Sixty years after its publication, The Flame of Recognition continues to offer unmatched insight into the mind, life, and work of a twentieth-century icon.
This classic monograph, first issued as a hardcover volume in 1965, began its life in 1958 as a monographic issue of Aperture magazine. Drawing on a decades-long collaboration between the photographer and Nancy Newhall, Aperture cofounder and Museum of Modern Art curator, The Flame of Recognition brings together a sequence of images and excerpts from Weston's writing in an effort to channel the photographer's creativity and, in his own words, «present clearly my feeling for life with photographic beauty . . . without subterfuge or evasion in spirit or technique.»
In 2015, Aperture reissued the book on its fiftieth anniversary, and ten years later Aperture is pleased to present the sixtieth anniversary edition in an elegant paperback edition. The Flame of Recognition covers the range of Weston's greatest works, from the portraits and nudes to the landscapes and still lifes. Accompanying and amplifying the images are Weston's own thoughts, excerpted from his now-famed Daybooks and letters. Others who contributed to the making of the book include two of the artist's sons, Brett and Cole, and two other Aperture cofounders, filmmaker and author Dody Weston Thompson and Ansel Adams, whose preface offers a posthumous tribute to the oeuvre of a remarkable artist. A brief bibliography as well as a chronology offer further insight into the life and work of this giant of twentieth-century photography.
Réédition en facsimilé de la série culte de Sally Mann parue 1988 chez Aperture, At Twelve se compose de portraits de jeunes filles de douze ans à la limite de l'adolescence. Réflexion sur l'innocence, le corps et les symboliques que nous lui prêtons en tant qu'adultes, cette série affirme la détermination de jeunes filles qui ne se présentent pas comme les victimes du regard que le lecteur leur porte mais, au contraire, lui font face avec sérenité.
Après la publication de son célèbre livre House of Bondage sur les horreurs de l'apartheid en 1967, Ernest Cole déménage à New York et reçoit une bourse de la Fondation Ford pour documenter les communautés noires dans les villes et les régions rurales des États-Unis. Il y documente la vie de Harlem, alterne couleur et street photography en noir et blanc dans les rues de Manhattan. En 1968, il se rend à Chicago, Cleveland, Memphis, Atlanta et Los Angeles, et restitue l'état d'esprit des communuatés noires dans les zones rurales du deep south peu après l'assassinat de Martin Luther King. De son vivant, il a publié très peu d'images issues de ce travail. Les négatifs des photos américaines d'Ernest Cole sont réapparus en Suède en 2017. Cette redécouverte permet un regard unique sur la société américaine et redessine toute son oeuvre, offrant une perspective nouvelle sur le travail d'un homme qui a fui l'Afrique du Sud a fait découvrir l'apartheid au monde entier.
The second title in Aperture's Vision & Justice Book Series, created and coedited by Drs. Sarah Lewis, Leigh Raiford, and Deborah Willis, showcases the luminous, wide-ranging contributions of an essential artist.
Coreen Simpson - photographer, writer, jeweler - has done it all. Working for publications such as Essence, Unique New York, and The Village Voice, from the late 1970s onward, Simpson covered New York's art and fashion scenes, producing portraits of a wide range of Black artists, literary figur
Originally published in 1981, and now in a third edition, Susan Meiselas's Nicaragua is a contemporary classic--a seminal contribution to the literature of concerned photography.
Nicaragua: June 1978-July 1979 forms an extraordinary narrative of a nation in turmoil. Starting with a powerful and chilling evocation of the Somoza regime during its decline in the late 1970s, the images trace the evolution of the popular resistance that led to the triumph of the Sandinista revolution in 1979. The book includes interviews with various participants in the revolution, along with letters, poems, and statistics.
In the decades following the original publication, Meiselas has continued to contextualize her photographs and relate them to history as it unfolded. Multiple editions build upon this body of work to evoke and conjure up the reality of people's lives and aspirations, their victories and disappointments. In this new edition, thirty images are linked via QR codes to excerpts from the films Pictures from a Revolution (1991, codirected with Richard P. Rogers and Alfred Guzzetti) in which Meiselas tracks down and interviews the people she photographed, and Reframing History (2004, codirected with Alfred Guzzetti), her collaboration with local communities in installing mural-sized images in the places where they were originally taken, eliciting the memories and reflections of those passing by. By extending and deepening her work, Meiselas asks us "to consider not only the specific timeframe of this book, but to think about the broader perspective of history unfolding, and how in the passage of time a photograph of a single moment in a person's life shifts its meanings as well as our perception of it." An interview with the artist by Magnum Foundation's director, Kristen Lubben, addresses how the work of this evolving project has been circulated, revisited, and repatriated--and how and why it endures.
The highly anticipated second volume to the widely acclaimed and celebrated self-portrait series, Somnyama Ngonyama, Hail the Dark Lioness.
