Lyle Rexer – författare

The luminous work of Bill Armstrong has long stretched the boundaries and expectations of contemporary photography. In his explorations and subversion of the ostensible objectivity and precision that have distinguished photography among the visual arts, Armstrong foregrounds the medium’s qualities that photographers had been attempting to exploit since the beginning of the twentieth century: colour and focus.All a Blur showcases Mr. Armstrong's Infinity series, an ongoing project he has been working on for over 25 years. The book presents 21 different portfolios, all made by using his unique process of photographing a collage of found or appropriated images extremely out of focus or distorted by handheld time exposures. The variety of subjects and results he achieves with this process is so broad it has been said that he has developed a medium of his own invention that lies at the intersection of photography, painting and collage.  With mysterious and poetic images that reflect on history, philosophy, identity and spirituality, Armstrong conjures a unique alternate reality that might exist in dreams, in memory, or, perhaps, in a parallel universe. At the same time, the subject of the work is colour. By taking away focus and the usual expectations of photography, Armstrong is able to investigate the qualities and effects of pure colour in a profound way, freed from the limits of representation.

If you were to stand in one spot at an iconic location for 30 hours and simply observe, never closing your eyes, you still wouldn’t be able to take in all the detail and emotion found in a Stephen Wilkes panoramic photograph. Not only does Wilkes shoot over 1,500 exposures from a fixed angle, he also distills this visual information afterward in his studio, painstakingly composing selected frames into a single image.Day to Night presents 60 epic panoramas created between 2009 and 2022, shot everywhere from Africa’s Serengeti to the Blue Lagoon in Iceland, from the Grand Canyon to Coney Island, from Trafalgar Square to Times Square. Each composition is a labor of love as well as patience. Wilkes waited more than two years to gain permission to photograph Pope Francis celebrating Easter mass in the Vatican, ultimately producing a vivid tableau in which the pontiff appears 10 times.The book also features extraordinary details—works of art in their own right that highlight the stories contained within each image. A bride makes her way through Central Park; in Tanzania, zebras gather around a near-invisible watering hole during a drought; in Rio de Janeiro, surfers come and go while a man holds a sign reading “No more than two questions per customer.” “It is exactly these small stories, these details, that draw people into the photographs,” says Wilkes. Once discovered, these mini narratives lend each composition a personal, candid feel.This collection takes us on a seamless trip from dawn to dark across the world’s most iconic locations, unveiling the unique ebb and flow of man-made and natural landmarks like never before.

In 1952, after becoming one of the first-ever recipients of a Master of Science degree in Photography at Chicago’s Institute of Design, native New Yorker Marvin E. Newman returned to his hometown. Like many artists before, he set about chronicling the city. Unlike his predecessors, Newman chose color photography as the preeminent medium for capturing the people and energy of New York, and its emergence in the 1950s as the self-proclaimed “Greatest City in the World.”Lauded by the likes of Eastman House, MoMA, and the International Center of Photography, Newman’s images remained, up until now, largely undiscovered beyond a prestigious collector and gallery circle. After featuring Newman in New York: Portrait of a City, TASCHEN now presents the artist’s first career monograph including some 170 pictures from the late 1940s through the early 1980s, previously available in a Collector’s Edition. Newman passed away in 2023 at the age of 95.From Times Square to Wall Street, from Broadway to Little Italy, Newman’s vivid, original tableaux offer fresh perspectives on familiar New York landmarks but, above all, a unique sense for life in the city and for the drama and extremities that weld New York to so many hearts. Beyond New York, Newman applies the same flawless technique and humanist sensibility to other locations across the United States including Chicago, Kansas, a vintage 1950s circus; a legalized brothel in Reno, Nevada; Las Vegas; Alaska; and groovy 1960s California; as well as top shots from his sports photography portfolio featuring icons such as Cassius Clay and Pele´.Newman, who is represented by the prestigious Howard Greenberg Gallery, was long overdue a monograph. With an essay by critic and scholar Lyle Rexer, this first chronological retrospective offers due recognition to an outstanding talent, providing memorable images that leave their mark on the eye and the soul.

From the beginning, abstraction has been intrinsic to photography, and its persistent popularity reveals much about the medium. The Edge of Vision: The Rise of Abstraction in Photography is the first book in English to document this phenomenon and to put it into historical context, while also examining the diverse approaches thriving within contemporary photography. Aperture is pleased to release this book in an affordable paperback edition. Author Lyle Rexer examines abstraction at pivotal moments, starting with the inception of photography, when many of the pioneers believed the camera might reveal other aspects of reality. The Edge of Vision traces subsequent explorations—from the Photo-Secessionists, who emphasized process and emotional expression over observed reality, to Modernist and Surrealist experiments. In the decades to follow, in particular from the 1950s through the 1980s, a multitude of photographers—Edward Weston, Aaron Siskind, Barbara Kasten, Ellen Carey, and James Welling among them—took up abstraction from a variety of positions. Finally, Rexer explores the influence the history of abstraction exerts on contemprary thinking about the medium. Many contemporary artists—most prominently Penelope Umbrico, Michael Flomen, and Adam Broomberg and Oliver Chanarin—reject classic definitions of photography’s documentary dimension in favor of other conceptually inflected possibilities, somewhere between painting and sculpture, that include the manipulation of process and printing. In addition to Rexer’s engagingly written and richly illustrated history, this volume includes a selection of primary texts from and interviews with key practitioners and critics, such as Alvin Langdon Coburn, László Moholy-Nagy, Gottfried Jägger, Silvio Wolf, and Walead Beshty.