Samuel Fosso, a master of theatrical self-portraiture, turns toward the icons of Mao-era China.
A new exhibition at Tate Modern explores how performance artists use photography – and how photography is a performance itself.
The octogenarian Portuguese artist Helena Almeida was intent on blurring lines: her playful images might be considered paintings, actions, and performative photographs.
Several Lebanese artists, including Walid Raad, have embraced the artist’s talk to unpack history and the limitations of the photograph.
All users perform a version of themselves on Instagram. But how are artists today using the commercial platform to calculated effect?
Performances are ephemeral; photographs are permanent. When is an image more than a mere document? How do images bring us closer to an event we never witnessed?
From Redux, Aperture magazine’s regular column on rediscovered books and writings, we look at the catalogue that accompanied a one-time, photography-only biennial.
Yuri Mitsuda speaks with Ishiuchi Miyako about the evolution of her explorations of time and how she has negotiated a field dominated by men.
An excerpt from Aaron Schuman’s interview with William Klein from Aperture Issue 220.