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Aperture
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Founded by photographer and writer Sara Terry, the nonprofit Aftermath Project documents the long-term repercussions of conflict that are so often neglected by the popular media. Terry, whose work has been widely exhibited at such venues as the United Nations and the Museum of Photography in Antwerp, initiated this project after her extensive documentary work on postwar Bosnia. Through grant competitions and partnerships with other institutions, Aftermath disseminates reportage on postconflict rehabilitation and attempts to create new avenues for peace. War Is Only Half the Story presents the winners of the Aftermath Project's first annual grant competition: Jim Goldberg, whose project The New Europeans records the struggles of asylum seekers and immigrants; Wolf Bowig, whose The Forgotten Island: Narratives of War in Sierra Leone (second place) is recounted through the eyes of five-year-old Morie, the sole survivor of an attack on Bonthe Island; and runners-up Andrew Stanbridge (postwar reconstruction in Laos), Asim Rafiqui (the hidden costs of war and peace-building efforts in Kashmir) and Paula Luttringer (a survey of sites in Argentina where women and their children were abducted between 1976 and 1983). The imagery in this volume represents some of today's most challenging and diverse documentary work. |
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Paul Fusco: RFK, published during the fortieth anniversary of Robert F. Kennedy's assassination, is the long-awaited follow-up to Fusco's acclaimed RFK Funeral Train, a body of work heralded as a contemporary classic. This historical new publication features more than 70 never-before-seen images, many selected from the untapped treasure trove of slides that comprise the Library of Congress' Look Magazine Collection. As a staff photographer for Look magazine in 1968, Fusco was commissioned to document all of the events surrounding the funeral. In addition to capturing the thousands of Americans who stood by the railroad tracks to greet the funeral train carrying Kennedy's coffin, he also photographed the mourners gathered at St. Patrick's Cathedral in New York, as well as the dramatic night burial in Arlington National Cemetery. In this volume, newly discovered photographs are presented alongside classic images of the funeral train that have been seared into public consciousness from two previous iterations of the work: a 1999 limited edition and the 2000 trade edition, both long out-of-print. Paul Fusco: RFK provides a new perspective on this legendary photographer's singular achievement. It also helps solidify the status of this classic body of work as one of the great efforts in photographic reportage and an incomparable document of this pivotal moment in U.S. history. Paul Fusco, born in Leominster, Massachusetts in 1930 and a member of Magnum Photos since 1974, began his career photographing for the U.S. Signal Corps during the Korean War. He studied photojournalism at Ohio University and his work has been widely published and exhibited at venues including the Photographers' Gallery, London and the International Festival of Photojournalism, Perpignan, France. Senator Edward M. Kennedy, brother of Robert F. Kennedy, has served in the U.S. Senate since 1962. Norman Mailer (1923-2007) wrote more than 30 books, garnering the Pulitzer Prize twice. Evan Thomas is Editor at Newsweek and author of Robert Kennedy: His Life. Vicki Goldberg is a leading voice in the field of photography criticism; her essay collection Light Matters was published by Aperture in 2005. |
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«In the early 1980s, Barbara Crane embarked on a series of photographs shot during Chicago's various summer festivals. Using a Super Speed Graphic camera and Polaroid film, Crane waded in close to the revelers, tracking down the details of their clothing, hairstyles and gestures. The images are tightly cropped and condensed and therefore terrifically alive, bringing us viscerally into the crush of people eating, drinking and enjoying the crowd dynamic. Crane's instrument of choice, the Polaroid, is of course admirably up to the task. As she comments, «The quick feedback of the instant picture is in tune with this energetic style of photographing. This immediacy of result shortens the time it would take my ideas to grow visually, technically and emotionally. What takes a summer of work with Polaroid materials would take three years of picture taking and darkroom time to bring my ideas to fruition.» An incredible inventory of private gestures performed in public spaces, Private Views offers a sun-drenched, sweat-glistening photographic experience. The effect is mesmerizing and intensely compelling, creating a palpable sensuality from image to image, an incredible document--not of a particular event or personalities--but of something less tangible: the public expression of euphoria.» |
