Bøger udgivet af Aperture

Guest edited by the acclaimed photographer Alec Soth, Aperture’s summer issue explores the dimensions and possibilities of dreams, journeys, and chance in photography. “Sleepwalking” covers a surprising array of images and stories from the Soviet-era Czech artist Emila Medová to Sophie Calle’s discovery of an abandoned Parisian hotel to Soth’s own photographs from his travels in the United States. In this issue, Jesse Dorris interviews Duane Michals about luck and fate, Marina Warner explores the enduring resonance of the figure of the sleepwalker, and artists including Etienne Courtois, Maja Daniels, and Elliott Jerome Brown Jr. present surreal and imaginative new series. The Summer 2022 issue also introduces The PhotoBook Review, a new section for lively engagement with photobooks, featuring reviews of recent titles by Nona Faustine, Samuel Fosso, Óscar Monzón, and others.

Between science and art, revisiting photography¿srole in discovery and experimentation.This edition of Aperture focuses on "Curiosity." Taking its name from the Mars Rover, which has reminded us that a fundamental purpose of photography is to show us something new, the articles and portfolios ask: what can we learn by revisiting photography's role in discovery, experimentation and exploration? The issue toggles between past and present, and between science and art, and features Jennifer Tucker on Victorian science photography, spectacle and rational amusement; Kelley Wilder on what it means for photography to make visible the invisible; Brian Dillon on the cosmic and the mundane; a conversation between artist Trevor Paglen and the eminent science historian Peter Galison; a selection from Harold "Doc" Edgerton's lab books; David Campany on photographic abstraction and perception; curator Joel Smith's guide to "photographic nothing"; and portfolios by British photographer Stephen Gill, Amsterdam-based artist Eva-Fiore Kovakovsky, curator Lynne Cooke on Horst Ademeit's mysterious annotated Polaroids and much more.

Anniversary issue features seven original commissions by leading photographers and artists, and seven essays about Aperture’s legacy by award-winning writers and criticsThis fall, Aperture celebrates seventy years in print with an issue that explores the magazine’s past while charting its future. Reflecting on the founding editors’ original mission and drawing on Aperture’s global community of photographers, writers, and thinkers, this issue features seven original artist commissions as well as seven essays by some of the most incisive writers working today––each engaging with the magazine’s archive in distinct ways. Among the original artist commissions, Iñaki Bonillas selects iconic images and texts from the Aperture’s archive from the 1950s to produce open-ended narrative collages. Dayanita Singh reflects on the 1960s and the family album as a serious photographic form. Yto Barrada enacts sculptural interventions to issues and spreads from the 1970s, using remnants of the late artist Bettina Grossman’s color paper cutouts. Mark Steinmetz draws inspiration from the magazine’s Summer 1987 issue, “Mothers & Daughters,” to compose a photo essay of his wife, the photographer Irina Rozovsky, and their daughter Amelia. Considering the matrix of censorship, art, and religion in the 1990s, John Edmonds creates a tableau about family, faith, and grief. Hannah Whitaker explores the turn of the century, and the ways in which our anxieties about technology create speculative worlds. And Hank Willis Thomas draws on Aperture’s issues from the 2010s to create a series of collages that reference traditional quilt patterning, revivifying history and remixing the present.Looking back upon Aperture’s legacy, Darryl Pinckney reconsiders the photographer and editor Minor White, whose vision shaped the magazine for nearly two decades, beginning in the 1950s. Olivia Laing writes about the 1960s and the tensions between reportage and artistry in the work of Dorothea Lange, W. Eugene Smith, and others. Geoff Dyer revisits to the 1970s, which he considers a decade of new ideas and deeper reflection on the medium, looking into the works of William Eggleston and Ralph Eugene Meatyard. Brian Wallis looks back at the politics, art, identity, and the “culture wars” of the 1980s, while Susan Stryker reflects on Aperture’s archive from the 1990s and its foregrounding of identity beyond the gender binary, evoking Catherine Opie, Elaine Reichek, and Aperture’s pathbreaking “Male/Female” issue. Lynne Tillman illustrates how photographers searched for the tangible in an increasingly digital world in the 2000s, and the Pulitzer Prize-winning critic Salamishah Tillet shows how the photo album became a source of connection and narrative amid the information overabundance of the 2010s.

