Visar resultat för..."Aperture"

Ten years after publishing Illuminance in 2011, Aperture is delighted to bring this beloved book back into print, retaining Rinko Kawauchi’s original sequence and signature melding of keenly observed gestures, quotidian detail, and a finely honed palette.On the book’s original release, Alec Soth declared Illuminance “an exquisitely produced monograph [that] should make Rinko a household name.” An expanded edition with additional texts by curator David Chandler; philosopher Masatake Shinohara; and Aperture’s creative director, Lesley A. Martin, this reissue contributes new context to and perspective on Kawauchi’s influential work. Extraordinarily poetic, brimming with imagination and sensibility, and following international acclaim, this exquisite ten-year anniversary edition will entice lovers of photography once again.

A celebrated return of Robert Frank’s seminal photobook The Americans to Aperture’s catalog—one of the most important bodies of photographic work ever made.In the nearly seven decades since its publication in France in 1958, then in the United States in 1959, Robert Frank’s The Americans has become one of the most influential and enduring works of American photography. Through eighty-three photographs taken across the country, Frank unveiled an America that had gone previously unacknowledged—confronting its people with an underbelly of racial inequality, corruption, injustice, and the stark reality of the American dream. Frank’s point of view—at once startling and tenacious—is imbued with humanity and lyricism, painting a poignant and incomparable portrait of the nation at a turning point in history.This edition of The Americans is a celebrated return of an iconic title to Aperture’s catalog, more than a half-century after the Aperture and Museum of Modern Art edition was published in 1968. Presented on the centennial of Frank’s birth and coinciding with a major exhibition at the Museum of Modern Art, it has been produced following the finest tritone printing from the 2008 edition for which Frank was personally involved in every step of the design and production. Frank’s exacting vision, distinct style, and poetic insight changed the course of twentieth-century photography, and influenced subsequent generations of photographers, including Lee Friedlander, Nan Goldin, Danny Lyon, Joel Meyerowitz, Ed Ruscha, and Garry Winogrand. Now extolled as one of the most groundbreaking photobooks of all time, The Americans remains as powerful and provocative as it was upon publication and continues to resonate with audiences today.

Through Positive Eyes is a collaborative photo-storytelling project by 130 people living with HIV and AIDS around the world. This global photographic collaboration with Gideon Mendel and the UCLA Art & Global Health Center chronicles a very particular moment in the epidemic, when effective treatment is available but far from universal, and the enduring stigma associated with HIV and AIDS has become entrenched. Through Positive Eyes addresses this stigma, social inequality, and limited access to medication through the voices of those experiencing it. The participants in the project have volunteered to tell their stories and create their own artistic statements, empowering themselves in order to banish stigma.

The highly anticipated second volume to the widely acclaimed and celebrated self-portrait series, Somnyama Ngonyama, Hail the Dark LionessIn Somnyama Ngonyama, Hail the Dark Lioness, Vol. II, Zanele Muholi explores and expands upon new personas and poetic interpretations of personhood, queerness, Blackness, and the possibilities of self. Since the publication of the first volume in 2018, Muholi has continued to photograph themself in a range of new international locations. Drawing on material props found in each environment, Muholi boldly explores their own image and innate possibilities as a Black individual in today’s global society, and—most important—speaks emphatically in response to contemporary and historical racisms. Renée Mussai, curator and historian, brings together written contributions from more than ten curators, poets, and authors, building a poetic and experimental framework that extends the idea of speculative futures and the potentiality of multivalent selves. Powerfully arresting, this collection further amplifies Muholi’s expressive and radical manifesto. As they state in the first volume, “My practice as a visual activist looks at Black resistance—existence as well as insistence.”

Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness includes one hundred self-portraits created by one of the most powerful visual activists of our time. In each of the images, Muholi drafts material props from her immediate environment in an effort to reflect her journey, explore her own image and possibilities as a black woman in today’s global society, and — most important — to speak emphatically in response to contemporary and historical rascisms. As she states, “I am producing this photographic document to encourage people to be brave enough to occupy spaces, brave enough to create without fear of being vilified. . . . To teach people about our history, to re-think what history is all about, to re-claim it for ourselves, to encourage people to use artistic tools such as cameras as weapons to fight back.”More than twenty curators, poets, and authors offer written contributions that draw out the layers of meaning and possible readings to accompany select images. Powerfully arresting, this collection is as much a manifesto of resistance as it is an autobiographical, artistic statement.

