are extruded singularly, presenting the reader with a close-up look at Roger Ballen's drawings. 'The Audience' is limited to 500 numbered copies, and includes an original signed photograph by Roger Ballen.

Art photography meets popular culture in this behind-the-scenes look at the making of a hugely successful music video by musicians Die Antwoord and photographer Roger Ballen. With more than 25 million hits and counting since its uploading on YouTube in 2012, “I Fink You Freeky” has brought its director Roger Ballen, and its subject, rap group Die Antwoord, into the zeitgeist of young people around the globe. Shot in black-and-white and featuring imagery, scenes, and subjects from Ballen’s stunning photographic work, the video, with its infectious beat and Die Antwoord’s ingenious blend of hip-hop, rap, and rave, has been a huge critical success. This book features the brilliant photography that inspired the collaboration between photographer and band, and shows how Ballen’s images became part of the finished project. In addition, shots from the filming of the video, and of band members in rehearsal and on the set, offer a fascinating glimpse of synergy in the making. Introduced by art critic Ivor Powell, this volume also features an interview between Ballen and the members of Die Antwood.

An exploration of “the Ballenesque” over the four-decade-long career of this daring artist―representing an entirely fresh edit by Roger Ballen himself and featuring many previously unpublished imagesRoger Ballen is best known for his psychologically powerful and intricately layered images that exist in a space between painting, drawing, installation, and photography. Ballenesque is the first comprehensive retrospective of his work.Separated into four parts, Ballenesque takes readers on a chronological journey through Ballen’s entire oeuvre, including both iconic images and previously unpublished works. Part I explores Ballen’s formative artistic influences and his later rediscovery of boyhood through photography, culminating in his first published monograph, Boyhood, in 1979. Part II charts the period between 1980 and 2000, during which time he released his seminal monograph Outland. Part III covers the years 2000–2013, when Ballen achieved global recognition and his work began to veer away from portraiture altogether. Finally, in Part IV, Ballen reflects on his career.With more than 300 photographs and an introduction by Robert JC Young, this book provides both a new way of seeing Ballen’s work for those who already follow his career and a comprehensive introduction for those encountering his striking photographs for the first time. 330 illustrations, in color and duotone

Roger Ballen (b.1950) challenges the ways in which we perceive the reality' of photography. His striking, ambiguous images of people, animals and objects posed in mysterious, cell-like rooms occupy the grey area between fact and fiction, blurring the boundaries between documentary photography and art forms such as painting, theatre and sculpture. This latest body of work, made over the last four years, is a product of the decades Ballen has spent working with and photographing the common folk of rural and suburban South Africa.

Buy with confidence! Book is in good condition with minor wear to the pages, binding, and minor marks within 1.45

Best known for his striking photographs of people on the fringes of South African society, Roger Ballen makes images that are ambiguous and often disturbing, but also shot through with flashes of dark humour. The photographs in Shadow Chamber blur the boundaries between documentary photography and art forms such as painting, theatre and sculpture, challenging the ways in which we perceive the 'reality' of photography. Ballen's images are completely honest, yet also fabricated.The mysterious, cell-like rooms that Ballen photographs are actual places, but they are unsettling and strange, logical but impossible: their walls are covered with scribbled drawings, stains and dangling wires, the floors are strewn with bizarre props and artefacts. Dogs, rabbits and kittens wander into the frame or are stuffed into unlikely containers. The humans and animals in Ballen's photographs appear isolated and lost, yet strangely empowered at the same time. The resulting images are allegories of lived experiences and surreal takes on human destiny.In his introduction to Shadow Chamber, curator Robert A. Sobieszek analyzes Ballen's unique approach and sets his work in the wider context of the history of documentary photography and critical theory.

'Boarding House' captures an imaginary space of transient residence, of comings and goings, focusing on the evocative drawings and sculptural objects as well as the people and animals found there.

