Bøger udgivet af Aperture Direct

Portfolios and Essays from Pieter Hugo and Brownyn Law-Viljoen, Jay DeFeo and Anne Wilkes Tucker, Thomas Holton and Bonnie Yochelson, Clare Richardson, David Spero, and Jason Oddy, Mark Haworth-Booth and Lee Miller, Takashi Yasumura, Jessica Lange and Mary Ellen Mark, Stephen Shore and Luc Sante.

In the last decade there has been a major reappraisal of the role and status of the photobook within the history of photography. Newly revised histories of photography as recorded via the photobook have added enormously to our understanding of the medium's culture, particularly in places that are often marginalized, such as Latin America and Africa. However, until now, only a handful of Chinese books have made it onto historians' short lists. Yet China has a fascinating history of photobook publishing, and "The Chinese Photobook" will reveal for the first time the richness and diversity of this heritage. This volume is based on a collection compiled by Martin Parr and Beijing- and London-based Dutch photographer team WassinkLundgren. And while the collection was inspired initially by Parr's interest in propaganda books and in finding key works of socialist realist photography from the early days of the Communist Party and the Cultural Revolution era, the selection of books includes key volumes published as early as 1900, as well as contemporary volumes by emerging Chinese photographers. Each featured photobook offers a new perspective on the complicated history of China from the twentieth century onward. "The Chinese Photobook" embodies an unprecedented amount of research and scholarship in this area, and includes accompanying texts and individual title descriptions by Gu Zheng, Raymond Lum, Ruben Lundgren, Stephanie H. Tung and Gerry Badger.

Aperture is pleased to offer a very special limited-edition print and book box set, featuring three unique components created as part of Meyerowitz's most recent project--a compelling body of work resulting from a commission he received from the New York City Department of Parks & Recreation to document the city's parks. Each custom-designed clamshell box contains a copy of the book Legacy: The Preservation of Wilderness in New York City Parks with a special-edition bellyband, as well as The Hallett, a limited-edition book featuring one of the artist's favorite spots--the Hallett Nature Sanctuary in Manhattan. The Hallett was designed and printed exclusively for this edition using an HP Indigo Digital Press. Also included is a 10 x 12 inch HP archival pigment print, made personally by the artist. Each book and print is signed and numbered by Meyerowitz.

Young New York, Ethan James Green's first monograph, presents a selection of striking portraits of New York's millennial scene-makers, a gloriously diverse cast of models, artists, nightlife icons, queer youth, and gender binary-flouting muses of the fashion world and beyond. Under the mentorship of the late David Armstrong, Green developed a sensitive and confident style and an intense connection with his subjects; his luminous black-and-white portraits, many taken in Corlears Hook Park on the Lower East Side, bring to mind Diane Arbus's midcentury studies of gender nonconformists. Although he often shoots on commission for fashion brands and magazines, for Young New York, Green photographed his close friends and community for more than three years, and his humanist approach transcends the trends of the moment. Young New York promises to announce a bright young talent who is redefining beauty and identity for a new generation. In the words of the model and actress Hari Nef, one of Green's frequent subjects, "In Ethan's world, the kids who inspire him ought to be (and are) the subjects of his work. Ethan is an artist among so-called image makers."

"I was inspired by the way a car can steal the show. Think of iconic car chases in films--it's often about spectacle, and has little to do with advancing a narrative. And that's the way I think of these cars, as dead-end technologies, but also as high-performance machines which, for their audience, sought to reflect the spirit and attitudes of their time." --Matthew Porter Matthew Porter presents a portfolio of twenty-five images of old-school cars, captured in midair as they careen over city streets and highway intersections. Each photograph is a freeze-frame--a hypothetical film still from a pulp-fiction chase scene. The series seems, on one hand, to distill the essence of muscle-car Americana, a pop-cultural semaphore for the high-testosterone male persona. And yet, on the other, the subject--the "all-American" muscle car as antihero--is caught in an eternal state of suspended animation, while the various elements of the landscape in the background organize themselves around the edges of the frame. The resulting pictures are a hybrid of hyperreality and studied, topographic description, part bittersweet nostalgia and part ironic reinvention of a classic American trope.