About Exiles, Cornell Capa once wrote, Koudelka's unsentimental, stark, brooding, intensely human imagery reflect 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, 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 Koudelkas many years of wandering through Europe 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, edited and sequenced by Koudelka and Robert Delpire, evokes some of the most com - pelling and troubling themes of the twentieth century, while resonating with equal force in this current moment of profound migrations and transience. This edition also includes new text by Robert Delpire and Josef Kudelka.

First published in 1967, Ernest Cole’s House of Bondage has been lauded as one of the most significant photobooks of the twentieth century, revealing the horrors of apartheid to the world for the first time and influencing generations of photographers around the globe. Reissued for contemporary audiences, this edition adds a chapter of unpublished work found in a recently resurfaced cache of negatives and recontextualizes this pivotal book for our time.Cole, a Black South African man, photographed the underbelly of apartheid in the 1950s and ’60s, often at great personal risk. He methodically captured the myriad forms of violence embedded in everyday life for the Black majority under the apartheid system—picturing its miners, its police, its hospitals, its schools. In 1966, Cole fled South Africa and smuggled out his negatives; House of Bondage was published the following year with his writings and first-person account. This edition retains the powerful story of the original while adding new perspectives on Cole’s life and the legacy of House of Bondage. It also features an added chapter—compiled and titled “Black Ingenuity” by Cole—of never-before-seen photographs of Black creative expression and cultural activity taking place under apartheid. Made available again nearly fifty-five years later, House of Bondage remains a visually powerful and politically incisive document of the apartheid era.

Diana Markosian’s Father is an intimate and engrossing diaristic portrayal of estrangement and reconnection, recounted through documentary photographs, family snapshots, text, and visual ephemera.Diana Markosian: Father presents the photographer’s journey to another place and another time, where Markosian attempts to piece together an image of a familiar stranger—her long-lost father. The book explores her father’s absence, her reconciliation with him, and the shared emptiness of their prolonged estrangement. The images, made over the course of a decade, take place in her father’s home in Armenia. In Markosian’s first monograph, Santa Barbara (Aperture, 2020), the photographer recreates the story of her family’s journey from post–Soviet Russia to the US in the 1990s. Father uses both documentary photographs and archives of objects, letters, and vernacular images to probe the fifteen years of absence and separation from the photographer’s childhood. In this voyage of self-discovery, Markosian touchingly renders her longing for connection to a man she barely remembers and who asks her, when she finds him, “Why did it take you so long?”

The definitive early-career survey of one of the most compelling photographers of his generation.Tyler Mitchell’s photography is animated by dreams of paradise and joy against the backdrop of history. Since his rise to prominence in the worlds of art and fashion, Mitchell has created images of beauty, utopia, and the American landscape that expand the imaginary of Blackness in the twenty-first century. Wish This Was Real is the definitive early-career survey of Mitchell’s work, offering a comprehensive look into the subjects driving his artistic practice, from his genre-bending portraits made in the United States, Europe, and West Africa to his photographs printed on diaphanous fabrics and sculptures that reference Black intellectual heritage. Presenting new perspectives by leading writers on his long-standing themes of self-determination and the extraordinary radiance of the everyday, Wish This Was Real shows how photography can be rooted in a collective past while evoking imagined futures.Tyler Mitchell: Wish This Was Real was made possible, in part, through lead support from Coach. Aperture gratefully acknowledges additional support from The Andy Warhol Foundation for the Visual Arts. For their generous contributions, Aperture also wishes to thank Dr. Kathryn Beal, David Dechman and Michael Mercure, Béryl and Rex Hamilton, Pamela Thomas-Graham, Michael Hoeh, Cathy M. Kaplan, and Yesim and Dusty Philip.

