Aperture Magazine
#225, Winter 2016


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The Magazine of Photography and Ideas

On Feminism

The winter issue of Aperture, “On Feminism,” arrives at a moment when the power and influence women hold on the world stage is irrefutable, and the very idea of gender is central to conversations about equality across the country, and around the globe. “On Feminism” focuses on intergenerational dialogues, debates, and strategies of feminism in photography and considers the immense contributions by artists whose work articulates or interrogates representations of women in media and society. Across more than one hundred years of photographs and images, “On Feminism” underscores how photography has shaped feminism as much as how feminism has shaped photography.

The issue’s features include a lively roundtable with curators from Paris and New York on modernist photographers between the wars, Nancy Princenthal on the feminist avant-garde of the 1970s, Eva Díaz on protest and visual politics, Laura Guy on lesbian erotica as critical rebellion, Eva Respini on abstraction, Julia Bryan-Wilson on visions of trans feminism, and a conversation with Renée Cox about black feminist icons, plus contributions and portfolios by Farah Al Qasimi, Jennifer Blessing, Zackary Drucker, Catherine Morris, A.L. Steiner, Zanele Muholi, Yurie Nagashima, Elle Pérez, Laurie Simmons, Cosey Fanni Tutti, Gillian Wearing, and much more.

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Table of Contents


Brian Wallis on Leonard Freed’s Black in White America, 1968

Spotlight: Eli Durst’s In Asmara
by Alexandra Pechman

by Martha Rosler

Maria Nicolacopoulou on Athens


On Feminism
Contributions by Catherine Morris, Zanele Muholi, Laurie Simmons, Johanna Fateman, Zackary Drucker, and A. L. Steiner

Modern Women: David Campany in Conversation with Marta Gili, Julie Jones, and Roxana Marcoci

The Feminist Avant-Garde
by Nancy Princenthal

Sex Wars Revisited
by Laura Guy

A Taste of Power: Renée Cox in Conversation with Uri McMillan

History Is Ours
by Eva Díaz

On Defiance
by Eva Respini

Beyond Binary
by Julia Bryan-Wilson

Our Bodies, Online
by Carmen Winant


Cosey Fanni Tutti
Introduction by Alison M. Gingeras

Gillian Wearing
Introduction by Jennifer Blessing

Yurie Nagashima
Introduction by Lesley A. Martin

Hannah Starkey
Introduction by Sara Knelman

Katharina Gaenssler
Introduction by Yvonne Bialek

Josephine Pryde
Introduction by Alex Klein

Laia Abril
Introduction by Karen Archey

Farah Al Qasimi
Introduction by Kaelen Wilson-Goldie

Martine Syms
Introduction by Amanda Hunt

Elle Pérez
Introduction by Salamishah Tillet


Object Lessons
Les Femmes de l’Avenir, 1900–1902

Online Exclusives

A Portrait of the Artist as Claude Cahun
Gillian Wearing in Conversation with Nicholas Cullinan