An exploration of “the Ballenesque” over the four-decade-long career of this daring artist―representing an entirely fresh edit by Roger Ballen himself and featuring many previously unpublished imagesRoger Ballen is best known for his psychologically powerful and intricately layered images that exist in a space between painting, drawing, installation, and photography. Ballenesque is the first comprehensive retrospective of his work.Separated into four parts, Ballenesque takes readers on a chronological journey through Ballen’s entire oeuvre, including both iconic images and previously unpublished works. Part I explores Ballen’s formative artistic influences and his later rediscovery of boyhood through photography, culminating in his first published monograph, Boyhood, in 1979. Part II charts the period between 1980 and 2000, during which time he released his seminal monograph Outland. Part III covers the years 2000–2013, when Ballen achieved global recognition and his work began to veer away from portraiture altogether. Finally, in Part IV, Ballen reflects on his career.With more than 300 photographs and an introduction by Robert JC Young, this book provides both a new way of seeing Ballen’s work for those who already follow his career and a comprehensive introduction for those encountering his striking photographs for the first time. 330 illustrations, in color and duotone

Good condition. This is the average used book, that has all pages or leaves present, but may include writing. Book may be ex-library with stamps and stickers. 5.24

You can ask Joe Ballen anything, except to give up.Joe Ballen dreams of returning to space, but after an accident left him half-crippled, those days are over. Luckily for Joe, Geneering gave him new limbs. Better than nothing, but not enough to allow him to go back to his old job as a space engineer. A natural loner, he now scrapes a living by illegally flying cabs in flooded-out Baltimore.But when one of his passengers suffers a grisly death, Joe is dragged into a dangerous conspiracy centered around a prototype Jumpship. No one believes the ship will work, not even the space-faring Atolls who have barricaded Earth from the rest of space. But someone is murdering everyone connected to it.As the bodies pile up, Joe becomes suspect number one, and his enemies will stop at nothing to hide the truth. With the help of a disturbed scientist, a senile survivalist, and his glamorous boss, can Joe untangle the puzzle and uncover the truth before he becomes another dead statistic?The future’s about to get a lot more action-packed!The Joe Ballen series is a near future, sci-fi noir thriller series, featuring a smart-mouthed space engineer, engaging characters, cynical humor, and plausible science.

From distinctive portraits and complex photographic tableaux to YouTube sensations, the work of prominent African photographer Roger Ballen is given a fresh perspective in this volume. For nearly half a century Roger Ballen has been shooting black-and-white film—a member of the last generation to work in that medium. He started his career taking portraits of rural Afrikaaners in their homes and has lately been moving toward more staged sets, and embellishing his photographs with expressionistic graffiti-type drawings. This retrospective book follows the development of line and drawing in Ballen’s body of work, which is often characterized by complex interior arrangements of people, animals, and furnishings. In more recent work the artist has come out from behind the camera lens to engage with line more directly—including a luminous series of photographs that began with drawing on glass. Psychologically edgy and seductively beautiful images result. This volume also addresses the use of drawing and line in Ballen’s newest work in videography. This astonishing collection reveals the breadth of Ballen’s work, which moves fluidly between photography and drawing, harshness and beauty, raw expression and technical prowess.

From distinctive portraits and complex photographic tableaux to YouTube sensations, the work of prominent African photographer Roger Ballen is given a fresh perspective in this volume. For nearly half a century Roger Ballen has been shooting black-and-white film—a member of the last generation to work in that medium. He started his career taking portraits of rural Afrikaaners in their homes and has lately been moving toward more staged sets, and embellishing his photographs with expressionistic graffiti-type drawings. This retrospective book follows the development of line and drawing in Ballen’s body of work, which is often characterized by complex interior arrangements of people, animals, and furnishings. In more recent work the artist has come out from behind the camera lens to engage with line more directly—including a luminous series of photographs that began with drawing on glass. Psychologically edgy and seductively beautiful images result. This volume also addresses the use of drawing and line in Ballen’s newest work in videography. This astonishing collection reveals the breadth of Ballen’s work, which moves fluidly between photography and drawing, harshness and beauty, raw expression and technical prowess.

The first of Ballen\'s South African photo-essays and the book which established his reputation. For many years Roger Ballen an American has travelled widely throughout South Africa visiting its scattered towns and villages. During this time he has developed a unique vision toward little-known corners and artifacts trading stores old houses and humble people. Textured with time these photographs reveal the essence of these places.

From 1982 to 1986, Roger Ballen, an American photographer, travelled widely throughout South Africa, visiting its scattered towns and villages. During this time he developed a unique vision towards little-known corners and artifacts, trading stores, old houses and humble people. Textured with time, these photographs reveal the essence of these places. Roger says he has tried to depict what he believes to be a disappearing South African aesthetic. With each year, the anonymity of the present further transforms the character of these places. 'In many ways I feel as if I have recorded the elements of a dying culture. I photographed these towns in the hope of 'freezing' time and arresting the utter extinction of the South African dorp.'