Choreograph extends James Welling's iconic experiments with photography and color into the realm of dance, landscape, and architecture, yielding visually electrifying imagery. To create Choreograph, Welling photographed dancers performing in New York, Philadelphia, Boston, and Los Angeles, ultimately combining these images with landscapes and architecture. In a multichannel hack, Welling attains "pathological color"--the purposeful misuse of imaging technologies as a way to short-circuit conventions of photographic representation. Welling notes: "To my surprise, the buildings and landscapes that I used often seem to function like theatrical stages for the dancers. By choosing to use 'choreograph, ' drawing with dance, as a noun, I am noting its similarity to 'photograph, ' drawing with light." Lisa Hostetler, curator of photographs at the George Eastman Museum, contributes an essay that puts this body of work into the context of James Welling's larger output, asserting that Choreograph functions as an antidote to modernistic ideas about photography, while also providing a compelling summation of Welling's prior practice. This volume, printed in the United States with an extended ink range that captures the work's wild array of vibrant colors, accompanies an exhibition of the same name at the George Eastman Museum, Rochester, New York, scheduled to open in July 2020.

This highly collectible, limited-edition pop-up book is a work of art in itself, rendering Daniel Gordon's sculptural forms into a new layer of materiality and animating them in a pop-up performance. The book consists of six works in pop-up form, some featuring simple plants, others unfolding more elaborate tableaux. Inspired by his interest in the popularity of certain subjects on the internet--houseplants among them--Gordon meticulously cuts up pictures found online to create sculptural and fantastical still lifes. He uses photography not to show reality, but to present a new version of it. The crumpled paper and mix of realistic and unnatural colors render the objects slightly goofy. "Without seams and faults and limitations, my project would be very different," Gordon says. "The seamlessness of the ether is boring to me, but the materialization of that ether, I think, can be very interesting." His pieces are a perfect marriage of digital and analog processes and of high and low artistic references, complicating what is understood as sculpture, photography, painting, and the cutout. Produced in a limited edition of 1,000 copies

"The photographs and stories in Beyond the Shadows are not just a reminder of how racism and anti-Semitism can foment violence and murder, but a warning for our uneasy present, when white nationalism and neo-Nazism are on the upswing. These stories are also a primer on how to stand up to prejudice, transcend tribalism and embrace our shared humanity."--Maurice Berger, The New York Times The extraordinary experiences of ordinary people--their suffering and their unimaginable bravery--are the subject of Judy Glickman Lauder's remarkable photographs. Beyond the Shadows responds to the mass murder of Jews during the Holocaust, while telling the uplifting story of how the citizens and leadership of Denmark, under occupation and at tremendous risk, defied the Third Reich to transport the country's Jews to safety in Sweden. Over the past thirty years Glickman Lauder has captured the intensity of the death camps in Germany, Poland, and Czechoslovakia in dark and expressive photographs, telling of a world turned upside down. In contrast, the redemptive and uplifting story of the "Danish exception" is told through portraits of Danish Jewish survivors and Danish rescuers. Over the course of a few intense weeks in 1943, the vast majority of Denmark's Jewish population, seven thousand people, along with nearly seven hundred non-Jewish spouses, were hidden in boats and carried across the Øresund to safety in Sweden. Denmark is the only nation in Western Europe that can claim the rescue of its Jewish population from the Holocaust. With texts by Holocaust scholars Michael Berenbaum and Judith S. Goldstein, recollections by Danish Jewish survivors, and a previously unpublished text by Elie Wiesel, written in response to this body of work, Beyond the Shadows demonstrates passionately what hate can lead to, and what can be done to stand in its path.

Deana Lawson is one of the most intriguing photographers of her generation. Over the last ten years, she has created a visionary language to describe identities through intimate portraiture and striking accounts of ceremonies and rituals. Using medium- and large-format cameras, Lawson works with models she meets in the United States and on travels in the Caribbean and Africa to construct arresting, highly structured, and deliberately theatrical scenes animated by an exquisite range of color and attention to surprising details: bedding and furniture in domestic interiors or lush plants in Edenic gardens. The body--often nude--is central. Throughout her work, which invites comparison to the photography of Diane Arbus, Jeff Wall, and Carrie Mae Weems, Lawson seeks to portray the personal and the powerful in black life. Deana Lawson: An Aperture Monograph features forty beautifully reproduced photographs, an essay by the acclaimed writer Zadie Smith, and an expansive conversation with the filmmaker Arthur Jafa.