Sixty years after its publication, The Flame of Recognition continues to offer unmatched insight into the mind, life, and work of a twentieth-century icon.This classic monograph, first issued as a hardcover volume in 1965, began its life in 1958 as a monographic issue of Aperture magazine. Drawing on a decades-long collaboration between the photographer and Nancy Newhall, Aperture cofounder and Museum of Modern Art curator, The Flame of Recognition brings together a sequence of images and excerpts from Weston’s writing in an effort to channel the photographer’s creativity and, in his own words, “present clearly my feeling for life with photographic beauty . . . without subterfuge or evasion in spirit or technique.”In 2015, Aperture reissued the book on its fiftieth anniversary, and ten years later Aperture is pleased to present the sixtieth anniversary edition in an elegant paperback edition. The Flame of Recognition covers the range of Weston’s greatest works, from the portraits and nudes to the landscapes and still lifes. Accompanying and amplifying the images are Weston’s own thoughts, excerpted from his now-famed Daybooks and letters. Others who contributed to the making of the book include two of the artist’s sons, Brett and Cole, and two other Aperture cofounders, filmmaker and author Dody Weston Thompson and Ansel Adams, whose preface offers a posthumous tribute to the oeuvre of a remarkable artist. A brief bibliography as well as a chronology offer further insight into the life and work of this giant of twentieth-century photography.

The best way to learn is by doing. The Photographer’s Playbook features photography assignments, as well as ideas, stories, and anecdotes from many of the world’s most talented photographers and photography professionals. Whether you’re looking for exercises to improve your craft—alone or in a group—or you’re interested in learning more about the medium, this playful collection will inspire fresh ways of engaging with photographic process. Inside you will find advice for better shooting and editing, creative ways to start new projects, games and activities, and insight into the practices of those responsible for our most iconic photographs—John Baldessari, Tina Barney, Philip-Lorca diCorcia, Jim Goldberg, Miranda July, Susan Meiselas, Stephen Shore, Alec Soth, Tim Walker, and many more. The book also features a Polaroid alphabet by Mike Slack, which divides each chapter, and a handy subject guide. Edited by acclaimed photographers Jason Fulford and Gregory Halpern, the assignments and project ideas in this book are indispensable for teachers and students, and great fun for everyone fascinated by taking pictures.

Henri Cartier-Bresson's writings on photography and photographers have been published sporadically over the past 45 years. His essays—several of which have never before been translated into English—are collected here for the first time. The Mind's Eye features Cartier-Bresson's famous text on "the decisive moment" as well as his observations on Moscow, Cuba and China during turbulent times. These essays ring with the same immediacy and visual intensity that characterize his photography.

Expanded from an earlier catalogue of the same title, "Still Time" accompanied a traveling exhibition featuring more than 20 years of Sally Mann's photography."Still Time" celebrates an artist whose acute perceptions and imagination embrace not only the photographs of children for which she is renowned, but also earlier landscapes, and the unexpected, compelling forays into color and abstract photography. The 60 images include abstract platinum prints, Cibachromes and Polaroids, landscapes, portraits of women and twelve-year-olds, and her celebrated family pictures.

A rare glimpse into the mind and artistic process of one of the world’s greatest photographers.Distilled from sixty‑nine journals kept over the course of fifty‑plus years, Josef Koudelka: Diaries offers a look inside the mind and artistic process of the iconoclastic Czech photographer renowned for a life in exile and legendary projects on the Roma, the 1968 Soviet-led invasion in Prague, and the devastating impact humans have on the landscape. Facsimile pages from the diaries, along with images by the photographer, including self‑portraits, lend the volume an immediacy and authenticity. As curator Tomáš Pospěch writes, “Koudelka’s diaries are a ‘cookbook’ of classic photography. He associated with the most renowned photographers. His notes sum up his rich experience, including with the now‑vanishing technology of analog black‑and‑white photography. His remarks, quips, and stories reappear, just as he repeatedly made resolutions, affirmed the rules he had adopted, and recalled earlier events and dreams.” Diaries is a perfect companion to Josef Koudelka: Next (2023), the visual biography by Melissa Harris.