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«In this exquisitely produced book, the influential American photographer Robert Adams revisits the classic collection of nocturnal landscapes that he began making in the mid-1970s near his former home in Longmont, Colorado. Originally published by Aperture in 1985 as Summer Nights, this new edition has been carefully reedited and resequenced by the photographer, who has added 39 previously unpublished images. Illuminated by moonlight and streetlamp, the houses, roads, sidewalks and fields in Summer Nights, Walking retain the wonder and stillness of the original edition, while adopting the artist's intention of a dreamy fluidity, befitting his nighttime perambulations. The extraordinary care taken with the new reproductions also registers Adams' attention to the subtleties of the night, and conveys his appeal to look again at places we might have dismissed as uninteresting. Adams observes, «What attracted me to the subjects at a new hour was the discovery then of a neglected peace» |
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«Within the simple constraints of a glass globe, the captivating images in Travelers conjure up entire sequences of imaginary worlds and events. Walter Martin and Paloma Munoz collaboratively create mesmerizing miniature snowbound environments, then record them in chilly color photographs. At first glance the work is playful; on closer observation, it often reveals darker narratives: Lone wanderers survey the frigid landscape, people and creatures exhibit unnatural tendencies and ill-defined crimes are committed. Martin & Munoz create the figures--either adapting ready-mades or shaping them out of clay--then paint and position them within the environments they also construct. The final compositions are then captured in photographs that are meticulously stitched and adjusted digitally for the final effect. This new book, featuring an original short story by acclaimed author Jonathan Lethem, contains the very best of Martin & Munoz's most notable work, along with their newest series of panoramic narratives, for which they are already receiving accolades from the press--including a recent feature in The New York Times. Curator Dan Cameron has complimented the artists on their ability to juggle both visual and psychological charges: «At the same time that they produce riddle-like parables about modern existence, they do not shirk the artist's obligation to invent a new formulation of tactile and even sensual pleasure.» Walter Martin, born in Norfolk, Virginia in 1953 and Paloma Munoz, born in Madrid in 1965, have been professional and personal partners since 1993. They live in Dingmans Ferry, Pennsylvania and maintain a studio in Williamsburg, Brooklyn. Their work is in the collections of many prominent institutions, including the Walker Art Center in Minneapolis and the Miami Art Museum. The artists are represented by P.P.O.W. Gallery in New York.» |
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Expanded from an earlier catalogue of the same title, Still Time originally accompanied a traveling exhibition featuring more than 20 years of Sally Mann's photography. Now available in paperback, this volume 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 some unexpected, compelling forays into color and abstract photography. The 60 images include abstract platinum prints, Cibachromes and Polaroids, landscapes, portraits of women and 12-year-olds and her celebrated family pictures. Sally Mann was born in 1951 in Lexington, Virginia, where she continues to live and work. Among her many awards are three National Endowment for the Arts fellowships and a Guggenheim fellowship. Her photographs are in the permanent collections of the Metropolitan Museum of Art, The Museum of Modern Art, New York, the Whitney Museum of American Art, the Smithsonian American Art Museum and The Corcoran Museum of Art, to name just a few. Her books of photographs include Immediate Family and At Twelve: Portraits of Young Women. |
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Plenty, Brian Ulrich's long-awaited first monograph, presents the photographers decade-long exploration of the shifting tectonic plates that make up American consumer society. Ulrich focuses, in part, on photographing the architectural legacies of a retail-driven economy in the midst of collapse shopping malls on the brink of demolition, empty big box stores, and other retail structures in transition. In depicting the disintegration of the former economic and social anchors of the American landscape, Ulrich does more than sketch the fraying surfaces of a shopping-obsessed culture. He has also created a series of clear-eyed yet sympathetic portraits of teenaged shoppers lost in reverie over a new pair of shoes, thrift-store mavens determined to find the best deal possible, and families desperately in search of that perfect purchase. Cinematic and utterly engrossing, these portraits are interspersed among the forlorn landscapes of empty parking lots and foreclosed malls. Tracing a palpable trajectory from irrational exuberance to debt-laden hangover, Ulrich has successfully managed to get under the skin of the current economic crisis, providing a sobering document both personal as well as sociologically astute of the American consumer psyche in the first decade of the twenty-first century. Plenty will accompany an exhibition of the same title at the Cleveland Museum of Art. |
