Aperture aggregates the best posts from this past week in the photography blogosphere.

• LensBlog explores why Rodrigo Abd‘s photograph of a young Syrian boy expressing grief over the death of his father landed on the front page of three of the most prominent national papers in the United States.

• Time magazine’s photo blog Lightbox celebrated it’s one year anniversary, revisiting their first post and the continuing saga of War is Personal by legendary photojournalist Eugene Richards, of the controversial 1994 Aperture monograph Cocaine True, Cocaine Blue.

• Conscientious, GalleristNY and LVP Magazine weigh in on Cindy Sherman’s retrospective at MOMA and on the “unanimity” among critics in New York reviewing it.

• One year after a devastating tsunami hit the coast of Japan on March 11, 2011, The New York Times does a “Side-by-Side look at Distruction and Renewal.” The Big Picture at Boston.com, Huffington Post, National Geographic, and The New Yorker ran similar posts, as did Time’s Lightbox, featuring a slideshow of photos by James Nachtwey, whose work is in The New York Times Magazine Photographs (Aperture 2011) edited by Kathy Ryan.

• NPR prompts the question: “You know Ansel, But Who is Robert Adams (And Why Should You Care)?” Bob Adams, of the recently reissued Aperture monographs The New West and Summer Nights, Walking, has a traveling retrospective The Place We Live now on view at the Los Angeles County Museum of Art.

• Sarah Palmer was just announced winner of the Aperture 2011 Portfolio Prize for her series As a Real House. Read her 2009 review of Eirik Johnson’s Sawdust Mountain, Robert Adam’s Summer Nights and Joel Meyerowitz’s Legacy, from when she was editor at Metropolis Magazine.

• Finally, Jonathan Blaustein‘s intensely personal column on APhotoEditor.com reviewing Donald Weber‘s beautifully put together photobook Interrogations is one of the best-written posts we’ve read all week. Interrogations will also be reviewed in the upcoming second issue of The Photobook Review.