In Somnyama Ngonyama, Hail the Dark Lioness, Vol. II, Zanele Muholi explores and expands upon new personas and poetic interpretations of personhood, queerness, Blackness, and the possibilities of self. Since the publication of the first volume in 2018, Muholi has continued to photograph themself in a range of new international locations. Drawing on material props found in each environment, Muholi boldly explores their own image and innate possibilities as a Black individual in today's global society, and-most important-speaks emphatically in response to contemporary and historical racisms. Renée Mussai, curator and historian, brings together written contributions from more than ten curators, poets, and authors, building a poetic and experimental framework that extends the idea of speculative futures and the potentiality of multivalent selves. Powerfully arresting, this collection further amplifies Muholi's expressive and radical manifesto. As they state in the first volume, «My practice as a visual activist looks at Black resistance-existence as well as insistence.»
Part memoir, part document of the DIY, punk-infused subculture of skateboarding as it came of age in the 1990s and early 2000s, Ed Templeton's Wires Crossed pulses with the raw, combustive energy of Templeton's image-making from the last twenty-plus years.
Illustrated by photographs, collages, texts, maps, and other ephemera from Templeton's journals, Wires Crossed offers an insider's look at a subculture in the making and reflects the unique aesthetic stamp that sprang from the skate world he helped create. Templeton occupies the rare position of having been a professional skateboarder, a two-time World Skateboarding champion, as well as a photographer and artist working within the skateboard community as it gained increasing cultural currency in the 1990s and beyond. His work first gained recognition as part of the Beautiful Losers collective loosely gathered around Aaron Rose's Alleged Gallery on Manhattan's Lower East Side.
This work, much of it previously unpublished and unseen, explores Templeton's own journey as an image maker, as well as the lives of professional skateboarders as they spent long hours crisscrossing the world on tour, reveling in their newfound status as rock star-like figures and the eternal search for new terrain to skate. Interviews between Templeton and fellow pro-skaters and friends add compelling detail about the pressures and pleasures of life on the road, and what it's like to obsessively pursue an art form-whether on their decks or behind the camera.
Cette monographie présente pour la première fois le travail de la jeune photographe beyrouthine Myriam Boulos, nominée au sein de l'agence Magnum. Elle pose un regard sans concession sur la révolution qui a commencé au Liban en 2019 avec des manifestations contre la corruption gouvernementale et l'austérité, pour culminer avec les conséquences de l'explosion dévastatrice du port de Beyrouth en août 2020. Elle représente la jeunesse bouillonante de son pays, ses amis et sa famille avec une énergie brute et une approche intime, dans la joie et la colère. Myriam Boulos fait du corps dans l'espace public un motif puissant face à la négligence et à la violence de l'État. De son approche de la photographie, elle déclare : « C'est plus un besoin qu'un choix. Je suis obsédée par les choses et je ne sais pas comment gérer ces obsessions autrement que par la photographie. »
Brooklyn est l'un des endroits les plus dynamiques et ethniquement hétérogènes de la planète. Alex Webb et Rebecca Norris Webb le photographient depuis sept ans, créant ainsi un portrait profond et vibrant du quartier. Alex Webb en a parcouru tous les coins, explorant son immense diversité. En contraste avec cette approche, Rebecca Norris Webb a photographié "la ville dans la ville dans la ville", le coeur vert de Brooklyn - le jardin botanique, le cimetière GreenWood et Prospect Park, où les Brooklyniens se croisent. Ensemble, leurs photographies de Brooklyn racontent une histoire américaine plus vaste, qui concerne l'immigration, l'identité et le sentiment d'appartenance.
First published in 1967, Ernest Cole's House of Bondage has been lauded as one of the most significant photobooks of the twentieth century, revealing the horrors of apartheid to the world for the first time and influencing generations of photographers around the globe. Reissued for contemporary audiences, this edition adds a chapter of unpublished work found in a recently resurfaced cache of negatives and recontextualizes this pivotal book for our time.
Cole, a Black South African man, photographed the underbelly of apartheid in the 1950s and '60s, often at great personal risk. He methodically captured the myriad forms of violence embedded in everyday life for the Black majority under the apartheid system--picturing its miners, its police, its hospitals, its schools. myriad forms of violence embedded in everyday life for the Black majority under the apartheid system--picturing its miners, its police, its hospitals, its schools. In 1966, Cole fled South Africa and smuggled out his negatives; House of Bondage was published the following year with his writings and first-person account. This edition retains the powerful story of the original while adding new perspectives on Cole's life and the legacy of House of Bondage. It also features an added chapter-compiled and titled "Black Ingenuity" by Cole-of never-before-seen photographs of Black creative expression and cultural activity taking place under apartheid. Made available again nearly fifty-five years later, House of Bondage remains a visually powerful and politically incisive document of the apartheid era.
Du 14 janvier au 26 avril, la Fondation Henri Cartier-Bresson présente Kin (l'intime), le dernier projet du photographe sud-africain Pieter Hugo. A travers des portraits, des paysages et des natures mortes, il propose une réflexion sur la complexité de l'identité sud-africaine postapartheid et met en lumière le fossé qui sépare les idéaux d'une société de sa réalité.
