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He’s the viral sensation on TikTok who’s showing families that you don’t need to spend a motser to feed your hungry household. Western Sydney dad Nathan Lyons regularly feeds his family of eight for just $8, and his #madfeedz videos have attracted more than 127,000 followers and more than 1.4 million likes. Kooking with a Koori is a collection of Nathan's best recipes and more Indigenous Australian soul foods that won’t break the bank. His aim is to get Aussies back into the kitchen making their own meals instead of grabbing fast food. So what are you waiting for? Get yourself to the kitchen and start making your own madfeedz! 'The thing I like about Nathan’s approach to food is that he genuinely loves to cook, and he manages to bring that joy and humour to the practical dishes he uses to feed his family. It's no wonder audiences love what he does.' - Adam Liaw
Modern thought is characterized by a dichotomy of meaningful culture and unmeaning nature. Signs in the Dust uses medieval semiotics to develop a new theory of nature and culture that resists this familiar picture of things. Through readings of Thomas Aquinas, Nicholas of Cusa, and John Poinsot (John of St. Thomas), it offers a semiotic analysis of human culture in both its anthropological breadth as an enterprise of creaturely sign-making, and its theological height as a finite participation in the Trinity, which can be understood as an absolute 'cultural nature'. Signs in the Dust then extends this account of human culture backwards into the natural depth of biological and physical nature. It puts the biosemiotics of its medieval sources, along with Félix Ravaisson's philosophy of habit, into dialogue with the Extended Evolutionary Synthesis that is emerging in contemporary biology, to show how all living things participate in semiosis, so that that a cultural dimension is present through the whole order of nature and the whole of natural history. It also retrieves Aquinas' doctrine of intentions in the medium to show how signification can be attributed in a diminished way to even inanimate nature, with the ontological implication that being as such should be reconceived in semiotic terms. The phenomena of human culture are therefore to be understood not as breaks with a meaningless nature, but instead as heightenings and deepenings of natural movements of meaning that long precede and far exceed us. Against the modern divorce of nature and culture, Signs in the Dust argues that culture is natural and nature is cultural, through and through.
Launching his curatorial career at the George Eastman House in 1957, Nathan Lyons (1930–2016) soon made a mark in the museum world and in his workshops for photographers and curators alike. Yet his supporting role in the careers of rising stars such as Lee Friedlander and Garry Winogrand sometimes eclipsed the public’s awareness of Lyons’s own pioneering photography. Coinciding with a major exhibition at the George Eastman Museum in 2019, Nathan Lyons: In Pursuit of Magic is a long-overdue celebration of Lyons’s astonishing body of work. Featuring more than two hundred and fifty compelling images, accompanied by critical essays, the book charts the distinct phases of Lyons’s career. His early work, exemplified by his exuberant initiatives of the 1960s—the Visual Studies Workshop and the Society for Photographic Education—demonstrated that street photography and formalism are not mutually exclusive, as university photography courses began migrating from journalism to art departments. His final years, which included a shift to color at age eighty, are also explored in depth. A companion to Nathan Lyons: Selected Essays, Lectures, and Interviews, this is the definitive visual sourcebook on a highly influential innovator.
Return Your Mind to its Upright Position is the fourth in a series of photographic books published by Nathan Lyons. It consistes of a sequence of 140 images paced as diptychs in chapters. Assuming a variety of roles, resembling sociologist, ethnographer, anthropologist, observer, commentator, poet, essayist, and historian, Nathan Lyons shows us overt and hidden dimensions of material culture and belief systems. The photographs and the books of photographs offer his views of the social world surrounding us in ever closer, intimately tighter encircling realities. Lyons' photographic sequences are a turning point in the possibilities for visual literature. They demonstrate--achieve--an evolution in visual thinking and its expression that attains a density and complexity of allusion. Respect, sometimes admiration, for the dignity and ambiguity of individual voices inscribed on the surface of our world tells us about our world and helps shape our conception of how things are. Previous titles include Notations in Passing (1974), Riding First Class on the Titanic (1999), After 9/11 (2003)
In response to the tragic events of September 11, photographer Nathan Lyons, known for his honest and often questioning depictions of American culture, has created a poignant new body of images. Photographing in small towns and large cities, Lyons has keenly observed the extreme and often confusing variety of responses - from deep reverence to blatant commercialization - manifested by ordinary Americans. This provocative sequence of images, loaded with multiple messages, is powerfully coherent and strangely disturbing. One will marvel, for instance, at the myriad uses of the American flag. As noted by Richard Benson in one of the book's afterwords, Nathan Lyons here offers a "parade of flags - in print, plastic, cloth, and paint - and he shows them as ubiquitous markers of our national pride and consciousness." In the tradition of Robert Frank's The Americans, Nathan Lyons's photographs will both engage audiences to question their responses to this horrific event in the context of our complicated society and memorialize the tragic loss of so many innocent lives.
foreword by Adam Weinberg essay by Leroy Searle Taking up where Notations in Passing left off, Riding 1st Class on the Titanic encompasses Nathan Lyons's work from 1974 to the present. Like the earlier book, this one consists primarily of a series of paired images, beautifully sequenced by the photographer, with very little text. Found language, such as that on building facades and signs, plays a prominent role in many of the sequences. The book, which accompanies a traveling exhibition organized by the Addison Gallery of American Art, contains a foreword by Adam Weinberg, Director of the Addison Gallery, and an essay by Leroy Searle. The title refers to the paradox of the Titanic, a symbol of invulnerability that became the carrier of our ultimate vulnerability. Lyons's work investigates the value systems that we have embraced, only to discover that their elusive meanings do more to challenge our belief systems than to reinforce them. Copublished with The Addison Gallery of American Art. EXHIBITION SCHEDULE: Addison Gallery of American Art Phillips Academy Andover, Massachusetts January 15-March 19, 2000 International Center of Photography New York, New York April-June 2000 International Museum of Photography and Film George Eastman House Rochester, New York July-October 2000 Albin O. Kuhn Library and Gallery University of Maryland Baltimore, Maryland Fall 2000 Venue for winter 2001 to be announced California Museum of Photography University of California, Riverside Spring 2001