Aperture Fall 2015

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.

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United States
Aperture Foundation
8,71 €(Inkl. MwSt.)
21,81 €(Inkl. MwSt.)
4 Ausgaben

in dieser ausgabe

2 Min.
the interview issue

What compels someone to become a photographer? And what drives someone to continue to be one, for as many as seven decades? How does a veteran photographer describe years of questioning politics, personal experience, social unrest, landscape, and history through the camera? For this issue we have broken with our usual “Words” and “Pictures” format to offer nine in-depth interviews, firsthand accounts that underscore the generosity and intelligence of their speakers. Born between 1928 and 1947, the nine photographers here—Bruce Davidson, Paolo Gasparini, David Goldblatt, Guido Guidi, Ishiuchi Miyako, William Klein, Bertien van Manen, Boris Mikhailov, and Rosalind Fox Solomon—are still active today, adding to their already unparalleled bodies of work. In these pages, the medium is considered from various points of view, offering a range of philosophies, values, and perspectives,…

5 Min.
collectors the biographers on recent acquisitions

Linda Gordon I bought this photograph from the photographer Michael Johnson, who was selling his work on the street in San Francisco sometime in the early 2000s, a period when I was spending a lot of time in the Bay Area researching my book on Dorothea Lange. I’m also a former dancer—though not of this type of dance—and in that book I dwell on the difficulty of capturing movement on film. Lange could not easily do this, due both to her disability and to the slower film she used, but she did succeed in making many insightful images of bodily grace. This photograph does something else as well: it captures the intensity and pleasure of dancers lost in the rapture of music and movement. I only wish I could find Michael…

5 Min.

Justine Kurland is a photographer of the road. Since the early 2000s, she has regularly crisscrossed the United States, frequently with her young son in tow, making pictures of traveling hippies, train hoppers, mothers and their children, car mechanics, and many others seeking their personal utopias. Her photographs combine romantic vision with a documentary sensibility, exposing both the charm and difficulties of an itinerant life. Kurland lives in New York City with her son, and teaches at Parsons, the New School; the International Center of Photography; and Pratt University. Her forthcoming monograph, Highway Kind, will be published by Aperture in 2016. The works in this compendium follow one another as a stream of consciousness, with each successive selection invoked by the preceding one. My curriculum begins with love, moves to tears,…

4 Min.
on portraits

In this regular column, Dyer considers how a range of figures have been phot0graphed. Here, he reflects on images of Susan Sontag and the Russian poet Joseph Brodsky to ask: What, if anything, do author photos reveal about their subjects? Author photos are one of the few areas of portraiture where your appearance doesn’t matter. Your looks might make you easier to promote. You might attract more coverage, might receive more invitations to appear on TV, and the sum total of this varied media interest might lead to increased opportunities to hustle your wares, but the quality of these wares has nothing to do with how you look. This is not the case if you are a model (obviously!), an actor, dancer, or musician. The fact that your appearance is irrelevant…

4 Min.

A look at the catalog that accompanied a onetime photography-only biennial Venice ’79 Lyle Rexer In 1979, Venice discovered photography— then turned its back on the medium. In a possible attempt to expand the Venice Biennale brand, the municipality, assisted financially by UNESCO and programmatically by the International Center of Photography, installed one of the largest photography exhibitions ever mounted in Europe. The catalog, Photography: Venice ’79, expressed the tentative hope that this might be “ the model for future such festivals.” Instead it was a one-off that, in retrospect, provides a revealing glimpse of where photography stood globally and the contradictions that would henceforth make any exhibition employing the generic term photography highly problematic. Like its off-year scheduling between two art biennials, photography’s position at the time might be described as “between”—between art…

26 Min.
william klein

Untitled #9, 1952 When writer Aaron Schuman first arrived at William Klein’s apartment, five stories above Paris’s rue de Médicis, he was ushered into Klein’s living room by his assistant. Klein, eighty-seven, had been up until four thirty in the morning the night before and was having a rest. After an hour or so of thumbing through this Aladdin’s cave of trophies and treasures, Schuman heard Klein stirring in the rooms at the back of the apartment. “By the tone of his voice, I could tell that he had just woken up, and was reluctant to join me,” Schuman said. “His assistant pleaded, ‘But he’s come all the way from England!’” Finally, Klein entered the room, eyes wide and shining. This would be the first of two visits with Klein for this…