It’s probably not your idea of a normal family vacation – unless on trips to the Grand Canyon you often find the face of your youngest covered in blood from a fresh kill. But for a subset of American and European vacationers, hunting big game in the African bush is where it’s at. This group is the subject of Hunters, a series by photographer David Chancellor. Based in South Africa, Chancellor lugged his camera through multiple African countries to record the hunts and kills of legal tourist trophy hunting. “I wanted to look at tourism, at families who decide they want to go on a holiday to Africa, to fill a space in their trophy room, to bring their children over for them to go through a rite of passage,” says Chancellor, who has worked on the series since 2008. “There is no illegal activity depicted.” See a gallery of Chancellor’s images over @ Raw File.

It’s probably not your idea of a normal family vacation – unless on trips to the Grand Canyon you often find the face of your youngest covered in blood from a fresh kill. But for a subset of American and European vacationers, hunting big game in the African bush is where it’s at.

This group is the subject of Hunters, a series by photographer David Chancellor. Based in South Africa, Chancellor lugged his camera through multiple African countries to record the hunts and kills of legal tourist trophy hunting.

“I wanted to look at tourism, at families who decide they want to go on a holiday to Africa, to fill a space in their trophy room, to bring their children over for them to go through a rite of passage,” says Chancellor, who has worked on the series since 2008. “There is no illegal activity depicted.”

See a gallery of Chancellor’s images over @ Raw File.

(Source: Wired)

  • July 30
  • , 2012
At first glance, Mary Lydecker’s colorful, kitsch postcards are seemingly innocuous, but look again and you’ll peer upon her world of dystopian leisure trips. Her collages conjoin dated postcards to create strip-malls in national parks, yachts below hydroelectric dams, sun-kissed beaches fed by glaciers and promenades overlooking oil refineries. “The postcard form has an inherent ‘honesty’ as a cultural artifact,” says Lydecker. “We still approach them as familiar and benign images, which provides a very powerful format for disrupting expectations.” Based in Brooklyn with an MFA in Landscape Architecture, Lydecker is an artist who focuses on land and resource management in much of her work. Her mash-ups reflect in some ways our own built environments. “The way that we manage our resources is often ad hoc; the rush to take advantage of a natural resource or develop an available parcel inhibits overall planning efforts, leaving us with a diverse patchwork of landscapes and spatial relationships,” she says. [Paradise Lost: Twisted Postcards from Dystopic Vacations @ Raw File]

At first glance, Mary Lydecker’s colorful, kitsch postcards are seemingly innocuous, but look again and you’ll peer upon her world of dystopian leisure trips. Her collages conjoin dated postcards to create strip-malls in national parks, yachts below hydroelectric dams, sun-kissed beaches fed by glaciers and promenades overlooking oil refineries.

“The postcard form has an inherent ‘honesty’ as a cultural artifact,” says Lydecker. “We still approach them as familiar and benign images, which provides a very powerful format for disrupting expectations.”

Based in Brooklyn with an MFA in Landscape Architecture, Lydecker is an artist who focuses on land and resource management in much of her work. Her mash-ups reflect in some ways our own built environments.

“The way that we manage our resources is often ad hoc; the rush to take advantage of a natural resource or develop an available parcel inhibits overall planning efforts, leaving us with a diverse patchwork of landscapes and spatial relationships,” she says.

[Paradise Lost: Twisted Postcards from Dystopic Vacations @ Raw File]

(Source: Wired)

  • July 25
  • , 2012