Sebastião Salgado, ‘Southern Right Whale, Navigating in the Golfo Nuevo, Valdés Peninsula, Argentina’, 2005, Phillips

“We worked for over eight years—I say ‘we’ because my wife was with me most of the time—and I photographed the nature, I photographed the other animals, and I discovered that everything is alive. A landscape is alive; this mountain is as alive as I am; all of these trees are as alive as I am—very alive, very rational. They are inside a live system that includes them. And that, for me, during those eight years, was the fabulous discovery of Genesis.” Sebastião Salgado
Courtesy of Phillips

Signature: Signed, titled 'Argentina' and dated in pencil on the reverse of the flush-mount.

Taschen, Sebastião Salgado: Genesis, p. 40

Peter Fetterman Gallery, Santa Monica

About Sebastião Salgado

Sebastião Salgado travels the world documenting the poor and powerless, as well as the grandeur of nature, in analog black-and-white photographs that are both highly formal and unflinchingly documentary. Influenced by his training as an economist, and aligned with masters of documentary photography like Robert Capa and Henri Cartier-Bresson, Salgado focuses on the adverse results of globalization. As he explains: “Each of my stories is about globalization and economic liberalization: a sample of the human condition on the planet today.” That condition is one of peril for those at the bottom of the global economy, as photographs like Legs, Serra Pelada, Brasil (1986) attest. In this photograph, Salgado hones in on the taut, muscular legs of Brazilian miners. Barely covered by sweat-drenched shorts, the men’s legs seem strong yet fragile, as Salgado captures them straining against an incline of bare earth.

Brazilian, b. 1944, Aimorés, Brazi, based in Paris, France