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Fans of classic pulp paperbacks will flip over photographer Thomas Allen's delightful reconstructions. Taking covers from the pulpiest of pulp novels, Allen creates witty new scenes inspired by Hollywood noir, westerns, hard-boiled fiction, and femme fatale favorites. |
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People are always fascinated by the bodies of athletes. But the secret of their drive, ambition and passion can be seen in their faces, can be interpreted through their expressions. For this reason the portraits in this book focus on the face. They are the Faces of Sport Giorgio Armani In this exclusive and rich photographic gallery, great athletes — soccer players, boxers, cyclists, swimmers, tennis and rugby players, and a host of athletes from other sporting disciplines — are pictured both on the field and off by some of the world's greatest photographers including Annie Leibovitz, Peter Lindbergh, Mario Testino, and Bruce Weber. This gorgeous two-volume slip-cased edition features athletes like Carl Lewis, Serena Williams, Rick Fox, Tiger Woods, David Beckham, Boris Becker, Evander Holyfield, Fiona May, Ronaldo, Pete Samptas, Lennox Lewis, Arnold Schwarzenegger, Christian Vieri, to name a few, in posed portraits, in action, an dressed in Armani. This book is also intended to make a difference. It includes some truly inspirational photographs of Special Olympics athletes and recognizes the extraordinary achievements of these sportsmen and women. |
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The older paradigm for photojournalists was to simply record events, with the hopeand frequently the expectationthat people and their governments would be moved to respond to the injustices pictured; as witnessed by the impact of certain images during the Civil Rights movement and the Vietnam War. Given evolving media and political climates, however, including the billions of images now available online from all kinds of sources, the purpose and effectiveness of media, in particular of visual journalism, has been called into question. Bending the Frame: Photojournalism, Documentary, and Citzenship, by author and critic Fred Ritchin, addresses the new and emerging potentials for visual media to impact society. Ritchin examines the historical and contemporary uses of photography and related media to inspire social change. From the unintended consequences of citizen journalism and leaked images such as those from Abu Ghraib, to the new strategies by visual journalists and the targeted human rights projects by documentary photographers, the intention of this book is to provide a much-needed critical approach to the issues involved in such efforts. Also encompassing online efforts, uses of video, and a diverse range of books and exhibitions, Bending the Frame aims for as wide-ranging and farreaching a discussion as possible, asking the critical question: how can images promote new thinking and make a difference in the world? |
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This Is Mars offers a previously unseen vision of the red planet. Located somewhere between art and science, the book brings together for the first time a series of panoramic images recently sent back by the U.S. observation satellite MRO (Mars Reconnaissance Orbiter). Since its arrival in orbit in 2006, MRO and its HiRISE telescope have been mapping Mars' surface in a series of exceptionally detailed images that reveal all the beauty of this legendary planet. Conceived as a visual atlas, the book takes the reader on a fantastic voyage — plummeting into the breathtaking depths of the Velles Marineris canyons; floating over the black dunes of Noachis Terra; and soaring to the highest peak in our solar system, the Olympus Mons volcano. The search for traces of water also uncovers vast stretches of carbonic ice at the planet's poles. Seamlessly compiled by French publisher, designer and editor Xavier Barral, these extraordinary images are accompanied by an introduction by research scientist Alfred S. McEwen, principle investigator on the HiRISE telescope; an essay by astrophysicist Francis Rocard, who explains the story of Mars' origins and its evolution; and a timeline by geophysicist Nicolas Mangold, who unveils the geological secrets of this fascinating planet. |
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Aperture magazine was founded in 1952 by the photographers Ansel Adams, Minor White, Barbara Morgan and Dorothea Lange, and the photography historians Beaumont and Nancy Newhall. These individuals wished to foster the development and appreciation of the photographic medium. Today the magazine maintains the founders' spirit, presenting a diversity of historical work, photojournalism and portfolios by emerging photographers, thematic articles, as well as interviews with important figures at work today. Aperture has published the work of many iconic and emerging artists from Diane Arbus, William Eggleston, Nan Goldin, and James Welling to Walead Beshty, Sara VanDerBeek, and JH Engstrom. The magazine has also showcased the writings of leading writers and curators in the field including Vince Aletti, Geoffrey Batchen, Charlotte Cotton, Greil Marcus and Luc Sante, among many others. |
