Bøger udgivet af Aperture

This volume contains the insights of prominent artists in the field as well as critical writings by scholars and critics. It illustrates the complex, heterogeneous nature of video, and highlights its strong ties to the visual arts and social theory. While providing an essential critical context for understanding video's role as art, these writings show that video is at the forefront of contemporary cultural and aesthetic discourse. Using a wide range of strategies, from the poetic to the deconstructive, these essays provide a long overdue critical context in which to evaluate video as art and its subsequent impact on social and cultural behavior.

The decade between the world wars witnessed an astonishing flowering of photography in Europe-- marked particularly by the unprecedented work of such figures as Man Ray, Laszlo Moholy-Nagy, and Alexander Rodchenko. Alongside the visual experiments ran a fascinating public discussion in which critics, artists, and the photographers themselves struggled to define the nature and possibilities of photography in the modern era. The seventy-one essays and documents collected in this book provide a concise, provocative introduction to the ideas and personalities that animated avant-garde photography during these years of artistic ferment and that continue to influence the medium today. By turns poetic, analytical, and fiercely ideological, these diverse writings give expression to a very wide range of original ideas. Moholy-Nagy calls on photographers to create a powerful abstract vision that will transform our ability to see. Albert Renger-Patzsch argues for a quite different goal, a photography of revelatory realism that lays bare the essence of the subject before the lens. The French writer Pierre Mac Orlan explores psychologically compelling notions: that photography realizes "all that is curiously inhuman" and "creates death for a second." Photography is widely characterized as a modern machine-age art that supersedes the traditional fine arts. In the Soviet Union an extraordinary interchange pits the avant-gardist Rodchenko against opponents who insist that social usefulness is photography's primary responsibility. While shedding important new light on the directions taken by photography during the twentieth century, these essays also illuminate such major movements as Futurism, Constructivism, Surrealism, and the New Objectivity. Most of the selections were not previously available in English and have been translated especially for this volume. Each appears with an informative headnote by Christopher Phillips, who in an introductory essay provides a lucid overview of the period and the context in which the writings first appeared. With its wealth of new material, this collection is an essential resource for all those studying photography or seeking to understand the visual culture of this century. This book is published on the occasion of the exhibition "The New Vision: Photography Between the World Wars, Ford Motor Company Collection at The Metropolitan Museum of Art," held at The Metropolitan Museum of Art, September 23-December 31, 1989.

In "Scotlandfuturebog," photographers Nicholas Kahn and Richard Selesnick construct a strange world that they describe as being of "infinite promise that cannot possibly be described or communicated except by direct experience." The characters we meet are bogdwellers, inhabitants of a planet emptied by an apocalyptic event. Left to perform obscure ceremonies in an intriguing but uninviting terrain, the bogdwellers exist in a historical vacuum. This is a first-edition slip-cased book, signed and numbered by the artists.Nicholas Kahn and Richard Selesnick have been collaborating for more than a decade. They have exhibited worldwide and their work is held in galleries, museums and private collections.Scotlandfuturebog features a short story by Ben Marcus whose second novel, "Notable American Women," was published in 2002 by Vintage.

Aperture magazine presents “Celebrations,” an issue that considers how photographs envision ceremonies, festivities‚ and allow us to discover euphoria in the everyday.Throughout the issue, photographers portray exuberance against a backdrop of political strife in Beirut, pursue the thrill of wanderlust, excavate family histories, and respond to the powerful, constant urge to gather. Whether in Kinshasa’s vibrant nightlife of the 1950s and ’60s or London’s sweaty dance floors of our era, jubilation carries on, despite an ongoing, and unpredictable, pandemic.In “Celebrations,” Lynne Tillman contributes a survey of landmark images of celebration through the years, by artists from Malick Sidibé and Peter Hujar to LaToya Ruby Frazier. Several profiles and essays—including Alistair O’Neill on Jamie Hawkesworth, Moeko Fuiji on Rinko Kawauchi, Tiana Reid on Shikeith, Mona El Tahawy on Miriam Boulos, and Anakwa Dwamena on Marilyn Nance’s views of Lagos, Nigeria during FESTAC '77—reveal the celebratory gestures embedded in vibrant portraiture, serene slants of light, unbound queer desire, and joyous cross-cultural exchange.

