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An intimate portrait of the life and work of one of photography’s most renowned and celebrated artistsThroughout his more than sixty-year-long obsession with the medium, Josef Koudelka considers a remarkable range of photographic subjects—from his early theater work, to his seminal project on the Roma and his legendary coverage of the 1968 Soviet invasion of Prague, to the solitariness of exile and the often-devastating impact humans have had on the landscape. Josef Koudelka: Next embraces all of Koudelka’s projects and his evolution as an artist in the context of his life story and working process, offering an unprecedented glimpse into the mind and world of this notoriously private photographer. Based on hundreds of hours of interviews conducted over the course of almost a decade with Koudelka—as well as ongoing conversations with his friends, family, colleagues, and collaborators worldwide—this deftly told, richly illustrated biography offers an unprecedented glimpse into the mind of this notoriously private photographer. Writer, editor, and curator Melissa Harris has independently crafted a unique, in-depth, and revelatory personal history of both the man and his photography.Josef Koudelka: Next is richly illustrated with hundreds of photographs, including many biographical and behind-the-scenes images from Koudelka’s life, as well as iconic images from his work, from the 1950s to the present. The visual presentation is conceived in collaboration with Koudelka himself, as well as his longtime collaborator, Czech designer Aleš Najbrt.

The first publication of Ernest Cole’s photographs depicting Black lives in the United States during the turbulent and eventful late 1960s and early ’70sAfter the publication of his landmark 1967 book House of Bondage on the horrors of apartheid, Ernest Cole moved to New York and received a grant from the Ford Foundation to document Black communities in cities and rural areas of the United States. He released very few images from this body of work while he was alive. Thought to be lost entirely, the negatives of Cole’s American pictures resurfaced in Sweden in 2017.Ernest Cole photographed extensively in New York City, documenting the lively community of Harlem, including a thrilling series of color photographs, as he turned his talent to street photography across Manhattan. In 1968 Cole traveled to Chicago, Cleveland, Memphis, Atlanta, and Los Angeles, as well as rural areas of the South, capturing the mood of different Black communities in the months leading up to and just after the assassination of Martin Luther King Jr. The pictures both reflect a newfound hope and freedom that Cole felt in America, and an incisive eye for inequality as he became increasingly disillusioned by the systemic racism he witnessed. This treasure trove of rediscovered work provides an important window into American society and redefines Cole’s oeuvre, presenting a fuller picture of the life and work of a man who fled South Africa and exposed life under apartheid to the world.

Ari Marcopoulos is an inveterate maker of zines. This project collects in one volume for the first time a selection of zines by Marcopoulos, many never before released, providing a unique insight and overview into an essential part of this influential artist‿s daily practice. Often self-published or created in collaboration with boutique and independent publishers like ROMA, Dashwood Books, and PPP Editions, these informal, DIY-aesthetic creations function as sketchbook, diary, installation space, and a means of processing Marcopoulos‿s daily practice of photographing his life, his family, his neighborhood, and the rarified cultural milieu in which he operates. This collection showcases an impressive array of printed zines, exploring each as an artistic object through an engaging layout. Beginning in 2015 and presented chronologically per year, key zines are featured‿including some made during the pandemic, when Marcopoulos worked primarily on the screen, making PDF zines‿and punctuated by individual images presented full scale. An interview with Hamza Walker underscores the role of zines as an essential part of Marcopoulos‿s artistic practice, emphasizing the personal, diaristic element within the work, while an essay from Maggie Nelson meditates on the work‿s position within a wider social and cultural context. Ari Marcopoulos: Zines is a must-have for anyone interested in this prolific artist‿s personal practice and zine culture.