Revisiting ten photographers who deserverenewed contemporary attention.This edition of Aperture, titled "Photography as you don't know it," leading curators, historians, writers, and publishers introduce ten photographers they believe have been overlooked or are undervalued, and deserve more attention today. Why are some figures remembered and others forgotten?In the Pictures section, Paul Trevor is introduced by Chris Boot; Seichi Furuya by David Strettell; Maria Sewcz by Britt Salvesen; Len Lye by Geoffrey Batchen; Ken Pate by Carole Naggar; Marianne Wex by David Campany; Ricardo Rangel by Bronwyn Law-Viljoen; Horacio Coppola by Sarah Hermanson Meister; and Rosângela Rennó by Thyago Nogueria.In the Words section, Joel Smith considers the ever-expanding domain of photography history; Katrina Sluis speaks with Christiane Paul and Julian Stallabrass about how new technologies may shape future histories of photography; Brian Dillon considers London's Archive of Modern Conflict; Philip Gefter interviews Quentin Bajac, MoMA's new head of photography; and four writers reflect on exhibitions due for reconsideration. This issue presents many new names, underscoring how many stories of photography are just beginning to be told.

In role-play and sex-play, illuminating theater,jokes, leisure, and fantasy.This edition of Aperture focuses on "Playtime." Taking its name from the 1967 film by Jacques Tati, the articles and portfolios explore how photography illuminates, facilitates, and participates in the many definitions of play-from role-play and sex-play to theater and jokes to leisure and fantasy.The issue features an interview with artist Chrisian Marclay about improvisation and the relationship between images and sounds; a conversation with Erwin Wurm about the possibilities and risks of using humor in contemporary art; and new, never-before-published work by Sophie Calle. Additionally, writer Eric Banks visits Saul Leiter's studio; Tim Davis examines the art of the photographic one-liner; Robin Kelsey surveys the artists who turned to games, whimsy, and clowning around in the 1960s and '70s; and Aveek Sen considers Italo Calvino's short story "The Adventure of a Photographer." Plus portfolios from Jo Ann Callis, Kauyoshi Usui, Bruno Munari, James Mollison, a little-known group of Cambridge University students who scaled campus buildings in the 1930s, and more.

Valparaíso began in 1957 while Sergio Larrain was traveling with poet Pablo Neruda for Du magazine. When the photographs were first published in 1991, Larrain informed the publishers that he had made his own facsimile of the book, reflecting how he would have constructed the layout. This facsimile is now beautifully produced in book form. Including text by the celebrated Pablo Neruda as well as correspondence between Larrain and Henri Cartier-Bresson, Valparaíso presents the long-awaited return of this rare and renowned body of work

About Exiles, Cornell Capa once wrote, Koudelka's unsentimental, stark, brooding, intensely human imagery reflects his own spirit, the very essence of an exile who is at home wherever his wandering body finds haven in the night. In this newly revised and expanded edition of the 1988 classic, which includes ten new images and a new commentary with Robert Delpire, Koudelka's work once more forms a powerful document of the spiritual and physical state of exile. The sense of private mystery that fills these photographs-mostly taken during Koudelka's many years of wandering through Europe and Great Britain since leaving his native Czechoslovakia in 1968-speaks of passion and reserve, of his rage to see. Solitary, moving, deeply felt and strangely disturbing, the images in Exiles suggest alienation, disconnection and love. Exiles evokes some of the most compelling and troubling themes of the twentieth century, while resonating with equal force in this current moment of profound migrations and transience.

