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ApertureAperture

Aperture

Winter 2019

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.

País:
United States
Idioma:
English
Editor:
Aperture Foundation
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1 min.
aperture

Editor Michael Famighetti Guest Editor Wolfgang Tillmans Managing Editor Brendan Embser Editorial Assistant Nicole Acheampong Copy Editors Olivia Casa, Donna Ghelerter Senior Production Manager True Sims Production Manager Bryan Krueger Work Scholars Nina Briggs, Eli Cohen, Clay Howard Publisher Dana Triwush magazine@aperture.org Director of Brand Partnerships Isabelle Friedrich McTwigan 212–946–7118 imctwigan@aperture.org Advertising Elizabeth Morina 917–691–2608 emorina@aperture.org Executive Director, Aperture Foundation Chris Boot Minor White, Editor (1952–1974) Michael E. Hoffman, Publisher and Executive Director (1964–2001) Aperture Foundation Board of Trustees* Cathy M. Kaplan, Chair; Willard B. Taylor, Esq., Vice Chair; Anne Stark Locher, Secretary; Michael Hoeh, Treasurer; Peter Barbur; Dawoud Bey; Allan M. Chapin; Stuart B. Cooper; Elaine Goldman; Elizabeth Ann Kahane; Hemant Kanakia; Nion McEvoy; Sarah Anne McNear; Joel Meyerowitz; Jessica Nagle; Helen Nitkin; Melissa O’Shaughnessy; Sarah Gore Reeves; Lisa Rosenblum; Thomas R. Schiff; Trustee Emeriti: Antonia Paepcke DuBrul; Annette Y. Friedland; Barry H. Garfinkel, Esq.; Celso Gonzalez-Falla; Susana Torruella Leval; Mark B. Levine * As of September 2019 Aperture Foundation International Advisers Vince Aletti,…

4 min.
agenda exhibitions to see

Gauri Gill Gauri Gill’s series Acts of Appearance (2015–ongoing) shows subjects bedecked in papiermâché masks with depictions as varied as the head of an elephant, the face of the moon, or the screen of a television. While traveling through Rajasthan and Maharashtra, India, Gill discovered the Bahora festival, an annual procession in which performers wear masks representing gods and demons to enact Hindu and tribal epics. She then commissioned two craftsmen, brothers Subhas and Bhagvan Dharma Kadu, to work alongside community members and create masks that reflect a wider range of everyday characters and emotions. The portraits, which debuted at Documenta 14, in 2017, are the result of Gill’s highly collaborative project. The objective is to “flatten the hierarchy of human experience,” says the curator Anna Lee, who worked with Gill…

2 min.
backstory tosh matsumoto

“Here is definitely a young photographer to watch,” pronounced a glowing profile of Tosh Matsumoto in the April 1947 issue of Popular Photography. For the next decade, Matsumoto’s work would appear in magazines and newspapers, and be presented in six exhibitions overseen by Edward Steichen at the Museum of Modern Art (MoMA), including one in the early 1950s featuring photographs by Ansel Adams and Dorothea Lange. Yet, following the inclusion of this untitled print—a small, striking photograph depicting undulating stripes on the underside of a peaked tent—in MoMA’s major 1958 exhibition Photographs from the Museum Collection, Matsumoto apparently ceased participation in the art world and, for the rest of his career, made photographs solely for commercial purposes. Prior to his 1944 arrival in New York, Matsumoto had taught himself camera techniques…

4 min.
viewfinder images & politics

For the artist and educator John Pilson, the film director Stanley Kubrick was “the greatest twentieth-century Jewish comedian (and I’m not just talking Dr. Strangelove) and artist as Cold War psychosexual completist.” It is no surprise that Pilson, whose 1990s photographs from his time working at Merrill Lynch transformed depressed, robotic office drones into clowns of the mundane, is able to laugh with Kubrick, “even at his darkest, especially at his darkest.” The legendary filmmaker was indeed funny, not only in his 1960s comedies—Lolita, Dr. Strangelove—but also at the apex points of his crueler films: the childlike sing-along performed by HAL 9000 as it (he?) deactivates in 2001: A Space Odyssey, the standing ovation Alex DeLarge receives after enduring the Ludovico Technique in A Clockwork Orange, Gunnery Sergeant Hartman traumatically beating…

4 min.
curriculum

Roe Ethridge says his first loves were Lee Friedlander and Andy Warhol. “I’m a photographer, but I’m also an editor,” he has noted. “I’m a colorist. I’m a pictorialist. I’m a commercial photographer.” Ethridge’s images are irreverent amalgams of recirculated and new pictures, equal parts deadpan and evocative—and all the more resonant for their eclectic, Pop art nature. A veteran of the 2008 Whitney Biennial and the Museum of Modern Art’s New Photography 2010, Ethridge has photographed women, flowers, seashells, Coke bottles, apples, pigeons, and the construction site of Goldman Sachs’s New York headquarters. For Curriculum, Ethridge chose to toggle between “counterpoint,” things that cut against the grain, and “meanwhile,” ideas that are under the radar. Michelle Wolf Could it be that the extremes of #TimesUp and #MeToo running counter to a…

3 min.
spirituality

“At this time I feel a strong need for the affirmation of spirit in photography in published form,” Minor White wrote to a colleague in 1966. “Aperture is the only place it can possibly be published at this time. Too bad for photography but that is the way it is.” A photographer and influential educator, White also cofounded this magazine and served as its editor from 1952 to 1976. His approach to seeing and making images was deeply informed by a belief in the possibilities of transcendence, by a longing for the metaphysical. More than four decades on, when we asked Wolfgang Tillmans to guest edit an issue, he proposed a theme resonant with this history. “I immediately knew that it should be spirituality,” he says, “because I strongly sense…