This spring, Aperture magazine presents issue #250, “We Make Pictures in Order to Live,” which explores the relationship between photography and storytelling across generations and geographies. Featuring visual stories that excite, surprise, and illuminate daily life, this issue’s title is a nod to the late, celebrated writer Joan Didion, who declared, “We tell ourselves stories in order to live.” Aperture contributors explore the quiet poetry— or clamorous disorder—of the everyday, and attest that making photographs is a way of being aliveIn a sweeping introductory essay, Brian Dillon asks how we might view Didion through photography, and what images come to mind when we think of her writing. Thessaly La Force profiles Bieke Depoorter, who sees documentary photography both as a listening exercise and a form of investigation, blurring the lines between authorship, fiction, and truth. Alistair O’Neill takes stock of Nick Waplington’s vibrant records of subcultures on both sides of the Atlantic. Lena Fritsch writes about the “exquisite world-making” of photographer Eikoh Hosoe’s collaborative practice. Tiana Reid reconsiders Charles “Teenie” Harris’s vivid, midcentury portraits of Black life in Pittsburgh, several of which are published for the first time in this issue. Among the portfolios, Casey Gerald discusses Adraint Bereal’s images depicting the agony and ecstasy of being a Black college student in the US today. Yvonne Venegas searches for family ghosts in the Mexican landscape, which poet and novelist Daniel Saldaña París describes as “an exercise in freedom and intelligence.” Kamayani Sharma looks at Gauri Gill’s images of a community masquerade in the Indian state of Maharashtra, and its potential to reverse power dynamics inherent in seeing and being seen.  Durga Chew-Bose meditates on the photographs of Mary Manning—also featured on the cover— and their poetic sensitivity toward story and the everyday. For Endnote, Aperture poses six questions for the painter Jordan Casteel. In The PhotoBook Review—included within every issue of Aperture—Bruno Ceschel speaks with photographer, bookmaker, and publisher Alejandro Cartagena about his work. Lou Stoppard reviews a trio of photobooks about domestic spaces, and Aperture’s editors review a range of recent publications.

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 balladsâ€? 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.â€? 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

In his project Community Fire, the photographer Zhang Xiao takes a local, hometown look at Shehuo (社火), a Chinese Spring Festival tradition celebrated in rural Northern Chinese communities that includes temple fairs, dragon dances, and storytelling.Shehuo— literally, “community fire”—is devoted to the worship of land and fire, and boasts a history of many thousands of years. During the festival, people hold ceremonies, pray for the next year’s good harvest, and confer blessings of peace and safety on all family members. However, what was once a heterogeneous cultural tradition with myriad regional variations has largely become a tourist-facing, consumption-oriented enterprise. In the early 2000s, Shehuo received an “intangible cultural heritage” designation from the People’s Republic of China, resulting in increased funding in exchange for greater government involvement. While altering the practitioners’ relation to Shehuo, this change expresses itself most visually in the way costumes and props have been replaced with newer, cheaper products from online shopping websites.Zhang’s colorful and fantastical photographs capture how these mass-produced substitutions have transformed the practice of Shehuo. Community Fire—with essays in English and Chinese—is a dynamic visual exploration of one of China’s oldest traditions.Copublished by Aperture and Peabody Museum Press

Mystic Parallax is the first major monograph by rising interdisciplinary artist Awol Erizku. Working across photography, film, video, painting, and installation, his work references and re-imagines African American and African visual culture, from hip hop vernacular to Nefertiti, while nodding to traditions of spirituality and Surrealism. This comprehensive monograph spans Erizku‿s career, blending his studio practice with his work as an in-demand editorial photographer working regularly for the New Yorker, New York magazine, Time, and GQ, among others, and features his conceptual portraits of Black cultural icons, such as Solange, Amanda Gorman, and Michael B. Jordan. As Erizku recently told the New York Times, “It‿s important for me to create confident, powerful, downright regal images of Black people.â€?Featuring essays by critically acclaimed author Ishmael Reed, curator Ashley James, and writer Doreen St. Félix, and interviews with the artist by Urs Fischer and Antwaun Sargent, Mystic Parallax is a luminous and arresting testament to the artist‿s tremendous power and originality. Copublished by Aperture and The Momentary

In this volume of The Photography Workshop Series, Vik Muniz-known for his playful pictures that complicate what is understood as a photograph, sculpture, and painting-offers his insight into thinking creatively and seeing the familiar in new and surprising ways. Aperture 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, Muniz shares his creative practice and artistic inspirations, and discusses a wide range of topics, from generating ideas and creating images that challenge viewers' perceptions, to collaboration, imperfection, and the interplay of subject, scale, and material.