A landmark in the history of modern art, People of the 20th Century presents the fullest expression of the German photographer August Sander's lifelong work: a monumental endeavor to amass an archive of twentieth-century humanity through a cross section of German culture. Sander photographed subjects from all walks of life, capturing bankers and boxers, soldiers and circus performers, farmers and families, to create a catalog of the German people, arranged by their profession, gender, and social status. First imagined in the 1920s, he pursued the project for more than fifty years during a politically charged and rapidly changing time, fraught by two world wars and the devastating repercussions of Nazism. Sander never finished the seven-volume, forty-nine portfolio magnum opus, continually refining and shaping it to convey an understanding of the world in which he lived. The photographs, remarkable for their unflinching realism and deft analysis of character, provide a powerful social mirror of Germany between the wars and form one of the most influential achievements of the twentieth century. Now made available again, People of the 20th Century brings together the exquisite reproductions and principal texts of the long out-of-print, seven-volume edition, as well as the main scholarship from the accompanying study edition. This all-in-one edition, with 619 photographs, offers the most comprehensive iteration of Sander's still-essential vision.

"Aperture is proud to bring this best-selling and indispensable title back into print, coinciding with the fiftieth anniversary of Diane Arbus's groundbreaking solo exhibition at the Museum of Modern Art, New York. Diane Arbus: Revelations explores the origins, scope, and aspirations of this wholly original force in photography. The book reproduces two hundred full-page duotones of Diane Arbus photographs spanning her entire career"--

Overpass is about what it means to move through the landscape. Walking along a vast network of centuries-old footpaths through the English countryside, artist Sam Contis focuses on stiles, the simple structures that offer a means of passage over walls and fences and allow public access through privately owned land. In her immersive sequences of black-and-white photographs, they become repeating sculptural forms in the landscape, invitations to free movement on one hand and a reminder of the history of enclosure on the other. Made from wood and stone, each unique, they appear as markers pointing the way forward, or decaying and half-hidden by the undergrowth. An essay by writer Daisy Hildyard contextualizes this body of work within histories of the British landscape and contemporary ecological discourses. In an age of rising nationalism and a renewed insistence on borders, Overpass invites us to reflect on how we cross boundaries, who owns space, and the ways we have shaped the natural environment and how we might shape it in the future.

Bettina is the first monograph to showcase the work of the previously unsung artist Bettina Grossman, whose wildly interdisciplinary practice spanned photography, sculpture, textile, cinema, drawing, and more.An eccentric personality fully dedicated to her art, Bettina lived in the famous Chelsea Hotel from 1968 until her death in late 2021. In her tiny studio, she produced and accumulated a considerable body of work, much of which has remained unseen and unpublished until now. Her interests ranged from geometric and abstract studies, drawn from observations of people on the street, to pieces that transformed language into graphic, abstract “verbal forms.” Incorporating strategies of chance and the abstraction of everyday form through repetition and seriality, Bettina pushed the photographic medium to and beyond its limits. As Robert Blackburn, artist and founder of the Printmaking Workshop, astutely observed of Bettina’s work: “The photography, film, sculpture are as one, for the photographic medium is employed not only for documentation but as an endless source of inspiration from which other disciplines emerge—and merge.”Bettina was the winner of the Luma Rencontres Dummy Book Award Arles 2020 and is copublished by Aperture and Éditions Xavier Barral.

"'Revolution is love: a year of Black Trans Liberation' is the powerful and celebratory visual record of a contemporary activist movement in New York City, and a moving testament to the enduring power of photography in activism, advocacy, and community. In June 2020, activists Qween Jean and Joela Rivera founded the Stonewall Protests, weekly actions centering Black trans and queer identities that took place across New York City." "This book gathers twenty-four photographers who share images and words on the demonstrations, preserving this legacy as it unfolded."--Back flap of printed paper wrapper.