The first monograph by sculptor, filmmaker, and photographer Shikeith, Notes towards Becoming a Spill brings together a series of striking studio portraits of Black male subjects as they inhabit various states of meditation, prayer, and ecstasy.Shikeith describes the work as "leaning into the uncanny,” visualizing ritual and the process of excavating Black men's erotic potential, the better to exorcise the "intangible presences that haunt their bodies and psyches.” The men's faces and bodies glisten with sweat (and tears)—the manifestation and evidence of desire. This ecstasy is what critic Antwaun Sargent proclaims as "an ideal, a warm depiction that insists on concrete possibility for another world.” In this revelatory volume, Shikeith redefines the idea of sacred space and positions a Queer ethic identified by its investment in vulnerability, tenderness, and joy. Shikeith: Notes towards Becoming a Spill is made possible, in part, thanks to the generous contribution of 7G Foundation.

Sales PointsA stellar group of critics and artists distills the wisdom of artist and educator Richard “Chip” Benson A rich, wide-ranging account of a unique and innovative figure who made a lasting impact on the medium of photographyFor everyone interested in the American lineages of photographic craft, community, and mentorship

Delegation is the first comprehensive monograph by Apsáalooke artist Wendy Red Star, whose photography recasts historical narratives with wit, candor, and a feminist, Indigenous perspective.Red Star centers Native American life and material culture through imaginative self-portraiture, vivid collages, archival interventions, and site-specific installations. Whether referencing nineteenth-century Crow leaders or 1980s pulp fiction, museum collections or family pictures, she constantly questions the role of the photographer in shaping Indigenous representation. Including a dynamic array of Red Star's lens-based works from 2006 to the present, and a range of essays, stories, and poems, Delegation is a spirited testament to an influential artist's singular vision.Copublished by Aperture and Documentary Arts

This winter, Aperture magazine presents an issue that celebrates the dynamic visions of Latinx photography across the United States. Guest edited by Pilar Tompkins Rivas, chief curator at the Lucas Museum of Narrative Art in Los Angeles, "Latinx” spans a century of image making, connecting historical and contemporary photography, and covering the themes of political resistance, family and community, fashion and culture, and the complexity of identity in American life.In "Latinx,” Carribean Fragoza traces Laura Aguilar's influence on queer artmaking. Joiri Minaya remixes postcards from the Dominican Republic to unveil the fantasy of tourism. Christina Catherine Martinez profiles Reynaldo Rivera, who chronicled 1990s-era Los Angeles nightlife. Yxta Maya Murry considers three Latina curators and writers influencing how photography canons are made today."Collectively, their images cast a greater net for the multiple ways of seeing Latinx people,” Tompkins Rivas notes of the issue's photographers, "creating a visual archive whose edges are yet to be defined.”

Justine Kurland, known for her utopian photographs of American landscapes and their fringe communities, has spent the better part of the last twelve years on the road.

Sales PointsThe first major monograph by rising star Zora J Murff, recipient ofthe inaugural Next Step Award, a partnership between Apertureand Baxter St at the Camera Club of New YorkAn incisive, autobiographic retelling of the struggles and epiphaniesof a young Black artist working to make space for himself andhis communityA generous book, elegantly designed by WORK/PLAY, an interdisciplinarypartnership between artists and designers Kevin andDanielle McCoyOther titles by artist:OMAHA, by Zora J Murff. Kris Graves Projects, 2018, $300.00 USD Corrections, by Zora J Murff. Aint-Bad Editions, 2015, $40.00 USD

This fall, Aperture magazine presents an issue exploring the idea of cosmologies—the origins, histories, and local universes that artists create for themselves.In an exclusive interview, Greg Tate speaks to Deana Lawson about how her monumental staged portraits trace cosmologies of the African diaspora. “What I’m doing integrates mythology, religion, empirical data, dreams,” says Lawson, whose work is the subject of major solo exhibitions this year at the Solomon R. Guggenheim Museum, New York, and Institute of Contemporary Art, Boston.In an in-depth profile of Judith Joy Ross and her iconic portraiture, Rebecca Bengal shows how a constellation of strangers is brought together through Ross’s precise, empathic gaze. “Ross is guided by a rapt, intense, wholehearted belief in the individual,” Bengal writes.A portfolio of Michael Schmidt’s acutely observed work from the 1970s and ’80s reveals the realms within realms of a once divided Berlin, while Feng Li’s surprising black-and-white snapshots zigzag between absurdist dramas in various Chinese cities. Ashley James distills the surreal visions of Awol Erizku’s still lifes and tableaux; Casey Gerald contributes a sweeping ode to Baldwin Lee’s stirring 1980s portraits of Black Southern subjects; and Pico Iyer meditates on Tom Sandberg’s grayscales marked by both absence and reverence.Throughout “Cosmologies,” artists cast their attention on the great mysteries of both personal and shared lineages, tracking their locations in space, time, and history, and reminding us of the elegant enigmas that can be unraveled close to home.