Tommy Kha: Half, Full, Quarter weaves together self-portraits and classically bucolic landscapes punctuated by the traces of East Asian stories embedded in the topography of the American South.  In this first major monograph, featuring almost a decade of work, Tommy Kha explores the highly personal psycho-geography of his hometown. As the artist states, “Memphis has become, for me, not only the place where I was raised but an active borderland between fantasy and memory, nostalgia and history, nonfiction and mythology.â€? Memphis is where his mother, fleeing Vietnam in the early 1980s, settled, along with his extended family. Throughout the work, his mother emerges as a recurring character, sometimes the subject of quiet photographic study, and in others, a collaborative muse. “I‿m a cut of my mom,â€? Kha asserts, “Every photograph I make of her is a Half Self-Portrait.â€? In snapshots drawn from a family album that serves as the one record of her journey to the United States, she is the source of nostalgia and barely captured memory. In assembling a visual account of the struggle to find his own voice and narrate the fragmented history of his family, Kha challenges the cultural amnesia around Asian lives and experiences in recent American histories. Acclaimed author Hua Hsu contributes an engaging essay, “People Need to Smile More,â€? and MacArthur Fellow An-My Lê conducts an incisive conversation with Kha that delves into his family history and artistic strategies.  Tommy Kha: Half, Full, Quarter is the result of the Next Step Award, a partnership between Aperture and Baxter St at the Camera Club of New York, in collaboration with the 7|G Foundation. An exhibition of the work will open at Baxter St in New York in February 2023.

At turns humorous and absurd, heartfelt and searching, Photo No-Nos is for photographers of all levels wishing to avoid easy metaphors and to sharpen their visual communication skills.Photographers often have unwritten lists of subjects they tell themselves not to shoot¿things that are cliché, exploitative, derivative, sometimes even arbitrary. Photo No-Nos features ideas, stories, and anecdotes from many of the world¿s most talented photographers and photography professionals, along with an encyclopedic list of more than a thousand taboo subjects compiled from and with pictures by contributors.Not a strict guide, but a series of meditations on ¿bad¿ pictures, Photo No-Nos covers a wide range of topics, from sunsets and roses to issues of colonialism, stereotypes, and social responsibility. At a time when societies are reckoning with what and how to communicate through media and who has the right to do so, this book is a timely and thoughtful resource on what photographers consider to be off-limits, and how they have contended with their own self-imposed rules without being paralyzed by them.

Sales Points A playful and inspiring book for kids of all ages Fun photography ideas that teach observation of and engagement with the world around us By influential Magnum photographer and former teacher Susan Meiselas For every parent who wants to empower their child to expressthemselves creativelyAdditional Comp TitlesArt Making with MoMA:20 Activities for Kids Inspired by Artists at The Museum of Modern Art, by Cari Frisch. 9781633450370, $24.95 USD (Museum of Modern Art, 2018) Read This if You Want to Take Great Photographs of Places, by Henry Carroll. 9781780679051, $17.99 USD (Laurence King Publishing, 2017)

Sales Points A dynamic body of work on an enduring subject, New York City The first book from an up-and-coming female street photographer Follows in the tradition of Helen Levitt, Alex Webb, and Vivian Maier Additional Comp Title42nd and Vanderbilt, by Peter Funch. 9781942953319, $45.00 USD (TBW Books, 2017)Ethan James Green: Young New York, by Michael Schulman. 9781597114547, $45.00 USD (Aperture, 2019)

Henri Cartier-Bresson's writings on photography and photographers have been published sporadically over the past 45 years. His essays—several of which have never before been translated into English—are collected here for the first time. The Mind's Eye features Cartier-Bresson's famous text on "the decisive moment" as well as his observations on Moscow, Cuba and China during turbulent times. These essays ring with the same immediacy and visual intensity that characterize his photography.