A Kind of Prayer presents the first-ever survey dedicated to the late Cree artist Kimowan Metchewais and his singular body of work on Indigenous identity, community, and colonial memory. After his untimely death at age forty-seven in 2011, Metchewais left behind a wholly original and expansive body of photographic and mixed-media work. At the center of his practice is an extensive Polaroid archive, which addresses a range of themes‿including the artist‿s body, performative self-portraiture, language, landscapes, and everyday subjects‿and served as the source material for works in other media, such as painting and collage. Metchewais‿s exquisitely layered works offer a poetic meditation on his connection to home and land, while challenging conventional narratives and representations of Indigeneity. Metchewais was a contemporary artist of stunning originality, and until now, his work has been woefully understudied and underexposed. A Kind of Prayer is a comprehensive overview that showcases this essential artist‿s astonishing vision.

"A collection of essays by Sunil Gupta offers an unparalleled firsthand account of the influential photographer and curator's practice since the 1970s"--

Coolly observational yet intensely engaging, the immensely influential American photographer Tod Papageorge's "American Sports, 1970" draws a subtle but sharp parallel between the war in Vietnam and the American attitude toward spectator sports during a time of conflict. In 1970, a watershed year for popular opinion against the war, Papageorge was awarded a Guggenheim Foundation grant. His ostensible subject--sports and its role in American life--quickly became charged with the political, racial and sexual conflicts ignited by the war. Each and every picture is electric with disquiet. Military men in uniform parade across a field or relax in the stands. Cheerleaders rehearse beneath the gaze of the police. A couple sprawls and embraces in the debris of the Indianapolis 500. And hundreds of fans are drawn in unsettling group portraits at various stadiums and in the stands of many classic American sporting events.Papageorge eloquently and palpably captures the civic and psychic distress of the time on the faces of his subjects and in their gestures and interactions. This is a remarkable, unexpected body of work--published here for the first time--by an artist and teacher who has shaped the creative efforts of many of the most influential American photographers of the past three decades.

Working with ordinary people who answered ads in local papers, posing them in their nondescript homes or unexceptional landscapes and using relatively simple equipment, Katy Grannan alchemizes these factors into extraordinary photographs. Disarming for their directness and for the provocative but casual nudity on display, her pictures capture the spirit of her subjects in the manner of Diane Arbus, but they also draw upon the artificial, posed tableaux of Gregory Crewdson and, indeed, art history. The posture of the tattooed and tanned (and nude) figure in "Mike," a 2003 portrait which appeared in the 2004 Whitney Biennial, resembles nothing so much as the awkward repose of the desert nomad in Henri Rousseau's "Sleeping Gypsy." In this first monograph, over half of the photographs are previously unpublished, providing a fresh depth to our understanding of this already widely known and accomplished young artist. Sitting on a dirt road in a knit bikini, standing defiantly in a corner of a cheaply paneled living room, leaning languidly against a chain-link fence, Grannan's photoraphs convey the dark side that we all have as well as the need to be recognized as unique individuals.

In this previously unpublished body of work, Gary Schneider presents a haunting series of nudes and faces that emerge and seem to float above a receding black ground. Each image is rendered through a long exposure and by exploring the surfaces of the skin with a small handheld light. Due to the prolonged time required and the inevitable movements and consequent distortions that occur in the process, the results both reveal and obscure the intimate physical details and personality of the individual who poses. The sensibility and the obsessions of the artist are reflected by his decisions to expose certain areas more than others. The skin-tones are lush and luminous as they emerge from the darkness, yet these portraits also disturb as a result of the exaggerations and irregularities--the blurred traces of unconscious gesture matched with a stiffness that implies the innate physicality and mortality within each body.

Aperture 154Explorations: Nine PortfoliosWinter 1999 Aperture's second Explorations issue presents heretofore undiscovered images by photographers whose work is bound to become widely known. They probe the metaphysical through ritual, invoke dark metaphors in circus performance, find religion in nocturnal deserts, and study the ties that bind. The convergence of these uniquely powerful images and the artists' personal stories provokes an examination of the ever expanding boundaries of contemporary photography. Artists included are Stephen Barker, Neil Folberg, Jill Graham, Kimberly Gremillion, Jan van Leeuwen, Anne Arden McDonald, Andreas Rentsch, Maruch Santiz Gomez, and Dayanita Singh.

Essay by Amy Stechler Burns. Foreword by Eldress Bertha Lindsay.