First published by Aperture in 1988, At Twelve: Portraits of Young Women is a contemporary classic by one of photography’s most renowned photographers. To mark the book’s thirtieth anniversary, Aperture is reoriginating it in a masterful facsimile edition that retains the purity of the original. At Twelve is Sally Mann’s revealing, collective portrait of twelve-year-old girls on the verge of adulthood. To be young and female in America is a time of tremendous excitement and social possibilities; it is a trying time as well, caught between childhood and adulthood, when the difference is not entirely understood. As Ann Beattie writes in her perceptive introduction, “These girls still exist in an innocent world in which a pose is only a pose—what adults make of that pose may be the issue.” The consequences of this misunderstanding can be real: destitution, abuse, unwanted pregnancy. The young women in Mann’s unflinching, large-format photographs, however, are not victims. They return the viewer’s gaze with a disturbing equanimity. Poet Jonathan Williams writes, “Sally Mann’s girls are the ones who do the hard looking in At Twelve—be up to it!”This reissue of At Twelve has been printed using new scans and separations from Mann’s prints, which were taken with an 8-by-10-inch view camera, rendering them with a freshness and sumptuousness true to the original edition.

In the seventh installment of The Photography Workshop Series, Catherine Opie—well known for dynamic portraits and landscapes that speak to identity and community—offers insight into creating photographs that navigate the contemporary landscape, as well as the landscape of the body and constructed identity.Aperture Foundation works with the world’s top photographers to distill their creative approaches to, teachings on, and insights into photography—offering the workshop experience in a book. Our goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Through images and words, in this volume Catherine Opie shares her creative process and discusses a wide range of issues, from representing subcultures and marginalized communities, to making confrontational work that reimagines and subverts expectations.

In this expansive monograph, Robert Adams’ compelling and provocative photographs explore the profound questions of our responsibility to the land and the moral dilemmas of progress. Working in Colorado, California, and Oregon from 1965 to 2015, Adams photographed suburban sprawl, strip malls, highways, homes, and the land itself, seeking to reveal both the ravages we have inflicted on the land and its underlying, enduring beauty. His photographs of the western American landscape are imbued with a sense of the sacred. Adams transforms “the silence of light” he sees on the prairie, in the woods, and by the ocean into pictures that not only capture that beauty but can also question our own silent complicity in its desecration by consumerism, industrialization, and the lack of environmental stewardship. This substantial body of work—passionate but restrained, respectful but outraged—is united by the reverential way Adams looks at the world around him, and the almost palpable silence that permeates his art. Copublished by the National Gallery of Art and Aperture

In 2012, the Eastman Kodak Company declared bankruptcy. That same year, a group of ten photographers from Magnum Photos—Jim Goldberg, Bruce Gilden, Susan Meiselas, Martin Parr, Paolo Pellegrin, Alessandra Sanguinetti, Alec Soth, Larry Towell, Alex Webb, and Donovan Wylie, plus Chien-Chi Chang, who documented the process in audio and video—established a temporary base of operations in Rochester, New York, former home to the once-dominant manufacturer of photographic film. Their goal: to create both a documentary archive of that city’s culture and landscape, and a photo-based experience engaging its residents; and to investigate a community of picture-makers comprised not only of Eastman Kodak, but also the Visual Studies Workshop, George Eastman House, Rochester Institute of Technology, and the citizens of Rochester. Over the course of almost three weeks, photographers, students, faculty, and residents worked together to create a visual record of the city and its people at a time of significant transition. Nathan Lyons, founding director of the Visual Studies Workshop, describes the result as “not only a major documentary project, but a celebration of photography within the city that had for years been a center of imaging technologies.” Upon arrival in Rochester, Martin Parr gave each photographer the task of assembling one hundred photographs to form the basis of an archive. Rochester 585/716 presents all one thousand images, together with commentary by poets Cornelius Eady and Marie Howe, art historian and photo theorist Laura Wexler, and photographer and educator Nathan Lyons. Five sets of the images were printed as a portfolio, each of which now resides in major private and public collections. Two artist proof sets were also created, one of which will be dispersed via the one thousand copies of this publication. Each individual copy contains a single loose print, selected at random from this additional set.