Considered a groundbreaking book when first published in 1985, John Gossage's "The Pond" remains one of the most important photobooks of the medium. As Gerry Badger, coauthor of "The Photobook: A History," Volumes I and II, asserts, "Adams, Shore, Baltz--all the New Topographics photographers made great books, but none are better than "The Pond."" Consisting of photographs taken around and away from a pond situated in an unkempt wooded area at the edge of a city, the volume presents a considered foil to Henry Thoreau's stay at Walden. The photographs in "The Pond" do not aspire to the "beauty" of classical landscapes in the tradition of Ansel Adams. Instead, they reveal a subtle vision of reality on the border between man and nature. Gossage depicts nature in full splendor, yet at odds with both itself and man, but his tone is ambiguous and evocative rather than didactic. Robert Adams described the work as "believable because it includes evidence of man's darkness of spirit, memorable because of the intense fondness [Gossage] shows for the remains of the natural world." Aperture now reissues this exquisitely produced and highly collectible classic monograph. With the addition of three images and two essays, this second edition offers new audiences the opportunity to celebrate this notable work by a master photographer and bookmaker.John Gossage (born 1946) is well known for his artist's books and photographic publications, and has produced 17 books and boxes on specific bodies of work. In the 1960s, he studied briefly with Lisette Model and Alexey Brodovitch. Since then, his work has been exhibited worldwide. His photographs are held in numerous private and public collections, including those of the Corcoran Gallery of Art, Washington, D.C., and The Museum of Modern Art, New York. Gossage lives in Washington, D.C.

Doug DuBois: All the Days and Nights," the artist's first and long-awaited monograph, resonates with diaristic immediacy, offering a potent examination of family relations under stress and what it means to subject personal relationships to the unblinking eye of the camera. Each photograph is rich with color, nuanced gestures and glances, enveloping the viewer in a multivalent, emotionally tense world. DuBois began photographing his family in 1984, prior to his father's near-fatal fall from a commuter train and his mother's subsequent breakdown and hospitalizations. While these events set a narrative backdrop to his work, the emotional freight is carried by the details as described by the artist: "The pallor of my mother's skin, the glare of my father's gaze and the tactile communion between my sister and nephew. These details constitute a complex and resonant picture of family ties..." More than 20 years later, DuBois' project has developed in remarkable ways.

Since the publication of Richard Misrach's bestselling and critically acclaimed publication On the Beach, he has continued to photograph at the same location, building a body of work that has been exhibited as On the Beach 2.0—a reference to the technological and optical developments that have made the intensely detailed, exquisitely rendered depictions possible. The Mysterious Opacity of Other Beings focuses less on the abstraction of water, sand and mote-sized figures, instead honing in on the gestures and expressions of bathers adrift in the ocean. Misrach has rarely ventured into portraiture; this work is his first to focus exclusively on the human figure. Each photograph features one or more individuals crisply rendered from a distance, as they seem to levitate among turquoise waves, isolated from everything save the shifting patterns of the ocean. There is ambiguity and a sense of the uncanny in the figures suspended in the water: are they approaching the shore or moving away from it? Each image is presented both as full frame and as a series of enlarged details that enable the viewer to linger on each individual's surrender of their body to the sea.

