- Art Nouveau magazine interviews artist Hank Willis Thomas, of the monograph Pitch Blackness (Aperture 2008) whose transmedia installation Question Bridge: Black Males is still on view at three different locations around the country, on his latest body of work Strange Fruit which makes ”vivid comparisons of black perception between the pre-slavery era and post-Civil Rights Movement.”
- Joerg Colberg posts on Conscientious Extended about “How To Make a Photobook,” though he admits early on, “My headline is slightly disingenuous: There actually is no simple recipe for photobook making.”
- New York Times‘ Lens blog does a Q&A with Mexico City-based photographer Dominic Bracco II about one of his images “showing death with humanity and dignity,” as well as the Eugene Richards’ photograph from the series “Below the Line: Living Poor in America,” which inspired him.
- Jess Dudley, Wonderful Machine Producer, posts a very informative piece on APhotoEditor, “Pricing and Negotiating – Non-Fiction Book Cover,” in an attempt to elucidate the often murky realm of reproduction rights through a real-life annecdote.
- New Yorker‘s Photobooth profiles “Lost & Found: Salvaging Snapshots in Japan,” with a slideshow of the recovered family photographs from the Japanese town of Yamamoto devastated by the tsunami one year ago, featured in Aperture issue 206, and on view at Aperture Gallery April 2, 2012 – April 27, 2012.
- Time’s Lightbox profiles the independent photo project on Afghanistan (Danger and Aftermath, on view at Museum London in Southwestern Ontario through April 1, 2012), by Magnum photographer Larry Towell, who’s work has appeared in The New York Times Magazine Photographs (Aperture 2011) and Access to Life (Aperture/Magnum Photos/The Global Fund 2009).
- NPR’s The Picture Show takes “A Peak Inside the Copy Cat Building: Where Baltimore Artists Work – And Live.” Alex Wein and Rob Brulinski’s photographs portray the living spaces of over 100 eclectic new tenants of a building which once housed Copy Cat printing, and was the birthplace of the Crown Cork bottle cap, “a worldwide standard for the beer and soda industries.”
Archive for the ‘Multimedia’ Category
Last October, upon the launch of The Unseen Eye: Photographs from the Unconscious (Aperture 2011), author/collector W.M. Hunt—known for his wit and (truly) larger-than-life personality—debuted A Life in Photographs and Other Digressions… A live monologue accompanied by images from his collection and video from his past, this event was a wry, uproarious rumination on Hunt’s many years of collecting, on his life in photographs.
Not necessarily by popular demand, but at his own insistence, Hunt will recreate this unique performance piece at Aperture Gallery on Tuesday, March 27. This evening with Hunt promises to be one of information and digression, bringing to light many of the names and stories left out of the book.
The book, The Unseen Eye: Photographs from the Unconscious (Aperture 2011), presents a wonderfully idiosyncratic and compelling collection of photographs assembled around a particular theme: magical, heart-stopping images of people in which the eyes are obscured, veiled, or otherwise hidden. The pictures are characterized by what, at first glance, the subjects conceal, not by what the camera reveals. Tuesday night however, Hunt’s revelations are at the core of the program.
The Unseen Eye: A Life in Photographs and Other Digressions…
A Multimedia Performance Piece with W. M. Hunt
Tuesday, March 27, 7:00 pm
Aperture Gallery and Bookstore
547 West 27th Street, 4th Floor
New York, New York
The Unseen Eye: Photographs from the Unconscious (Aperture 2011) by W.M. Hunt will be available for purchase at the Aperture Bookstore the night of the event ($52.50, available for online purchase here).
Rinko Kawauchi‘s photographs are set apart by their remarkable consistency. Nuanced but never repetitive, each 6×6 frame seems to capture the same frail, effervescent color palette, each, in her typical manner, flooded with light. It’s her attitude toward the photograph and the subject, however, not necessarily the technique that stays the same.
In the clip above, Kawauchi in conversation with Magnum photojournalist Martin Parr, who wrote on the work of Rimaldas Vikšraitis in Aperture issue 204, discusses the first transition she made from her usual Rolleiflex film camera to digital during the Brighton Photo Biennial 2010 when a certain subject called for it. The results were stunning, though not unexpected. She says she hopes in the future to use both formats together using a consistency of approach–not necessarily a conscious one, though as she suggested in an interview for Kopenhagen. “Whenever I’m taking pictures,” she says in the video, “I need to discover something. I want an impression from the object.”
Kawauichi, who was just nominated for the 2012 Deutsche Börse Photography Prize, first came to prominence in 2001 when she published three photobooks–Utatane, Hanabi, and Hanako–simultaneously during a time when she was still pursuing commercial work. Her acclaim rose rapidly as she went on to put together over a dozen monographs, most recently Illuminance, published by Aperture in Spring, 2011, of which several signed copies are still available for purchase in our bookstore. Also available is the Illuminance Limited-Edition Box Set featuring two untitled 8×10 prints from the series and a signed copy of the text presented in a beautiful clothbound clamshell box. A larger, dizzying 20×20 untitled C-print (pictured left) is also now available for purchase at Aperture.
The irony is not lost on me—as a photo-editor who has devoted many years to a medium known for stilling, or capturing, time, decisive or otherwise—that I should be equally consumed by another medium, one that defies any notion of “capture,” that I am seduced by dance’s very impermanence, especially in the case of Merce Cunningham. Cunningham’s choreography never leaves even a storyline to hang onto in its wake, but rather evinces a kind of isness, as if each dance has an ineffable essence that might somehow be touched, experienced, and that remains vital and resonant long after the curtain falls, so that endings are somehow intangible.
