Renowned photographer Chris Jordan went on assignment—his own—to capture the tragedy of the aftermath of this, the greatest natural disaster in the history of the United States. In Katrina's Wake, his series of 50 photographs layer the horror of ruin with the uncanny beauty of nature, even in its most savage incarnation. They show how the remnants of a place—from Mardi Gras beads to church pews, from computer stations to swing sets—remind us all of the essence of a place. Essays by Bill McKibben, Elizabeth Royte, and Susan Zakin explore the causes and effects of global warming, noting that we all have to be held responsible for the future of our planet.
A portion of the profits from the sale of this book will be donated to organizations dedicated to the rebuilding of New Orleans
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Chris Jordan is a Seattle-based photographic artist whose work recently has
received international acclaim. Jordan's photographs have been featured in solo and group exhibitions in New York, Los Angeles, San Francisco, Seattle and Santa Fe, as well as being published in over a hundred magazines and newspapers worldwide.
(Jordan's) photograhy graphically reflects how remnants can recall the essence of a place. -- Tuscon Citizen, Nov. 2 2006
In Katrina's Wake, Jordan's series of 50 photographs layer the horror of ruin with the uncanny beauty of nature, even in its most savage incarnation. -- Revista Adelante, Nov. 2006
His empathy for the people affected by the disaster is matched by an awareness of its possible cause. -- Santa Fe New Mexican, Nov. 3, 2006
Jordan's poetic images are accompanied by clarion essays by environmental writers Bill McKibben and Susan Zakin, making this an execeptionally artistic and thought-provoking response to a never-to-be-forgotten calamity. -- Booklist, Sept. 15, 2006
Rather than photograph people (of New Orleans), Jordan let their possessions evoke their misfortune...the power of Jordan's images will make itself felt. -- Republic, Dec. 10, 2006
Saturated in color and focused in content, these pictures humanize the storm's massive tragedy, lending individual stories a sense of poignancy and scale. -- American Photo, Feb./Mar. 2007
Unlike most post-Katrina photography, Jordan's has no people in it. Instead, it evokes the eerie calm of an Antonioni film. . . -- Los Angeles Times, August 27, 2006
We witness the devastation in lavish detail, and the poetic fascination is eclipsed by alarm. . . . the evidence accumulates, and the effect is inevitably political. -- T: The New York Tines Style Magazine, Fall 2006
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