Aperture Fall 2017

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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
8,74 €(Inkl. MwSt.)
21,87 €(Inkl. MwSt.)
4 Ausgaben

in dieser ausgabe

2 Min.

Thomas Ruff at Whitechapel Gallery Organized by Iwona Blazwick, the first major London retrospective of Thomas Ruff’s work features more than a dozen of the German photographer’s series, spanning from the 1970s to the present. Investigations of portraits, machines, and surveillance are seen in some series, while others allude to the current political climate in their explorations of the role of press photography. The early 1990s Newspaper Photographs separates archival news images from their context, while Ruff’s recent work in press++ focuses on editorial and crop markings on photographs taken from decades of American newspapers. Thomas Ruff at Whitechapel Gallery, London, September 27, 2017–January 21, 2018 Nicholas Nixon at the ICA, Boston In large-format, yet intimately scaled blackand- white photographs, Nicholas Nixon has documented his wife and her three sisters since 1975, in four…

3 Min.
rediscovered books and writings

For all its outsize place in creative history, the Paris literary scene of the 1920s and ’30s was intimate, taking form in the shops and salons of a handful of publishers, booksellers, and critics. Gisèle Freund, for instance, was introduced to James Joyce at a dinner party in 1936 given by one such gatekeeper, Adrienne Monnier, the owner of the legendary Left Bank bookstore La Maison des Amis des Livres. That year, Freund’s scholarly study of nineteenth-century photography—made under Theodor Adorno’s direction— had, like Joyce’s Ulysses, been translated into French by Monnier. From this introduction, Freund recalled two things about the Irish author: he was on a diet, and light and shadow danced on his lean face. What a portrait he would make. She got her chance two years later. As…

2 Min.
peter hujar

In the early 1970s, in New York, Peter Hujar shuttered the commercial studio on Madison Square he’d been operating for a few years, moved into the East Village loft he would call home for the rest of his life, and turned his back on the hustle of fashion photography. Hujar’s enduring status as an underground art star is owed to what he called his “personal work,” which consumed him from then until his death in 1987—in particular, portraits of the famous and infamous among his generation of artists based downtown (which, by some counts, was the last). But to associate Hujar only with portraits is to miss out on an oeuvre of great depth and variety. Rather than being a portraitist who did other work besides, he was a well-rounded artist…

4 Min.
curriculum a list of favorite anythings

Mark Steinmetz, Athens, Georgia (girl on hood of car), 1996 Athens, Georgia (girl on hood of car) exhibits the masterful simplicity and perfect formal balance of Mark Steinmetz’s work. Evoking a tone of quiet longing and loneliness, the image presents a pale teenage girl reclining against the windshield of a nondescript car, illuminated by what appears to be a streetlamp in a shopping-center parking lot. Steinmetz renders an everyday act as an arresting moment of extraordinary beauty and grace. The girl is lost in space. The Five Movements dance from The OA The through line in The OA often seems almost too absurd to continue watching, but nonetheless the storytelling is beguiling and captivating from its first scene. Ultimately, the series delivers an unforgettable payoff: a scene where five motley characters perform a…

2 Min.
elements of style

“There is a saying: ‘Make one picture for “them” and another for yourself,’” Collier Schorr remarks in this issue. But, she adds, “Slowly try to make them want the pictures that you want.” Schorr is referring to her insistence on expanding the spectrum of desire seen in commercial fashion advertising, notably through her recent campaign for Saint Laurent, which cast queer women of color. Attuned to how the media images that populate our daily lives shape our vision of who we are—and who we might become—Schorr wants to remake that pictorial landscape. “When I first started making art,” she says, “I wanted to essentially make a billboard in a gallery that talked about visibility and representation at a time when there was no real lesbian representation in the art world.” Decades…

16 Min.
collier schorr humanity, visibility, power

Matthew Higgs: I am going to start with a quote you put on your Instagram feed. It says: “For anyone who wonders why I wanted to make fashion pictures, now you know.” And there is the hashtag #humanityvisibilityequalspower. What animated that? I think it’s worth mentioning that this conversation is taking place two days after Trump’s executive order on immigration. Collier Schorr: For me, Instagram is a dual platform for showing your work and for showing what you stand for. The picture I made for Saint Laurent, which accompanied the post, was more typical of a documentary picture than a fashion advertisement. Any one element could be seen as typical, but the models were styled and encouraged to perform and play outside of what is traditionally seen: heteronormal women. We all know…