Cunningham’s sensibility was as much about time as about space—or, better, it was about the coexistence of the two and, unlike what transpires in much photography, time is liberated from illustration in a Cunningham dance. Things don’t have to happen in any narrative sense. Time is more about duration—which is in part why John Cage, and the other composers with whom Cunningham collaborated, had such freedom. In photography, conversely, the precise moment at which a picture is created may make all the difference—from evidentiary images to sports coverage to street shots to dance photography.
Which gets me thinking about the ephemeral—an idea that rarely pertains to the photographic object. (more…)
Last June, acclaimed Magnum photographer Alex Webb gave an Artist Talk on release of his book, The Suffering of Light: Thirty Years of Photographs. This exquisite publication is the first comprehensive monograph charting the career of the acclaimed American photographer. The collection presents his most iconic images, many of which were taken in the far corners of the earth, and brings a fresh perspective to his extensive catalog.
Alex Webb‘s photographs have appeared in a wide range of publications, including the New York Times Magazine, Life, Stern, and National Geographic, and have been exhibited at the International Center of Photography, New York; Walker Art Center, Minneapolis; and Whitney Museum of American Art, New York. He is a recipient of the Leica Medal of Excellence (2000) and the Premio Internacional de Fotografia Alcobendas (2009). Webb, a member of Magnum Photos since 1976, lives in New York City.
Alex Webb’s exhibition The Suffering of Light will be on view at Aperture Bookstore & Gallery beginning December 8, 2011 and running through January 19, 2012. Find the accompanying monograph here.
Aperture Gallery and Bookstore
547 West 27th Street, 4th Floor
Between 10th and 11th Avenues
New York, New York
What Matters Now? is now online and open for use! We encourage you to use the project’s website to submit your ideas, see the schedule, and learn more about the hosts and participants. For the duration of the exhibition in progress, the website will be constantly updated to reflect the physical changes in the gallery space, along with nterviews, photographs and and texts from the wide variety of participants. Most importantly, your submissions will be posted daily for thought and discussion.
In this clip, Japanese photographer Rinko Kawauchi speaks about the work from her Aperture monograph, Illuminance, with Aperture publisher and editor of the book, Lesley A. Martin. Kawauchi explains how she is interested in revealing the universal cycles of life through the ordinary existence of her family. She also touches on the sequencing and the palette of her images, how they express her own half-awake, half-asleep reality. Finally, they discuss the collaboration process in making this hybrid book combining both Japanese and Western influences.
This excerpt is edited from a conversation between Rinko Kawauchi and Lesley A. Martin which took place at Aperture Gallery on May 18, 2011, on the occasion of the release of Kawauchi’s monograph, Illuminance.
Rinko Kawauchi’s work has frequently been lauded for its nuanced palette and offhand compositional mastery, as well as her wonder-inspiring, deliberate attention to tiny gestures and the incidental details of her everyday environment. In Illuminance, Kawauchi continues her exploration of the extraordinary in the mundane, drawn to the fundamental cycles of life and the seemingly inadvertent, fractal-like organization of the natural world into formal patterns.
In this clip, photographer Simone Rosenbauer speaks about her Small Museums in Australia project documenting the collections and people behind these town museums.
Following the worldwide critical acclaim of the book and exhibition reGeneration: 50 Photographers of Tomorrow in 2005, a breakthrough publication for artists such as Pieter Hugo or Nathalie Czech, Aperture Foundation and Musée de l’Élysée in Lausanne, Switzerland, have collaborated on a new edition. This second volume and exhibition–the broadest survey of its kind–features the works of eighty up-and-coming photographers selected from 120 of the world’s top photography schools.
In this clip, Finnish photographer Sanna Kannisto speaks about her experience working with biologists in the rainforests of Latin America and the different series’ she developed in the exhibition and accompanying monograph, Fieldwork.
This edited excerpt is from the artist talk with Jason Houston, picture editor of Orion magazine which took place on Monday, April 25, 2011 at Aperture Gallery.
The photographs in Fieldwork explores the dialectics of nature and culture in both artistic and scientific contexts. Since 1997, Kannisto has spent several months per year living alongside biologists in the rainforests of Latin America. Adopting elements of her companions’ scientific methods, she developed her own form of visual research, extending her depictions of flora and fauna beyond the confines of the natural sciences.
View the talk in full here:
The exhibition Fieldwork is currently on view at Aperture through June 23.
In this clip, German photographer Daniela Friebel explains how her photography work deals with optical and perspective illusions. In this exhibition, she uses the curtain as a trompe l’oeil in reference to the first trompe l’oeil in art history.
reGeneration2: tomorrow’s photographers today exhibition and accompanying publication, was recently presented at Aperture Gallery and is now on view in Mexico at the Centro de los Artes in Monterrey. The exhibition is also opening this week at the Batha Museum in Morocco as part of the International Photo Festival in Fès.
This second volume and exhibition–the broadest survey of its kind–features the works of eighty up-and-coming photographers selected from 120 of the world’s top photography schools. As the digital revolution continues its relentless advance, it demolishes longstanding practices in every domain of the photographic field. reGeneration2 examine how the new generation of photographers operates, showcasing their inspiring creativity and ingenuity, and revealing the diversity of emerging photography.