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After 50 prolific years spent producing masterful black-and-white photographs   Roger Ballen  is ready to take  his  place as a master of the medium.
The past few years have seen major moves from the American-born  South African–based artist.  He  earned  his  own wing of Cape Town's Zeitz Museum of Contemporary African Art  after the Roger Ballen Foundation contributed the largest financial donation from a foundation the brand-new institution has seen yet. Outside of photography   he 's gone from directing Die Antwoord music videos to  his  own short films. With a new retrospective monograph  Ballenesque  out October 10 from Thames & Hudson  Ballen declares for all the world to hear that  he  is an icon.
Ballenesque opens with an essay by historian and cultural critic Robert J.C. Young. In it  Young begins to define the mesmerizing  "instantly recognizable" quality of Ballen's images  which he variously calls "prehensile portraits " "aleatory assemblages " "windowless walls " and "dark junctures of disjunction." When Young introduces these cornerstones of  Ballen 's style  he writes  "We isolate four; you  the viewer of the photograph  may add a fifth to complete the secret."
The rest of the book is a guided tour through  Ballen 's work  complemented by 50 pages of the artist's own anecdotes  autobiography  thoughts on technique  and philosophy. It all starts with blurry family portraits  Ballen  shot with a Mamiya camera  he  bought at 13 years old.  He  shares the first photo  his  that  he  really liked  a picture of a dead cat on the side of the road.
As  he  got older   he  became a documentarian of 60s and 70s counterculture  from grimacing Vietnam War protesters to carefree nudists at Woodstock. Many photos from this period in  his  career are shown for the first time within the pages of Ballenesque. By 1979   Ballen  had begun to travel the world  collecting snapshots of kids from New York to Indonesia that would be collected into a series called Boyhood.
When he moved to South Africa   Ballen  became fixated on the human toll of apartheid.  He  traveled the impoverished South African countryside as a geologist  but photographed the people and places  he  saw along the way.  He  collected these images into the two series that made  him  famous  Platteland and Outland.
Also debuting in the new monograph are Ballen's paintings from the 1970s  which informed  his  abstract photography in Asylum of the Birds and The Theater of Apparitions. "It was exciting to put those paintings in the book "  he  said. Many of the paintings were lost when  his  father cleaned them out of their childhood home  but the ones that survive have been documented for Ballenesque. "I didn't paint for 30 years  but in a way these set the foundation for my later work."
By the end of the text   Ballen 's work seems to exist  like one of his paintings  largely within his own mind. "From about 2002 onward  you rarely see a human face in the photos "  Ballen  said.  His  current project  teased in the final pages  is called Ah Rats. Now the vermin that have infested the edges of  his  work for years are at its center. In January   Ballen  art directed Die Antwoord's video for "Tommy Can't Sleep " which is full of the rats that are on his brain.
 Ballen  still walks Johannesburg looking for places to take pictures for around five hours a day.  He  spends the rest of  his  time with  his  family  administrating the Roger Ballen Foundation  and tending  his  collection of more than 100 pets. "There's rats  snakes  chickens  ducks  lizards  rabbits  spiders  doves  pigeons  crows  mice "  he  rattles off. Around 10 percent have names  including a bird named Icarus and a rat named Stoffel.
Icarus  Stoffel  and  Ballen 's Johannesburg home are far from the roiling American political scene  but  Ballen  has some advice for young artists trying to distinguish themselves in a photographic era he describes as "amorphous" compared to when he cut his teeth.
Ballen is quick to clarify that he doesn't mean photographers should risk physical harm by "jumping the White House fence" to get a unique photograph. "It's years and years and hours and hours later that you're developing an approach. My pictures are powerful because they access the subconscious mind. 'On the line' can mean psychological  as well as physical." Years spent paying attention to places and people others would rather ignore are how  Ballen  put  himself  on the line. As a result   his  photographs of outsiders help the rest of us look inward.
Roger Ballen's

In this case  fortunately  an angry entrepreneur came to the rescue.  Jeremy Kauffman  hates to see valuable things disappear  so right before Berkeley deleted its website   Kauffman  copied the videos and posted them on  his  website  called LBRY (as in Library).
 He  says the Berkeley videos are just the start of what LBRY has planned.  He  wants the site to be YouTube -- but without the content restrictions.
"LBRY is designed to be much more decentralized  much more controlled by users" and "absolutely freer "  Kauffman  explains in a video I posted this week.
 He  acknowledges that with no censorship   his  invention may end up hosting videos of bad things -- beheadings  child porn  who knows what else. But  he  argues that if  he  creates a system with censorship  "it allows us to keep the bad stuff out  which is great  but it also allows dictatorial regimes to keep content off. Do we want to make videos available to the people in Turkey  Iran  and China? We say yes."
LBRY will let users flag videos depicting illegal actions. Those videos may no longer be shown on LBRY. However  other websites can show the illegal content using LBRY's technology  and  Kauffman  can't stop that.
 Kauffman  says  he  won't remove the Berkeley videos from  his  site even if  he 's sued because there aren't captions for deaf people.
"Is that a reason that content shouldn't be available to everyone?" asks  Kauffman .
Thank goodness for the internet and for people like  Kauffman   someone willing to spend  his  own money to keep information free.
Jeremy Kauffman

FILE PHOTO - A staff member removes the Iranian flag from the stage after a group picture with foreign ministers and representatives of the U.S.  Iran  China  Russia  Britain  Germany  France and the European Union during the Iran nuclear talks at the Vienna International Center in Vienna  Austria July 14  2015. REUTERS/Carlos Barria/ File Photo
German Foreign Minister Sigmar Gabriel  has spoken out repeatedly against Trump’s likely step  but  his  latest comments aimed to spell out the impact it would have in starker terms.
“It’s imperative that Europe sticks together on this issue ”  Gabriel   a Social Democrat  told the RND German newspaper group. “We also have to tell the Americans that their behavior on the Iran issue will drive us Europeans into a common position with Russia and China against the USA.”
 Gabriel  is expected to leave  his  post in coming months since  his  Social Democrats have vowed to go into opposition after slumping badly in the Sept. 24 election  opting not to reprise an awkward “grand coalition” with Merkel’s conservatives.
 Gabriel  on Monday urged the White House not to jeopardize the nuclear agreement  saying such a move would worsen instability in the Middle East and could make it more difficult to halt nuclear arms programs in other countries.
In the interview released on Thursday   he  said the nuclear agreement was being treated “like a football” in U.S. domestic politics  but the issue could have serious consequences.
 He  said Russia was watching developments closely  including the divisions between Europe and the United States. “That doesn’t exactly strengthen our position in Europe.”
Ultimately   Gabriel  told the newspaper group  there were only three countries - the United States  Russia and China - that could avert a new nuclear arms race.

Sigmar Gabriel

