A Sense of Common Ground
by Fazal Sheikh
Photographs: Fazal Sheikh
Text: Fazal Sheikh
Publisher: Scalo
80 pages
Pictures: 119 duotone images + 7 gatefolds
Year: 1996
ISBN: 1-881616-51-7
Price: 69 €
Comments: German translation insert; 24.5 x 30 cm
In 1991 and 1992, refugees from the wars in Ethiopia, Sudan and Somalia flooded into Kenya, where a number of camps along the eastern border had been set up to receive them. In Malawi, there were camps for those escaping war in Mozambique. And in 1994, after the genocide in Rwanda, 250,000 people had crossed the border in a single day and were living in vast refugee camps in Tanzania. Between 1992 and 1994, Fazal Sheikh worked among these refugee communities and began to learn about their experiences. It was here that he first witnessed the lightning visits of international photojournalists, who grabbed their stories and left in less than 24 hours. ‘I remembered watching them working and feeling a sense of unease, an inability to follow along and make the expected photographs,’ he said later. He decided to remain in the camps for extended periods, asking the elders for permission to invite their people to sit for a portrait. The portraits he made in those first months in Kenya established a way of working that has remained fundamentally the same ever since: a simple, direct, respectful rendering of one person, or a group, in front of the camera. Later, he would include landscapes, still-lifes and found portraits, as well as personal testimonies and his own narratives. But the portrait remained at the core of his work. In 1996, this work resulted in his first book, A Sense of Common Ground (Scalo, 1996).
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A Sense of Common Ground
by Fazal Sheikh
Photographs: Fazal Sheikh
Text: Fazal Sheikh
Publisher: Scalo
80 pages
Pictures: 119 duotone images + 7 gatefolds
Year: 1996
ISBN: 1-881616-51-7
Price: 69 €
Comments: German translation insert; 24.5 x 30 cm
In 1991 and 1992, refugees from the wars in Ethiopia, Sudan and Somalia flooded into Kenya, where a number of camps along the eastern border had been set up to receive them. In Malawi, there were camps for those escaping war in Mozambique. And in 1994, after the genocide in Rwanda, 250,000 people had crossed the border in a single day and were living in vast refugee camps in Tanzania. Between 1992 and 1994, Fazal Sheikh worked among these refugee communities and began to learn about their experiences. It was here that he first witnessed the lightning visits of international photojournalists, who grabbed their stories and left in less than 24 hours. ‘I remembered watching them working and feeling a sense of unease, an inability to follow along and make the expected photographs,’ he said later. He decided to remain in the camps for extended periods, asking the elders for permission to invite their people to sit for a portrait. The portraits he made in those first months in Kenya established a way of working that has remained fundamentally the same ever since: a simple, direct, respectful rendering of one person, or a group, in front of the camera. Later, he would include landscapes, still-lifes and found portraits, as well as personal testimonies and his own narratives. But the portrait remained at the core of his work. In 1996, this work resulted in his first book, A Sense of Common Ground (Scalo, 1996).
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A Sense of Common Ground
by Fazal Sheikh
Photographs: Fazal Sheikh
Text: Fazal Sheikh
Publisher: Scalo
80 pages
Pictures: 119 duotone images + 7 gatefolds
Year: 1996
ISBN: 1-881616-51-7
Price: 69 €
Comments: German translation insert; 24.5 x 30 cm
In 1991 and 1992, refugees from the wars in Ethiopia, Sudan and Somalia flooded into Kenya, where a number of camps along the eastern border had been set up to receive them. In Malawi, there were camps for those escaping war in Mozambique. And in 1994, after the genocide in Rwanda, 250,000 people had crossed the border in a single day and were living in vast refugee camps in Tanzania. Between 1992 and 1994, Fazal Sheikh worked among these refugee communities and began to learn about their experiences. It was here that he first witnessed the lightning visits of international photojournalists, who grabbed their stories and left in less than 24 hours. ‘I remembered watching them working and feeling a sense of unease, an inability to follow along and make the expected photographs,’ he said later. He decided to remain in the camps for extended periods, asking the elders for permission to invite their people to sit for a portrait. The portraits he made in those first months in Kenya established a way of working that has remained fundamentally the same ever since: a simple, direct, respectful rendering of one person, or a group, in front of the camera. Later, he would include landscapes, still-lifes and found portraits, as well as personal testimonies and his own narratives. But the portrait remained at the core of his work. In 1996, this work resulted in his first book, A Sense of Common Ground (Scalo, 1996).
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more books tagged »war« | >> see all
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Silent Histories
by Kazuma Obara
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As Terras do Fim do Mundo (signed - last copy)
by Jo Ractliffe
Euro 350 -
Chizu (signed)
by Kikuji Kawada
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0000000 (signed - last two copies)
by Ilkin Huseynov
Euro 35 -
BURKE + NORFOLK Photographs from the War in Afghanistan
by John Burke & Simon Norfolk
Euro 45 -
Nein, Onkel (review copy)
by various photographers
Euro 165 132.00
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-
Amateurs & Lovers
by Nikolay Bakharev
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Man Jayen
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Euro 40 -
Black Garden (last copy - signed)
by Ivan Petrokovich
sold out -
Rome (signed - last copy)
by William Klein
sold out -
OCEAN
by Martin Bogren
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Paris + (signed)
by Daido Moriyama
sold out
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Land Rover 1950s
by George Rodger
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THIS IS WHAT HATRED DID (review copy)
by Cristina de Middel
sold out -
THIS IS WHAT HATRED DID (signed - last copy)
by Cristina de Middel
Euro 135 -
Petros Village
by Guy Tillim
Euro 132 -
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