Untitled is the third volume of Diane Arbus’s work and the only one devoted exclusively to a single project. The photographs were taken at residences for the mentally retarded between 1969 and 1971, in the last years of Arbus’s life. Although she considered doing a book on the subject, the vast majority of these pictures remained unpublished prior to this volume. These photographs achieve a lyricism, an emotional purity that sets them apart from all her other accomplishments. “Finally what I’ve been searching for,” she wrote at the time. The product of her consistently unflinching regard for reality as she found it, the images in this book have less in common with the documentary than with the mythic. Untitled may well be Arbus’s most transcendent, most romantic vision. It is a celebration of the singularity and connectedness of each and every one of us. For Diane Arbus, this is what making pictures was all about. This is the first edition in which the image separations were created digitally; the files have been specially prepared by Robert J. Hennessey using prints by Neil Selkirk.

First published in 1992, Immediate Family has been lauded by critics as one of the great photography books of our time, and among the most influential. Taken against the Arcadian backdrop of her woodland summer home in Virginia, Sally Mann’s extraordinary, intimate photographs of her children reveal truths that embody the individuality of her own family yet ultimately take on a universal quality. With sublime dignity, acute wit, and feral grace, Sally Mann’s pictures explore the eternal struggle between the child’s simultaneous dependence and quest for autonomy—the holding on and the breaking away. This is the stuff of which Greek dramas are made: impatience, terror, self-discovery, self-doubt, pain, vulnerability, role-playing, and a sense of immortality, all of which converge in these astonishing photographs. This reissue of Immediate Family has been printed using new scans and separations from Mann’s original prints, which were taken with an 8-by-10-inch view camera, rendering them with a freshness and sumptuousness true to the original edition.

Aperture is pleased to present the elegantly updated and refreshed Henri Cartier-Bresson edition of the Aperture Masters of Photography Series. With an introduction by notable curator Clément Chéroux, this edition includes new, image-by-image commentary and a chronology of this influential and iconic artist’s life. Initially presented as the History of Photography Series in 1976, the first volume of the Masters of Photography Series featured Cartier-Bresson and was edited by legendary French publisher Robert Delpire, who cofounded the series with Aperture’s own Michael Hoffman. In this redesigned and expanded version of the classic Aperture book, we have kept the majority of the selection of images from the original series which Cartier-Bresson himself created with Delpire, encapsulating the spontaneity and intuition for which this legendary photographer is so celebrated.

Aperture Magazine Releases Winter Issue, “Desire,” Featuring an Expansive Interview with Renowned Fashion Photographer Juergen Teller(New York—December 12, 2023) This winter, Aperture magazine presents “Desire,” an edition that considers desire as both an impulse and a state of mind. The issue features an expansive interview with Juergen Teller, whose photographs upend fashion’s vocabulary of glamour and aspiration, on the occasion of his major exhibition Juergen Teller: i need to live, opening at the Grand Palais Éphémère in Paris on December 16, 2023.Photographers are natural voyeurs. The compulsion to want—or, in today’s parlance, to manifest—emerges throughout the work in this issue. Artists such as Nakeya Brown, Nabil Harb, Oto Gillen, Marcelo Gomes, and Jonathas de Andrade consider the body, the natural world, beguiling objects, and direct physical expressions of desire as the material for indelible images.Andrew Maerkle profiles the celebrated Japanese photographer Ishiuchi Miyako, who for decades has conjured history through evocative personal objects, creating magnetic images that are at once surreal and surprisingly physical. Amanda Maddox considers a generation of women photographers whose work probes the feminist dynamics of seeing—and being seen. Moeko Fujii revisits Hisae Imai, an ascendent figure in Tokyo’s art and fashion scenes of the 1960s, and Lucy McKeon finds new resonance in the sensual self-portraits Melissa Shook made as a young woman and mother. In “Desire,” photographers render reality as unearthly—and take the viewer somewhere else altogether.For more information and to preview select content from the issue, visit aperture.org/magazine.