Outland is the culmination of almost twenty years work for artist-photographer Roger Ballen and amounts to one of the most extraordinary photographic documents of the late twentieth century. Beginning by documenting the small 'dorps' or villages of rural South Africa, Ballen's photography moved on in the late 1980s and early 1990s to 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.Through the late 1990s and into 2000, Ballen's work has progressed again. Continuing to portray whites on the fringe of South African society, his subjects begin to act. Where previously his pictures, however troubling, fell firmly into the category of documentary photography, his new work moves into the realms of fiction. Ballen's characters act out dark and discomforting tableaux, providing images which are exciting and disturbing in equal measure. One is forced to wonder whether they are exploited victims, colluding directly in their own ridicule, or newly empowered and active participants within the drama of their representation.

For almost two decades Roger Ballen, an American, has been photographing in the South African countryside, searching for aesthetic symbols to convey a sense of the place and the people.Platteland was born of the profound irony that despite the political privilege apartheid had bestowed on whites, in the physical heart of the land there is inescapable testimony to the failure of the regime even to secure the well-being of the privileged minority. Many of those people the photographer encounters feel strangled by poverty and preconception, rejected and downgraded. Above all else, most are severely alienated by the radical changes taking place in the society around them. In these powerful and riveting images, Roger Ballen penetrates a world that had previously been shrouded under the mantle of white supremacy.Ballen has photographed his subjects on their own terms, in the intimacy of their homes, with friends and family, and even their pets. The images, though devoid of excess, stripped to their essence, are deceptively simple.

Outland is the culmination of almost twenty years work for artist-photographer Roger Ballen and amounts to one of the most extraordinary photographic documents of the late twentieth century. Beginning by documenting the small 'dorps' or villages of rural South Africa, Ballen's photography moved on in the late 1980s and early 1990s to 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.Through the late 1990s and into 2000, Ballen's work has progressed again. Continuing to portray whites on the fringe of South African society, his subjects begin to act. Where previously his pictures, however troubling, fell firmly into the category of documentary photography, his new work moves into the realms of fiction. Ballen's characters act out dark and discomforting tableaux, providing images which are exciting and disturbing in equal measure. One is forced to wonder whether they are exploited victims, colluding directly in their own ridicule, or newly empowered and active participants within the drama of their representation.

The seminal work by photographer and artist Roger Ballen, re‐released in an expanded edition with never‐before-seen images from Ballen’s archive.The culmination of nearly 20 years of work, Outland marked Ballen’s move from documentary photography into the realms of fiction and propelled him into the international spotlight. Disturbing, exciting and impossible to forget, Ballen’s images captured people living on the fringes of South African society. His powerful psychological studies influenced a generation of artists and still resonate today.First published in 2001, Outland is back in print and expanded to include 50 never‐before‐seen images from Ballen’s archive with illuminating new commentary from the artist himself.

An immersive new monograph from the critically acclaimed photographer Roger BallenThe Theatre of Apparitions is an immersive and groundbreaking new monograph by the critically acclaimed art photographer Roger Ballen.The author of numerous publications, including Asylum of the Birds and Outland, Ballen is best known for his psychologically powerful and masterfully composed images that exist in a space between painting, drawing, installation, and photography. This book is both a departure from his existing oeuvre and the culmination of his unique aesthetic linking image-making and theatrical performance. Separated into seven chapters or “acts,” these Ballenesque images take readers on a journey deep into the subconscious.Initially inspired by the drawings and marks people make on their environment, Ballen started to experiment using different spray paints on glass and then "drawing on” or removing the paint with a sharp object to let natural light through. The resulting images are like prehistoric cave-paintings: the black, dimensionless spaces on the glass are canvases onto which Ballen carves his thoughts and emotions. Fossil-like facial forms and dismembered body parts co-exist uncomfortably with vaporous, ghost-like shadows―these images have the capacity to shock, inspire, amuse, and even elate viewers. Timeless and innovative, earthly and otherworldly, physical and spiritual, his work transcends the traditional concepts of photography. 90 black-and-white photographs