Contains images by Michele Abeles, Takaaki Akaishi, Lotta Antonsson, Walead Beshty, Lucas Blalock, Andrey Bogush, Brian Bress, Bianca Brunner, Stefan Burger, Antoine Catala, Phil Chang, Talia Chetrit, Joshua Citarella, Sara Cwynar, Bryan Dooley, Jessica Eaton, Shannon Ebner, Marten Elder, Jason Evans, Sam Falls, Brendan Fowler, Victoria Fu, Daniel Gordon, Darren Harvey-Regan, Leslie Hewitt, Nancy de Holl, John Houck, Go Itami, Rachel de Joode, Farrah Karapetian, Matt Keegan, Annette Kelm, Soo Kim, Yuki Kimura, Josh Kline, Lucas Knipscher,Owen Kydd, Josh Kolbo, Taisuke Koyama,Nico Krebs and Taiyo Onorato, Elad Lassry, Brandon Lattu, John Lehr, Anthony Lepore, Alexandra Leykauf, Matt Lipps, Florian Maier-Aichen, Phillip Maisel, Annie MacDonell, Emmeline de Mooij, Carter Mull, Nerhol (Ryuta Iida and Yoshihisa Tanaka), Katja Novitskova, Arthur Ou, Matthew Porter, Timur Si-Qin, Eileen Quinlan, Jon Rafman, Sean Raspet, Clunie Reid, Abigail Reynolds, Will Rogan, Asha Schechter, Hugh Scott-Douglas, Shirana Shahbazi, Daniel Shea, Erin Shirreff, Elisa Sighicelli, Brea Souders, Kate Steciw, Batia Suter, Yosuke Takeda, Miguel Angel Tornero,Sara VanDerBeek, Artie Vierkant, Anne deVries, Hannah Whitaker, Charlie White, Lindsey White, Chris Wiley, Letha Wilson, and Amir Zak

Aperture 164Summer 2001 A Heightened Perception: The Color of Wildness- Rebecca Solnit on Eliot Porter as pioneer in color photography and environmental propagandist Now Playing in Another World- Peter Moore's photographs and Barbara Moore's writing reveal the adventurous, often subversive spirit of the avant garde. Still Life- Miguel Rio Branco's provocative "Still Life," a visual poem "Such Damnable Ghastliness"- Danny Lyon's personal reflections on the United States Holocaust Memorial Museum Deadly Traffic: Salvadoran Street Gangs- Donna DeCesare on the street gangs of El Salvador, L.A.'s export to Central America 2001: A Beach Odyssey - Visions of summer in poetry and images - Iranian filmmaker Abbas Kiarostami's views of the infinite in films and stills, by Minna Proctor Photographers: Domenica Bucalo, Robert Capa, Henri Cartier-Bresson, Bruce Davidson, Donna DeCesare, Elliott Erwitt, Barbara Ess, Zhuang Huang, Peter Moore, Mariko Mori, Eliot Porter, Matthieu Ricard, Miguel Rio Branco, Sandy Skoglund, Nick Waplington

Aperture 162Winter 2001 Issue 162 features previously unpublished work by some of photography's most masterful and remarkable artists, including Richard Misrach's Cancer Alley photographs--a disturbing look at environmental destruction in the American south. Also here are Sally Mann's stunning photographs of her daughter Jessie. These mostly previously unpublished images, depicting Jessie's transformation from child to adult, are accompanied by an interview in which she discusses being photographed throughout her life. Nick Waplington's fabricated website images provide an ironic look at the implications of the free flowing, often incendiary information that proliferates on the internet. Other features include Shooting Blind--work by a New York-based collective of visually impaired photographers--and a dialogue between David Levi Strauss and painter/longtime political activist Leon Golub concerning his use of photographs for inspiration in his work. Photographers: Stephen Crowley, James Estrin, Angel Franco, Paul Hosefros, Kevin Lamarque, Chang W. Lee, Sally Mann, Richard Misrach, Sylvia Plachy, Librado Romero, Rick T. Wilking

