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A stunning combination of landscape photography and thematic essays
exploring how the concept of wilderness has evolved over time Our
ideas of wilderness have evolved dramatically over the past one
hundred and fifty years, from a view of wild country as an
inviolable "place apart" to one that exists only within the matrix
of human activity. This shift in understanding has provoked
complicated questions about the importance of the wild in American
environmentalism, as well as new aesthetic expectations as we
reframe the wilderness as (to some degree) a human creation. Wild
Visions is distinctive in its union of landscape photography and
environmental thought, a merging of short, thematic essays with a
striking visual narrative. Often, the wild is viewed in binary
terms: either revered as sacred and ecologically pure or dismissed
as spoiled by human activities. This book portrays wilderness
instead as an evolving gamut of understandings, a collage of views
and ideas that is still in process.
An artist of singular originality and vision, award-winning
landscape photographer Mark Klett has built a profound and dynamic
career that captures the space and history of the American West
while evoking notions of time, perception, and cultural memory. His
practice is grounded in both artistic inquiry and the evolution of
photographic technologies, reflecting a constellation of ideas that
blend science with poetry. Over a career spanning more than four
decades, Klett has advanced a new notion of landscape photography
that reframes our sense of what pictures of the land mean. Seeing
Time is the first retrospective of Klett's career. It presents
selected photographs from thirteen different projects, some never
before seen. The book showcases work from individual and
collaborative projects alongside texts by distinguished curators
who examine the ideas behind Klett's practice, its historical
context, and his collaborative processes. From his rephotographic
surveys, which pair conceptual art with questions about how lands
change through human intervention, to the series of portraits with
his eldest daughter on their shared birthday, the images presented
here combine to form a body of work at once expansive and richly
personal.
How exactly has San Francisco's urban landscape changed in the
hundred years since the earthquake and cataclysmic firestorms that
destroyed three-quarters of the city in 1906? For this provocative
rephotography project, bringing past and present into dynamic
juxtaposition, renowned photographer Mark Klett has gone to the
same locations pictured in forty-five compelling historic
photographs taken in the days following the 1906 earthquake and
fires and precisely duplicated each photograph's vantage point. The
result is an elegant and powerful comparison that challenges our
preconceptions about time, history, and culture. 'I think the
pictures ask us to become aware of the extraordinary qualities of
our own distinct moment in time. But it is a realization that a
particular future is not guaranteed by the flow of time in any
given direction.' So says Mark Klett discussing this multilayered
project in an illuminating interview included in this lavishly
produced volume, which accompanies an exhibition at The Fine Arts
Museums of San Francisco. "After the Ruins, 1906 and 2006" features
a vivid essay by noted environmental historian Philip Fradkin on
the events surrounding and following the 1906 earthquake, which he
describes as 'the equivalent of an intensive, three-day bombing
raid, complete with many tons of dynamite that acted as incendiary
devices.' A lyrical essay by acclaimed writer Rebecca Solnit
considers the meaning of ruins, resurrection, and the evolving
geography and history of San Francisco.
Using landscape photography to reflect on broader notions of
culture, the passage of time, and the construction of perception,
photographers Mark Klett and Byron Wolfe spent five years exploring
the Grand Canyon for their most recent project, "Reconstructing the
View". The team's landscape photographs are based on the practice
of rephotography, in which they identify sites of historic
photographs and make new photographs of those precise locations.
Klett and Wolfe referenced a wealth of images of the canyon,
ranging from historical photographs and drawings by William Bell
and William Henry Holmes, to well-known artworks by Edward Weston
and Ansel Adams, and from souvenir postcards to contemporary
digital images drawn from Flickr. The pair then employed digital
postproduction methods to bring the original images into dialogue
with their own. The result is this stunning volume, illustrated
with a wealth of full-color illustrations that attest to the role
photographers - both anonymous and great - have played in picturing
American places. Rebecca Senf's compelling essay traces the
photographers' process and methodology, conveying the complexity of
their collaboration. Stephen J. Pyne provides a conceptual
framework for understanding the history of the canyon, offering an
overview of its discovery by Europeans and its subsequent treatment
in writing, photography, and graphic arts.
Includes bonus interactive DVD. In the 19th century the great
expeditionary photographers William Henry Jackson, T H O'Sullivan,
and William Bell first photographed American western landscapes for
the geological and geographical surveys. Mark Klett, Chief
photographer of the Rephotographic Survey Project, revisited and
rephotographed these 19th-century sites during the late 1970s,
presenting 120 pairs of photographs separated by a century of
change. Two decades later, Klett organised a new survey team to
rephotograph 110 sites. This book presents forty-three pairings
from the third survey, documenting two periods of geologic and
environmental changes while exploring changing human perceptions of
landscape. Published in association with the Center for American
Places
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