These Cold War objects exerted major influence on the culture of their day. It’s not just coincidence that they happen to look like art.
You may have to develop your own technology for your images. I’m not much interested in “straight” photography anymore.
The moment when still cameras began to include decent video options not only democratized filmmaking, but also marks the history of still images.
A cocktail reception celebrating Matthew Pillsbury’s forthcoming monograph, City Stages.
Bill Armstrong discusses his work Mandala #450 within the context his Infinity series of abstract, blurred images.
Joel Meyerowitz reads from “The Gravity of Time,” a personal essay from Paul Strand: The Garden at Orgeval, published by Aperture.
Excerpt from an event held at Aperture Gallery on March 18, 2013.
Hank Willis Thomas discusses his series Branded (2011) and Unbranded (2008).
Willie Doherty’s latest body of work focuses on the sense of alienation to be found in Zurich’s peripheral spaces. Martin Jaeggi assesses the photographs and video.
Thomas Ruff: photograms and m.a.r.s. is on view March 28–April 27 in New York.
The next issue, guest edited by Charlotte Cotton, will be launched this spring in Los Angeles, New York, and Milan.
Luigi Ghirri’s short written exposé on his sources for inspiration. This essay was included in Aperture’s 2008 volume It’s Beautiful Here, Isn’t It.
Prajna Desai reviews A Village in Bengal, an exhibition of Chirodeep Chaudhuri’s photographs at Project 88, Mumbai.