A celebrated return of Robert Frank's seminal photobook, The Americans, to Aperture's catalog--one of the most important bodies of photographic work ever madeIn the nearly seven decades since its publication in France in 1958, and in the United States in 1959, Robert Frank's The Americans has become one of the most influential and enduring works of American photography. Through eighty-three photographs taken across the country, Frank unveiled an America that had gone previously unacknowledged--confronting its people with an underbelly of racial inequality, corruption and injustice, and the stark reality of the American Dream. Frank's point of view--at once startling and tenacious--is imbued with humanity and lyricism, painting a poignant and incomparable portrait of the nation at a turning point in history.This edition of The Americans is a celebrated return of an iconic title to Aperture's catalog, more than a half-century after the Aperture and Museum of Modern Art edition was published in 1968. Presented on the centennial of Frank's birth and a major exhibition at the Museum of Modern Art, it has been produced following the finest tritone printing from the 2008 edition for which Frank was personally involved in every step of the design and production. Frank's exacting vision, distinct style, and poetic insight changed the course of twentieth-century photography, and influenced subsequent generations of photographers, including Lee Friedlander, Nan Goldin, Danny Lyon, Joel Meyerowitz, Ed Ruscha, and Garry Winogrand. Now extolled as one of the most groundbreaking photobooks of all time, The Americans remains as powerful and provocative as it was upon publication and continues to resonate with audiences today.
Nouvel opus dans la série de petits livres Photography Workshop. Cette fois-ci, c'est la célèbre photographe mexicaine Graciela Iturbide, connue pour ses portraits et paysages empreints à la fois d'une véracité documentaire et d'une certaine poésie, qui détaille son approche très personnelle du médium et qui explique ses méthodes de travail.
In this volume of The Photography Workshop Series, Graciela Iturbide--known for her portraits and landscapes imbued with poetic ambiguity and documentary truth--explores photographing in ways that employ a deeply personal vision, while also reflecting subjects' rich cultural backgrounds.
Aperture Foundation works with the world's top photographers to distill their creative approaches, teachings, and insights on photography--offering the workshop experience in a book. Our goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Through images and words, Iturbide shares her creative process and artistic inspirations, and discusses a wide range of issues, from portraying spirituality in photographs and engaging with different cultures to the importance of curiosity.
The Photography Workshop Series est une nouvelle collection qui se propose d'éditer une série d'ateliers mis en place avec des grands noms de la photographie contemporaine. Chaque photographe invité choisit un thème et, s'appuyant sur ses propres images, explique son approche créative et ses idées sur la photographie.
Imaginé comme une suite de la Bible et du Nouveau Testament, l'ouvrage du photographe Magnum Jonas Bendiksen présente sept hommes du monde entier se proclamant être la nouvelle incarnation de Jésus sur Terre. Le photographe s'est mêlé aux disciples de chacun de ces Jésus afin de nous proposer ce compte rendu qui tient à la fois du journalisme apocalyptique et d'un imaginaire débridé.
La série Illuminance résulte de quinze années de travail et reflète l'expérience de la photographe japonaise pendant cette période. Elle déroule une longue méditation sur les qualités miraculeuses de la lumière et sur son pouvoir de révélation, avec une approche très personnelle.
Dark Waters, Kristine Potter's second monograph, continues her engagement with the American landscape as a palimpsest for cultural ideologies.
In this dark and brooding series, Potter reflects on the Southern Gothic landscape as evoked in the popular imagination of «murder ballads» from the nineteenth and twentieth centuries. Her seductive, richly detailed black-and-white images channel the setting and characters of these songs, capturing the landscape of the American South, and creating a series of evocative portraits that stand in for the oft-unnamed women at the center of their stories.
In the American murder ballad, which has taken on cult appeal and continue to be rerecorded even to this day, the riverscape is frequently the stage of crimes as described in their lyrics. Places like Murder Creek, Bloody Fork, and Deadman's Pond are haunted by both the victim and perpetrator of violence in the world Potter conjures, reflecting the casual and popular glamorization of violence against women that remains prevalent in today's cultural landscape. As Potter notes, «I see a through line of violent exhibitionism from those early murder ballads, to the Wild West shows, to the contemporary landscape of cinema and television. Culturally, we seem to require it.» Dark Waters both evokes and exorcises the sense of threat and foreboding that women often grapple with as they move through the world. Author Rebecca Bengal contributes an evocative short story that underscores the sense of anxiety and foreboding that Potter infuses into each of her images; a deliciously compelling, if chilling, combination.
Copublished by Aperture with Images Vevey and The Momentary.
Réédition pour la série Maske de Phyllis Galembo. Depuis 25 ans, la photographe y documente de manière frontale les costumes, rituels et traditions des mascarades et carnavals de l'Afrique de l'Ouest et de la diaspora africaine en Haïti. En confrontant les portraits des protagonistes dans les deux régions, elle présente la diversité des mythologies, des mondes spirituels et des cultures du carnaval.