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In Photography After Frank, former New York Times writer and picture editor Philip Gefter narrates the tale of contemporary photography, beginning at the pivotal moment when Robert Frank commenced his seminal works of the 1950s. Along the way, he connects the dots of photography's evolution into what it is today, forging links between its episodes to reveal unsuspected leaps. Gefter takes Frank's The Americans as a decisive challenge to photographic objectivity, with its grainy, off-hand-seeming spontaneity and its documentation of life beyond the picket fence. Thus viewed, The Americans provides Gefter with a bridge to the phenomenon of the staged document and Postmodernism's further challenge to image fidelity. Other areas of discussion include photojournalism, the recent diversity of portraiture styles, the influence of private and corporate collections on curatorial decisions and how the market shapes art making. Throughout Photography After Frank, Gefter deftly demonstrates Frank's legacy in the work of dozens of important individual artists who followed in his wake, from Lee Friedlander and Nan Goldin to Stephen Shore and Ryan McGinley. The book includes texts written exclusively for this publication as well as essays drawn from Gefter's critical writings, reviews and even obituaries. Photography After Frank offers a page-turning approach to a subject that will appeal to students and art world aficionados alike. |
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These essays address us in the quiet voice of a working photographer, an artist and craftsman who has thought long and seriously about his endeavor, who has tested and questioned his own assumptions in the light of actual practice. The result is a rare book of criticism, one that is alive to the pleasure and mysteries of true exploration. Written over a ten-year period, and originally published in 1981, this timeless collection of writings now includes a new preface by the author. Robert Adams possesses the wit to avoid cant, dogma, and platitudes of the scholar that can deaden our responses to the lively business of art. His eight essays pose a host of questions about photography's place in the arts — and in our lives: How is photography art? By what standards are we to judge the success or failure of a photograph? His reflections are delicate, unusually calm, but they also carry the force of sure conviction, the passion of absolute dedication. Few visual artists are capable of articulating the subtle, potent wellsprings of their own creative achievement. Adams does so with extraordinary grace and power. This book offers not only an insight to the work of a distinguished photographer, but also an illuminating challenge and corrective to the usual pieties and pettiness of photography criticism today. |
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Australian photographer Matthew Sleeth is a consummate observer, exploring the world around him with an acute and often humorous eye. His latest project, Ten Series/106 Photographs, emphasizes how the sequencing of images as an essential part of creating photographic meaning, a conceit with precedents in the work of Ed Ruscha and others. Sleeth's playfulness, wry sensibility, and unorthodox visual style, however, also recall practicing photographers like Lars Tunbjork and Lee Friedlander. With its range of typologies, Ten Series/106 Photographs is varied and eclectic. Topics include Japanese women in uniform, tagged trees and plants in an arboretum, Red China, and Mount Fuji, inspired by old Japanese prints but with each image taken from a modern vantage point. Through its casual exploration of these disparate themes, Ten Series/106 Photographs offers a view of a contemporary world that is structured on somewhat arbitrary types, categories, and systems of classification, all the while making allusions to the role that photography has played in this process. |
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With painstaking care and the use of multiple exposures, Jeff Chien-Hsing Liao crafts each of his images with technological precision. Shooting primarily with a large-format film camera, then scanning and digitally editing the negatives, Liao creates enormous, detail-driven panoramas of the social and urban landscape of New York. This oversized monograph includes photographs taken over the last ten years. From rehabilitated Coney Island to the Grand Concourse in the Bronx, from the demise of Shea Stadium in Queens to the newly rebuilt World Trade Center, Liao has created a lasting document of a significant period of trans for — mation in New Yorks skyline and social fabric. His unique perspective on New York is both personal and hyper real, managing to capture both the lasting charm of the citys well-known landmarks as well as the moment when New York entered the twenty-first century. |