For over twenty years, Swedish photographer JH Engström has lived and worked in Paris, a city that, like New York, has a long photographic pedigree; countless photographers have been inspired by its iconic architecture and busy streets. Sketch of Paris, however, is hardly a catalog of classic Parisian scenes, offering instead a raw yet lyrical portrayal of the artist’s misadventures, loves, and random encounters in its streets, bars, and artist lofts—an entirely personal Paris. Drawing more from Nan Goldin and Anders Petersen than Eugène Atget or Henri Cartier-Bresson, Engström brings us on a gritty, no-holds-barred guided tour of life in his adopted city. The photographs provide a type of homage to Paris, a city that has greatly influenced and inspired Engström—as a photographer and as a person. The book brings together 250 color and black-and-white photographs—self-portraits, nudes, portraits of lovers, friends, strangers, and the occasional street scene—all shot between 1991 and 2012, tracing a critical time during the development of the artist’s own voice and vision.

We Were Here: Sexuality, Photography, and Cultural Difference offers an unparalleled firsthand account of the influential photographer and curator Sunil Gupta’s writing and critical inquiry since the 1970s.Newspaper articles, speeches, and essays show Gupta’s crucial role at the center of grassroots queer and postcolonial organizing throughout an artistic career lived between Canada, the UK, and India. In his pieces about homosexuality in Indian cities, the AIDS crisis, the Black Arts Movement, or key figures including Joy Gregory and Robert Mapplethorpe, Gupta foregrounds the power of cultural activism in the politically fraught contexts of London and Delhi, and illuminates the essential connections between queer migration and self-discovery. Continually questioning given forms of identity, Gupta offers artists and curators multiple strategies of resistance, carving out space for new ways of imagining what it might mean to live, love, and create.

Presented for the first time in English, this volume brings together twelve notable interviews and conversations with Henri Cartier-Bresson carried out between 1951 and 1998. While many of us are acquainted with his images, there are so few texts available by Cartier-Bresson on his photographic process. These verbal, primary accounts capture the spirit of the master photographer and serve as a lasting document of his life and work, which has inspired generations of photographers and artists. Here, Cartier-Bresson speaks passionately, with metaphors and similes, about the world and photography. A man of principles shaped by the evolving eras of the twentieth century, his major influences included Surrealism, European politics of the 1930s and ’40s, the Second World War, and his experiences with Magnum as cofounder and reporter. This book illuminates his thoughts, personality, and reflections on a seminal career. In his own words: “[Photography] is a way of questioning the world and questioning yourself at the same time. . . . It entails a discipline. For me, freedom is a basic frame of reference, and inside that frame are all the possible variations. Everything, everything, everything. But it is within a frame. The important thing is the sense of limit. And visually, it is the sense of form. Form is important. The structure of things. The space.”

The North American frontier is an enduring symbol of romance, rebellion, escape, and freedom. At the same time, it’s a profoundly masculine myth—cowboys, outlaws, Beat poets. Photographer Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002 on the road in the American wilderness. “I staged the girls as a standing army of teenaged runaways in resistance to patriarchal ideals,” says Kurland. She portrays the girls as fearless and free, tender and fierce. They hunt and explore, braid each other’s hair, and swim in sun-dappled watering holes—paying no mind to the camera (or the viewer). Their world is at once lawless and utopian, a frontier Eden in the wild spaces just outside of suburban infrastructure and ideas. Twenty years on, the series still resonates, published here in its entirety and including newly discovered, unpublished images.

In 1998 Alex Webb visited Istanbul and was immediately enthralled by the people, the layers of culture and history, the richness of street life. But what particularly drew him in was a sense of Istanbul as a border city, lying between Europe and Asia. As he writes, “For thirty-some years as a photographer I have been intrigued by borders, places where cultures come together, sometimes easily, sometimes roughly.” He has returned to Istanbul whenever possible, and the resulting body of work—some of Webb’s strongest to date—conveys the frisson of a culture in transition, yet firmly rooted in a complex history.