"These feel like images you might have dreamed, both of the kind that slip away and the ones you manage to keep tenuously in your grasp, slippery, otherworldly. . . . Before our eyes, Zanele Muholi transforms into a mother, a domestic worker, an Afrofuturist, an oracle. It's fiction and it is not."--Yrsa Daley-Ward, The New York Times Book Review Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is the long-awaited monograph from one of the most powerful visual activists of our time. The book features over ninety of Muholi's evocative self-portraits, each image drafted from material props in Muholi's immediate environment. A powerfully arresting collection of work, Muholi's radical statements of identity, race, and resistance are a direct response to contemporary and historical racisms. As Muholi states, "I am producing this photographic document to encourage individuals in my community to be brave enough to occupy spaces--brave enough to create without fear of being vilified. . . . To teach people about our history, to rethink what history is all about, to reclaim it for ourselves--to encourage people to use artistic tools such as cameras as weapons to fight back." With more than twenty written contributions from curators, poets, and authors, alongside luxurious tritone reproductions of Muholi's images, Zanele Muholi: Somnyama Ngonyama, Hail the Dark Lioness is as much a manifesto of resistance as it is an autobiographical, artistic statement.

Dutch conceptual artist Hans Eijkelboom's work is very much in line with the deadpan, seemingly mechanistic note-taking of Ed Ruscha and Hans-Peter Feldman. In "Paris-New York-Shanghai," Eijkelboom creates a witty comparative study of three major contemporary metropolises, each selected for having been the cultural capital of its time--Paris during the nineteenth century; New York, the twentieth; and Shanghai, the twenty-first.This uniquely bound three-volume accordion-folded set opens up to allow the reader not only to view each city individually, but also to compare simultaneously the three photographic studies of each metropolis and its citizens. The large-format cityscapes with the identifying quirks of each city and the snapshot-style grids of their inhabitants soon reveal how similar one city is to another today. For example, Eijkelboom's grids of mothers carrying their infants in Baby Bjorns, or men wearing striped polo shirts highlight the ubiquity of many of our most intimate possessions. As Eijkelboom writes, "Globalization, combined with the desire of cities for visually spectacular elements, is leading to the appearance everywhere of city centers that look the same and where identical products are sold." With an introduction by Martin Parr.

The North American frontier is an enduring symbol of romance, rebellion, escape, and freedom. At the same time, it's a profoundly masculine myth--cowboys, outlaws, Beat poets. Photographer Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002 on the road in the American wilderness. "I staged the girls as a standing army of teenaged runaways in resistance to patriarchal ideals," says Kurland. She portrays the girls as fearless and free, tender and fierce. They hunt and explore, braid each other's hair, and swim in sun-dappled watering holes--paying no mind to the camera (or the viewer). Their world is at once lawless and utopian, a frontier Eden in the wild spaces just outside of suburban infrastructure and ideas. Twenty years on, the series still resonates, published here in its entirety and including newly discovered, unpublished images.

In this, her first book, LaToya Ruby Frazier (born 1982) offers an incisive exploration of the legacy of racism and economic decline in America's small towns, as embodied by Braddock, Pennsylvania, Frazier's hometown. The work also considers the impact of that decline on the community and on her family, creating a statement both personal and truly political--an intervention in the histories and narratives of the region that are dominated by stories of Andrew Carnegie and Pittsburgh's industrial past, but largely ignore those of black families and the working classes. Frazier has set her story of three generations--her Grandma Ruby, her mother and herself--against larger questions of civic belonging and responsibility. The work also documents the demise of Braddock's only hospital, reinforcing the idea that the history of a place is frequently written on the body as well as the landscape. With "The Notion of Family," Frazier knowingly acknowledges and expands upon the traditions of classic black-and-white documentary photography, enlisting the participation of her family, and her mother in particular. As Frazier says, her mother is "co-author, artist, photographer and subject. Our relationship primarily exists through a process of making images together. I see beauty in all her imperfections and abuse." Frazier's work reinforces the idea of image-making as a transformative act, a means of resetting traditional power dynamics and narratives, both those of her family and those of the community at large. Frazier is a 2014 Guggenheim fellow.