the aperture blog: web-only reviews, interviews, essays and foundation news
In Iraq, photographers were so locked down, but they hung in there and got good stuff.
talks & interviews
The history of photography is tightly intertwined with architecture and the built environment. The question to ask of the recent burst of attention to the relationship between them might be, why now?
A winner will be announced in June 2013. Stay tuned!
foundation news
I wanted to explore figures that are already iconographic. Although they are three-dimensional, I think of them almost as images.
talks & interviews
The show is now on view at Centro de Extensión, Universidad Católica de Chile in Santiago.
Tampering with photographs is common practice for artists today; this exhibition demonstrated that the strategy is even more relevant for Middle Eastern photographers.
The Turkish photographer wins with a documentary series focused on the ongoing impact of Syria’s civil war.
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.
