Aperture Fall 2020

Founded in 1952, Aperture is an essential guide to the world of contemporary photography that combines the finest writing with inspiring photographic portfolios. Each issue examines one theme explored in “Words,” focused on the best writing surrounding contemporary photography, and “Pictures,” featuring immersive portfolios and artist projects.

United States
Aperture Foundation
9,43 €(Inkl. MwSt.)
23,58 €(Inkl. MwSt.)
4 Ausgaben

in dieser ausgabe

5 Min

If ever a sentence begins with the colloquialism “What had happened was …,” know that a rich story is to follow. It’s a clearing-of-the-throat kind of expression that sets up a fantastical plot twist in a gripping narrative, leaving listeners begging for more. If you’re not totally familiar with the phrase, I suppose that’s the point. For Black Americans, it’s a benchmark expression of our parlance, AAVE, or African American Vernacular English, a sociolinguistic continuum that tracks our inhabitance of the United States from slavery to the Great Migration to the post–civil rights era and the present. Black folks of any generation are fluent in its varieties. When the photographer Dannielle Bowman named her 2020 exhibition, held at Baxter St at the Camera Club of New York, What Had Happened, the…

3 Min
day jobs

“I always had a sense of adventure,” says Duane Michals. “All my instincts were in place. All I needed to do was animate them.” But how? On a high school summer break in 1947, at the age of fifteen, Michals convinced his parents to buy him a one-way bus ticket from Pittsburgh to Amarillo, Texas. When Michals realized he couldn’t fix flats on trailer trucks or shovel wheat for “eight hours a day,” he came home. He got a scholarship to the University of Denver, then served in the army in Germany during the Korean War, then returned home again. “I was twenty-one going on twelve,” he says. Next stop: Kaufmann’s, a Pittsburgh department store that first opened in 1871. With his art education, he was put in the window-trimming department. “Which…

5 Min

On February 23, 2020, Ahmaud Arbery, a twenty-five-year-old African American man, was shot while running in a suburban neighborhood outside of Brunswick, Georgia. A video recording of the incident shows two white men following him in a pickup truck, confronting him, and firing their guns three times. Arbery was dead when police arrived. No immediate arrests were made, and for seventy-four days the men remained free. Only after the release of the video sparked public outcry were they charged with murder. Arbery’s killing has prompted anguished talks about the peril faced by African Americans in “running while Black” or, more bleakly still, “living while Black.” But the initial reluctance of some Georgia authorities to charge the men, even with the existence of potentially damning video footage, is also a devastating illustration…

5 Min

John Edmonds’s first encounter with visual art was by way of religious iconography. No surprise, then, that his portraits of Black strangers, lovers, and friends so often come cocooned in a beatific light. Whether employing the vivid silk of a durag or the arc of a wooden mask, or restaging the fraught romance of James Baldwin’s novel Giovanni’s Room in Paris, Edmonds portrays his subjects in precisely textured juxtapositions, homing in on expressions and poses that are sometimes placid, but never passive. His debut monograph, Higher, published in 2018, and his work in the 2019 Whitney Biennial confirmed the power of Edmonds’s searing gaze on the erotic and the radically divine. Sobonfu Somé, The Spirit of Intimacy: Ancient African Teachings in the Ways of Relationships, 2000 Sobonfu Somé’s teachings are beautifully written,…

3 Min
native america

It began in her grandparents’ bedroom. “I remember seeing a wall of photographs depicting family members from past to present,” says the artist Wendy Red Star. “I was particularly interested in the images of my dad as a young man. There is a great picture of him in Lodge Grass, Montana, holding a golden eagle by the wings and my brother, Tory, then a toddler, standing next to him. I became aware that photography was more than a tool to document—it could also tell powerful stories.” As guest editor of this issue, Red Star, who is Apsáalooke (Crow), aimed to create the publication she wished she’d had to read when setting out to become an artist. “I was thinking about young Native artists, and what would be inspirational and important for…

14 Min
people of the earth

I met Emily Moazami in October of 2018 during my Smithsonian Artist Research Fellowship in Washington, D.C. It was my first time in the capital and my first experience working with the Smithsonian museums. My initial goal was to research Apsáalooke (Crow) delegations using the photography archives and material objects at the National Museum of the American Indian, the National Anthropological Archives, and the National Museum of Natural History. Emily, assistant head archivist at the National Museum of the American Indian’s Archive Center, not only produced material pertaining to my research topic but led me to discover a personal connection—a direct link to my ancestors whose images and artifacts are housed in the museum. In this conversation, Emily and I discuss the photography collections of the National Museum of the American…