As We Rise presents an exciting compilation of photographs from African diasporic culture. With over one hundred works by Black artists from Canada, the Caribbean, Great Britain, the United States, South America, as well as throughout the African continent, this volume provides a timely exploration of Black identity on both sides of the Atlantic. As Teju Cole describes in his preface, "Too often in the larger culture, we see images of Black people in attitudes of despair, pain, or brutal isolation. As We Rise gently refuses that. It is not that people are always in an attitude of celebration--no, that would be a reverse but corresponding falsehood--but rather that they are present as human beings, credible, fully engaged in their world.? Drawn from Dr. Kenneth Montague's Wedge Collection in Toronto--a Black-owned collection dedicated to artists of African descent--As We Rise looks at the multifaceted ideas of Black life through the lenses of community, identity, and power. Artists such as Stan Douglas, LaToya Ruby Frazier, Barkley L. Hendricks, Texas Isaiah, Liz Johnson Artur, Seydou Keïta, Deana Lawson, Jamel Shabazz, and Carrie Mae Weems, touch on themes of agency, beauty, joy, belonging, subjectivity, and self-representation. Writings by Isolde Brielmaier, Ugochukwu-Smooth C. Nzewi, Mark Sealy, Teka Selman, and Deborah Willis among others provide insight and commentary on this monumental collection.

Gillian Laub's photographs of her family from the past twenty years, now collected in one volume, explore the ways society's biggest questions are revealed in our most intimate relationships. Family Matters reveals Laub's willingness to confront ideas of privilege and unity, and celebrates the resiliency and power of family-including the family we choose-in the face of divisive rhetoric.

The San Quentin Project collects a largely unseen visual record of daily life inside one of America's oldest and largest prisons, demonstrating how this archive of the state is now being used to teach visual literacy and process the experience of incarceration.

The Lives of Images, edited by Stanley Wolukau-Wanambwa, is a set of contemporary thematic readers designed for educators, students, practicing photographers, and others interested in the ways images function within a wider set of cultural practices. The series tracks the many movements and “lives” of images—their tendency to accumulate, circulate, and transform through different geographies, cultures, processes, institutions, states, uses, and times.  Volume 2 in this series, Analogy, Attunement, and Attention, addresses the complex relationships that the reproducible image creates with its viewers, their bodies, their minds, and their sense of the physical and metaphysical world. The selection addresses the image’s role in the social constitution of individual and collective identity, in social practices of resistance to the structural violences of racism, or in relation to state exercises of power. Of particular importance in this volume are questions of our changing relationship to space and to selfhood as mediated by the image and by the many networked technologies and norms built around it. Essays in the volume ask: what modes of attention are required of us as viewers and agents of image circulation? The question of how image technologies provide us with an array of freedoms is here combined with and read against the many ways images are deployed to reorient, repress, or reduce our field of vision—thus affecting our capacity to see and to act in social space. Contributions by

Sales PointsThird volume in The Lives of Images, part of An Aperture Reader Series, built to meet the needs of today's students and practitioners of photography Stanley Wolukau-Wanambwa gathers essays by the most essential voices addressing the field's critical issuesA crucial broadening of perspectives on contemporary theories of photographyAdditional Comp TitlesThe Civil Contract of Photography, by Ariella Azoulay. 9781890951894, $24.95 USD (Zone Books, 2013)Photography's Other Histories, by Christopher Pinney. 9780822331131, $26.95 USD (Duke University Press, 2003)

Sales PointsThe only book to explore this influential artist’s previously unseen photographic practice Barry McGee is an iconic leading figure in contemporary visual culture Essential for lovers of graffiti and street artAdditional CompsBeautiful Losers: Contemporary Art and Street Culture. 9781933045306, $39.95 USD (DAP Book, 2005) Barry McGee: T.H.R. 9788862080965, $49.95 USD (Damiani, 2010)Barry McGee. 9781935202851, $49.95 USD (DAP, 2012)Barry McGee. 9788862086165, $35.00 USD (Damiani, 2018)Kaws: Where the End Starts. 9780929865362, $55.00 USD (Modern Art Museum of Fort Worth, 2017)Wolfgang Tillmans: Abstract Pictures. 9783775740814, $50.00 USD (Hatje Cantz, 2015)Ed Templeton: Wayward Cognitions. 9780985361129, $45.00 USD (Um Yeah Arts, 2014)Margaret Kilgallen: That's Where the Beauty IS. 9780934324878, $49.95 USD (Aspen Art Museum, 2019)