Manuel Alvarez Bravo began photographing in 1924, during Mexico's thriving post-revolutionary artistic renaissance. His influences, from indigenous cultures to contemporary European trends, combined through his artistry to form a unique, transcendent vision rooted in the iconography of his country. While his early work embraced Mexico's urban realities, its peasants and workers, and its hauntingly beautiful landscape, Alvarez Bravo's ever-present acknowledgment of the macabre prompted Andre Breton, the leader of Surrealism in France, to claim him as an exponent of the movement. Prolific, uncompromising, and committed to advancing the arts of his country, nevertheless, public recognition eluded Alvarez Bravo, even in Mexico, until the 1970s, when his photographs were exhibited at the Pasadena Art Museum in California and at New York's Museum of Modern Art, in 1971. But it was not until 1997 that his work became widely known through a definitive exhibit of 185 photographs at the Museum of Modern Art and the simultaneous publication by Aperture of Manuel Alvarez Bravo: Photographs and Memories. Manuel Alvarez Bravo won his first award in 1931, and then decided to pursue photography as a career. He met Andre Breton in 1939, and his work was subsequently included in Surrealist exhibitions in Paris. In 1942, the Museum of Modern Art, New York, acquired their first works by Alvarez Bravo; in 1955, his photographs were included in Edward Steichen'sFamily of Man exhibition at MoMa. In 1959 Alvarez Bravo co-founded the Fondo Editorial de la Plastica Mexicana, with the goal of publishing books on Mexican art, which he co-directed until 1980, and from 1980 to 1986, he devoted his time tofounding and developing the collection of the first Mexican Museum of Photography. Alvarez Bravo is the recipient of the Sourasky Art Prize (1974), the National Art Prize (Mexico, 1975), a John Simon Guggenheim Memorial Fellowship (1975), the Victor and Erna Hasselblad Prize (1984), and the International Center of Photography's Master of Photography Award (1987). "Manuel Alvarez Bravo: Photographs and Memories" presents an intimate portrait of Mexico's revered photographer and, with his most beloved images, includes a selection of little-known work chosen with the photographer specifically for this classic monograph.

Aperture 159The New ApertureSpring 2000 A diverse compilation of images and writing, this 1st issue of the new Aperture signifies the magazine's commitment to the remarkable range of cross-cultural experiences that photography addresses. From the stark isolation of Mimmo Jodices's Mediterranean island landscapes to Julian Cardona's disturbing photo-essay on foreign owned factories in Mexico, issue 159 presents a dynamic and vital window on the myriad happenings in the photographic community. Other features in this issue include Neil Selkirk on designer Tibor Kalman's use of photography, The photographic books of Jeff Bridges accompanied by a discussion between the artist and Richard Misrach, love letters to Edward Weston, the life and work of Marilyn Silverstone and an essay by Francine Prose on the phenomenon of the wedding ritual accompanied by the work of photographers as diverse as Henri Cartier-Bresson and William Wegman. Photographers: Tina Barney, Julian Cardona, Nan Goldin, Mimmo Jodice, Tibor Kalman, Richard Misrach, Marilyn Silverstone, Edward Weston

This book is a revised and enlarged version of the original maquette for Josef Koudelka's Cikáni (Czech for Gypsies) prepared by Koudelka and graphic designer Milan Kopřiva in 1968, and intended for publication in Prague in 1970. Koudelka left Czechoslovakia in 1970 after extensively documenting the Russian invasion of Prague in August 1968. The book was never published in that original form.This extended version consists of 109 photographs taken between 1962 and 1971 in what was, at the time, Czechoslovakia (Bohemia, Moravia, and Slovakia), Romania, Hungary, France, and Spain. The word Gypsies (the common name for this group when the photographs were taken between 1962 and 1971, before the current term Roma was established) is used as the book title.Sociologist Will Guy, author of the text that accompanied the first publication of Gypsies, has contributed an updated essay, tracing the migration of the Roma from their original homeland in northern India, to their current status-one that continues to be contested internationally.