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The Aperture Masters of Photography Series has become a touchstone of Apertures longstanding commitment to introducing the history and art of photography to a broader public. Each volume provides an ongoing comprehensive view of the artists who have helped shape the medium. Initially presented as the History of Photography Series in 1976, the first volume featured Henri Cartier-Bresson and was edited by legendary French publisher Robert Delpire, who cofounded the series with Apertures own Michael Hoffman. Twenty volumes have been published in total, each of them devoted to an image-maker whose achievements have accorded them vital importance in the history of photography. Each volume presents an evocative selection of the photographers lifes work, introduced with a foreword by a notable curator or historian of each artist. The series will be relaunched in Fall 2014, beginning with books on Paul Strand and Dorothea Lange, elegantly updated and refreshed for todays photography-hungry audiences, and introducing new, image-by-image commentary and chronologies of the artists lives for each of the previously published titles. The series will also include entirely new titles on individual artists. The Aperture Masters of Photography Series is an unparalleled library of both historical and contemporary photographers, and serves as an accessible compilation for anyone studying the history of photography. |
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Erwin Olaf's approach to storytelling is uniquely evocative and enticingly ambiguous. According to critic Francis Hodgson, Olaf's images lead us to a Stimmung (a sense of atmosphere) which is broad enough to repay many second readings of the pictures and so keep us viewers interested. In this presentation of his most recent work, Olaf expands on his established style of highly polished, and stylized color studio images to include a series drawn from his sculptural video installation, Keyholes; a group of black-and-white images he has exhibited as carbon prints; and photographs created on location in Berlina departure from the constructed mise-en-scene of earlier work produced in his Amsterdam studio. Erwin Olaf: Volume II showcases the artist at the height of his powers, as an artisan of atmosphere and a craftsman who uses high polish to both perverse and seductive effect. |
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Martin Parr's vast collections of photography books and postcards are world-renowned. Unbeknownst to many, he is also an obsessive collector of photographic and themed objects. In Parrworld: Objects and Postcards, a luscious two-volume set, his affinity for focused accumulation is presented with appropriate thoroughness, and with typical Parrian humor. Some of the items in the first volume, Objects, have already achieved notoriety — for instance, the wrist watches featuring Saddam Hussein's visage. Others mythologize well-known figures such as Lenin and the Spice Girls. Then there is the kitsch — from wallpaper to trays and objects commemorating Sputnik, Charles and Di's wedding and 9/11. While Objects is the first publication to document Parr's 25-plus years of such collecting, Postcards is the last word on an extraordinary collection of over 20,000 cards. Presented in album format, it is a highly entertaining yet serious study of postcard history, and includes early cards that depict local news events such as car crashes and murders. The book finishes in Boring Postcards territory with a selection of cards promoting motorways and shopping. Objects is introduced by Parr and Postcards features an introduction by Thomas Weski, curator of the companion exhibition, Parrworld, This remarkably designed set is bound to appeal to a wide audience, but in particular to Parr collectors who thought they already owned everything Parr. Martin Parr, born in Epsom, England in 1952, is the author of more than 30 photography books, including Our True Intent Is All For Your Delight, Boring Postcards and Mexico, His photographs are held by museums worldwide, including the J.Paul Getty Museum, Los Angeles; The Museum of Modern Art, New York; and Tate Modern, London. Parr is a member of Magnum Photos. |
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An American artist of Brazilian origin, Vik Muniz has come to stand out as one of the most articulate and innovative artists of his generation, equally at home working with images of chocolate sauce, spaghetti marinara, or the detritus of hole punchers. In doing so, he has carved out a unique niche within contemporary photography: one of trickster and philosopher as well as creator of compelling and delightful images. Reflex: A Vik Muniz Primer is a privileged, guided tour of the contents of Muniz's pyrotechnic imagination. The collection of essays Muniz contributes walks us through each of his major series, and unveils the thinking and historical influences behind each image. |
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