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the aperture blog: web-only reviews, interviews, essays, and foundation news

aperture magazine

Don’t Touch Our Hair

Solange_Cover_NEW
Solange_Cover_NEW

In protest of policing black women and girls’ hair, Solange’s album cover image is a powerful assertion of ownership.

aperture magazine

Beyond Binary

225MAG055_Bryan-Wilson-Bowers-HR
225MAG055_Bryan-Wilson-Bowers-HR

What does photography offer the trans feminism movement?

aperture magazine

The Radical Power of the Black Feminine Gaze

Weems_Featured Image
Weems_Featured Image

Carrie Mae Weems’s feminist vision has never been more timely.

aperture magazine

Elle Pérez

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225MAG312_Perez-HR1

On the dance floor, Elle Pérez captures LGBT youth who refuse to be forgotten.

aperture magazine

A Portrait of the Artist as Claude Cahun

225_Wearing-Cover
225_Wearing-Cover

Ahead of her new exhibition in London, Gillian Wearing speaks about Claude Cahun, self-portraiture, and feminist icons.

aperture magazine

Separate Cars on the Open Road

Robert Frank, Indianapolis, 1956  © the artist, from The Americans, 1958
Robert Frank, Indianapolis, 1956  © the artist, from The Americans, 1958

Amid the fight for desegregation, a revelatory portrait by Robert Frank conveys the freedom of travel.

aperture magazine

In California, Trees as Witness and Living Memorial

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Huber_Gonzales-Day-WEB

Elizabeth Huber reflects on Ken Gonzales-Day and the history of lynching in California.

aperture magazine

Racial Innocence in Postwar America

Silber_Parks-WEB
Silber_Parks-WEB

Maia Silber reflects on photographer Gordon Parks, the infamous “doll tests” of the 1940s, and segregation.

aperture magazine

The Cotton Bowl and the Super Bowl

Hank Willis Thomas
The Cotton Bowl, 2011 Courtesy the artist and Jack Shainman Gallery, New York
Hank Willis Thomas
The Cotton Bowl, 2011 Courtesy the artist and Jack Shainman Gallery, New York

Merging football with twentieth-century sharecropping, Hank Willis Thomas traces the commodification of black bodies.