the aperture blog: web-only reviews, interviews, essays, and foundation news
Lesley A. Martin touches base with Alec Soth for issue 007 of The PhotoBook Review.
Duane Michals's innovative portraits and narrative photography get a presentation at the Carnegie Museum of Art.
Kathy Ryan on her book Office Romance, a collection of her Instagram photos taken at her office in the New York Times building.
A new exhibition at Maureen Paley in London features new work by Morgan Fisher.
The second annual awards will be launch in May 2013. Stay tuned!
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.
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