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Originally suggested by Susan Meiselas and Richard Rogers, Dislocations was designed and produced at Harvard University's Film Study Center. Production of the edition was by Robert Gardner, Director, Harvard University's Film Study Center. Published as a limited edition of 40 copies, hand-numbered and signed in black ink on the colophon page by Alex Webb; hb., fine black linen-covered boards, with tipped-in title plate on the front debossed cover, enclosed in a deluxe custom-designed matching black linen-covered four-sided hinged case, with debossed title on top cover, no dust jacket as issued. All four sides open out, and are closed by Velcro attached to the inner front cover, which folds over the top and attaches to the right side of the case. Laser prints on Hammersmith Permanent paper glued into a blind debossment on Somerset Velvet paper, and individually hand-titled in black ink by Webb below the mount. The ch tipped-in plate is approximately 5 x 7 3/4 inches. All pages are attached in a Leporello (accordion-fold) 72 total pages in length, with continuous end-papers attached to the front and rear boards. Includes 3 additional tipped-in color laser print plates: page 1) a reproduced dictionary definition of 'Dislocation;' 2) a brief quote from Don DeLillo's novel 'White Noise,' which reads "The flow is constant," Alfonse said. "Words, pictures, numbers, facts, graphics, specks, waves, particles, motes. Only a catastrophe gets our attention;" and 3) colophon page. The book is 8 x 10 x 2 1/2 inches deep and the four-sided hinged case is 8 1/2 x 10 3/4 x 3 inches deep. The covers and leaves were assembled by hand, and the photographs were printed using state-of-the-art digital imaging technologies generously donated by The Film Study Center's New Media Partners, specifically Power Computing Corporation (PowerTower Pro 225 workstations for image processing) and Canon USA Inc. (CLC800 color laser copier and ColorPass color print server for final imaging). Although these technologies were key to producing this book, the photographs themselves have not been altered beyond color correction required to match the characteristics of the printer. Scans of some of the images available upon request. - Alex Webb's photographs initially command the viewer's attention with stark, brilliant colors and graphic form. Many of his photographs combine seemingly disparate 'images' into one frame. A deep black shadow has as strong a presence as a partially sunlit expressionless face, in a disjointed street scene. Upon closer examination, the figures, environments, situations, colors and forms combine to create an emotionally charged photograph. What makes this uniquely conceived and produced edition stand out as exceptional, and a seemingly natural extension from Webb's earlier publications, is the book's elegant design and use of color laser technology for the plates. The flat surface and brilliant color reproduction play off each other to create a strange 'tug-of-war' with the viewer's response to the images. As in the potential effect of video, these color laser images have a concurrent psychological immediacy and distance which complicates the images and their meaning in the most fascinating ways“. (Antiq. Borelli). - From the publisher: "This book of ,dislocations’ is an experiment in an alternative kind of book-making. It is a technology-mediated artist's book that inhabits a place somewhere between the unique book-as-art/art-as-book and a traditional press-bound publications focused on in the photographs“.

Nur Kurztitelaufnahme 06.1998.

Nur Kurztitelaufnahme 04.2004. - [Text at Schaden.com:] The United States-Mexico border is neither the United States nor Mexico; it is rather a 'third country,' 10 miles wide and 2,000 miles long, that lies in between. This borderland, split by the Rio Grande and the border fence, is a place of transience and crossings - of people and goods as well as of ideas and beliefs. Noted photojournalist Alex Webb has spent decades covering the border. This collection of color images - introduced by a black-and-white portfolio - shows a terrain where cultural differences between the two countries are blurred, where industrialized efficiency meets spirituality, where wealth meets poverty, and all are transformed in the process. United States border towns - El Paso and Brownsville, Texas - rely on cheap Mexican labor, legal and illegal, and Mexican shoppers; communities on the Mexican side - Juarez and Matamoros - are dependent on North American tourism and United States-owned manufacturing plants. Webbﬁs photographs explore this complex, culturally rich borderland in views of Mexican migrants and American tourists, desolate villages and red-light, honky-tonk border cities. He also focuses on the various forms of smuggling - drugs and people heading north, electronic goods and guns going south - that have come to define the border. The photographer comments on many of the images in extended notes; an essay by noted writer - and Webbﬁs long-time friend and colleague - Tom Miller explores the concept of the border as a third country and its transformation over the past decades.

Nur Kurztitelaufnahme 10.2006.

Text dt. - „Als wolle eine launenhafte Schöpfung dem Übermaß an Schönheit etwas entgegensetzen, vereint sich hier überwältigende Pracht mit ebenso überwältigenden Katastrophen, natur- wie menschengemachten. Der ambivalente Reichtum bringt (Über-)Lebenskunst hervor, ein unbekümmertes Durcheinander von zahllosen Völkern und ihren Kulturen, Sprachen, Musiken und Physiognomien, vor allem aber überbordende Lebensfreude, das vielgeliebte "easy living" in tropischer Hitze. Der New Yorker Alex Webb, einer der bedeutendsten und meistausgezeichneten Photographen unserer Tage, in unzähligen Sammlungen vertreten und Mitglied der Agentur Magnum seit drei Jahrzehnten, kennt die Karibik wie kein anderer. Für den neuen mare-Bildband reiste er mehrere Male in die unterschiedlichen Welten der Kleinen und Großen Antillen, beobachtete die Menschen und ihr meergeprägtes Leben und brachte Bilder mit, die undogmatisch und jenseits von Dokumentation mit feinem Gespür all die rätselhaften, unbegreiflichen Farben und Stimmungen dieser Perlenkette im Karibischen Meer evozieren.„ - Vgl. Buchbesprechnungen in DHPH Intern 1.2011 (http://www.dgph.de/presse_news/aktuellebuecher). - Nur Kurztitelaufnahme 01.2011.