This summer, Aperture presents a special issue focused on the relationship between photography, urbanism, and activist trajectories from Delhi. Guest edited by Rahaab Allana, the Alkazi Foundation's lead curator, the issue explores multiple incarnations of the city¿s photographic culture, from O. P. Sharmäs experimental works from the 1960s to Aditi Jain¿s intimate tableaux of Delhi¿s trans community today. Interviews with revered writer Arundhati Roy and with Bangladesh¿s best-known photojournalist, Shahidul Alam, illuminate sites of protest in the city and throughout South Asia. Skye Arundhati Thomas revisits Sheba Chhachhi¿s feminist staged portraits from the 1980s and ¿90s. Featuring a cross section of dynamic image-makers and thinkers, such as Jyoti Dhar, Sunil Gupta, Ishan Tankha, and Anshika Varma, and emerging voices Uzma Mohsin and Prarthna Singh, the issue is a distinctive meditation on regionalism, politics, and identity, through archival and contemporary photographic viewpoints.

Marking the one-year anniversary of New York¿s shutdown due to the COVID-19 pandemic, Aperture magazine¿s ¿New York¿ issue honors the city through photographs and essays by visionary artists and writers, from Roe Ethridge and Rosalind Fox Solomon to Hilton Als and Joseph O¿Neill. In ¿New York,¿ acclaimed photojournalist Philip Montgomery speaks with the New York Times Magazine¿s director of photography, Kathy Ryan, about covering the city¿s hospitals at the height of the pandemic. Irina Rozovsky contributes magisterial, sun-dappled visions of Brooklyn¿s Prospect Park landscape. Hua Hsu writes poignantly about the archival photographs that emerged after a fire at the Museum of Chinese in America. Antwaun Sargent speaks with the founders of See In Black, an initiative to support Black photographers and communities. And Tanisha C. Ford profiles Jamel Shabazz, whose indelible images of 1980s street culture are icons of style and joy. Our lives and our city have been transformed over the past year, yet this issue reminds us of how much there is to discover, and relish, when New York comes roaring back.

This winter, in the wake of a pandemic, global protest movements, and a dramatic presidential election in the United States, Aperture releases ¿Utopia,¿ an issue that shows that other ways of living are possible¿when the collective will exists.In ¿Utopia,¿ artists, photographers, and writers envision a world without prisons, document visionary architecture, honor queer space and creativity, and dream of liberty through spiritual self-expression. They show us that utopia is not a far-fetched scheme, but rather a way of reshaping our future.In a profile, Salamishah Tillet considers Tyler Mitchell¿s visions of Black people resting in open green space, a democratizing landscape in which Mitchell continuously asks himself: ¿What are the things that I can do to lessen the inherent hierarchies in the photography-shoot structure of seeing and being seen?¿ Sara Knelman shows the freeing possibilities of the feminist collage works of Lorna Simpson, Mickalene Thomas, Sara Cwynar, and Alanna Fields. Julian Rose speaks with the filmmaker Matt Wolf about his latest documentary, Spaceship Earth (2020), which follows the people who created Biosphere 2 in 1991. And Antwaun Sargent traces Black queer artists¿ journeys into immersive desire. ¿Utopiä also includes compelling portfolios by David Benjamin Sherry, Allen Frame, and Balarama Heller, whose respective works span time and geography, from bohemian New York to a Hare Krishna retreat in India.¿The utopian imagination tends to stir when the world feels simultaneously wrecked and malleable,¿ the writer Chris Jennings notes, in a series of reflections by writers such as Olivia Laing and Nicole R. Fleetwood. Notions of utopia shouldn¿t be restricted to the fantasy of a fully realized ideal society, or the outsize, often failed, sometimes disastrous schemes and social experiments of the past. Instead, we might consider utopia a mode of vision and thought that shields us from hopelessness.

Sales PointsA collectible classic, by a popular and important photographer A document of 1960s New York City that continues to resonate with urgency For art and urbanism audiences, as well as Danny Lyon's many followersAdditional Comp TitlesBruce Davidson: East 100th Street. 9780971368132 (St. Ann's Press, 2003)Invisible Man: Gordon Parks and Ralph Ellison in Harlem. 9783958291096, $45.00 USD (Steidl/The Gordon Parks Foundation/The Art Institute of Chicago, 2016)Danny Lyon: The Seventh Dog. 9780714848532, $125.00 USD (Phaidon, 2014)Danny Lyon: Memories of Myself. 9780714848518 (Phaidon Press, 2009)