The Radical Power of the Black Feminine Gaze
by Ladi’Sasha Jones

Laurie Simmons and Molly Ringwald are Playing with the Big Boys

Notes on a Scandal
by Rayya Badran

The Kids Aren’t All Right
by Prajna Desai

Command the Gaze
by M. Whiteford

Jo Spence: Work, Politics, Survivalby Charlene Heath

After the Avant-Garde
by Isabel Stevens

Back Issues

Aperture 224

Aperture 224

Aperture: The Magazine of Photography and Ideas “Sounds” This issue delves into the relationship between sound and image. How have photographers drawn inspiration from music? How have cultures of image making developed in tandem with music making? Whether capturing an intoxicating performance, or individuals lost in dance or caught in an ecstatic moment of listening, photographs give form to the ways sounds move us. This issue’s features include a profile on William Eggleston and his long-standing passion for music, a conversation with Vancouver-based photo-conceptualist Stan Douglas, a remembrance of the legendary Malian photographer Malick Sidibé, a look at underground rave culture in the 1990s, plus much more. FRONT Editors’ Note Collectors: The Activists Contributions by Alicia Garza, Laura Hanna, Peter Staley, and Micah White Curriculum By Pieter Hugo Redux Hinde Haest on Ed van der Elsken’s De Jong & Van Dam NV (1912–1962) Dispatches Ismail Fayed on the Cairo Bats On Portraits Geoff Dyer on Roy DeCarava BACK Object Lessons Jonna Kina’s Foley Objects, 2013 WORDS Listening for Eggleston A profile of the pioneering artist and his passion for music By John Jeremiah Sullivan Photographs & Phonographs Two inventions that define the modern experience By Sara Knelman The Producer: Stan Douglas in Conversation with Kwami Coleman In atmospheric videos, the Vancouver-based artist riffs on disco and jazz Midnight in Bamako Remembering the legendary Malick Sidibé, who captured the rhythm of postindependence Mali By A. Chab Touré Wild Sync: Lucy Raven in Conversation with Drew Sawyer Exploring sound effects, animation, and the future of 3D movies PICTURES Michael Schmelling: Your Blues Introduction by Kelefa Sanneh Katsumi Watanabe’s Discology Introduction by Kyoichi Tsuzuki Total Records Introduction by Vince Aletti Newsha Tavakolian: Listen Introduction by Kaelen Wilson-Goldie Vinca Petersen: No System Introduction by Sheryl Garratt Santu Mofokeng: Pedi Dancers Introduction by Joshua Chuang Noisy Pictures: A Sonic Sequence Contributions by Simon Baker, Martin Barnes, Geoffrey Batchen, David Campany, Jimena Canales, Noam M. Elcott, Virginia Heckert, Greil Marcus, Stephen Pinson, Brian Sholis, Matthew Witkovsky, and Karolina Ziębińska-Lewandowska
Aperture 223

Aperture 223

Aperture: The Magazine of Photography and Ideas This issue features two covers: Richard Avedon, Martin Luther King, Jr., civil rights leader, with his father, Martin Luther King, Baptist minister, and his son, Martin Luther King III, Atlanta, Georgia, March 22, 1963 and Awol Erizku, Untitled (Forces of Nature #1), 2014 *Collect both and save “Vision & Justice” Addresses the role of photography in the African American experience, guest edited by Sarah Lewis, distinguished author and art historian. FRONT Guest Editor’s Note Sarah Lewis Collectors: The Jazz Musicians Contributions by Wynton Marsalis, Ingrid Monson, Alicia Hall Moran, Jason Moran, and Somi Curriculum By Hank Willis Thomas Redux Bridget R. Cooks on Harlem on My Mind (1968) BACK Object Lessons Thelma Golden on James VanDerZee, Christmas Morning, 1933 WORDS Frederick Douglass’s Camera Obscura By Henry Louis Gates, Jr. The Black Photographers Annual By Carla Williams Black Lives, Silver Screen Ava DuVernay and Bradford Young in Conversation Love Visual: A Conversation with Haile Gerima By Sarah Lewis and Dagmawi Woubshet Picturing Obama By Maurice Berger Carrie Mae Weems: Around the Kitchen Table Reflections by Dawoud Bey, Jennifer Blessing, Katori Hall, Robin Kelsey, and Salamishah Tillet PICTURES Awol Erizku Introduction by Steven Nelson Toyin Ojih Odutola Introduction by Claudia Rankine Lorna Simpson Introduction by Margo Jefferson Annie Leibovitz Introduction by Nell Painter Deborah Willis Introduction by Cheryl Finley Sally Mann Introduction by John Stauffer Jamel Shabazz Introduction by Khalil Gibran Muhammad Devin Allen Introduction by Aaron Bryant Leslie Hewitt Introduction by Rujeko Hockley Lyle Ashton Harris Introduction by Vince Aletti Radcliffe Roye Introduction by Garnette Cadogan LaToya Ruby Frazier Introduction by Teju Cole Dawoud Bey Introduction by Leigh Raiford Deana Lawson Introduction by Thomas J. Lax
Aperture 222

Aperture 222

WORDS Unconscious Journey Tacita Dean in Conversation with Travis A. Diehl Wilfred Thesiger: The Last Nomad By Eric Banks Vittorio Sella: Higher Ground By Alexander Stille Open Roads & Invisible Borders By Sean O’Toole Into the Void: Taryn Simon in Conversation with Kate Fowle PICTURES Samuel Gratacap: Empire Introduction by Bronwyn Law-Viljoen Taiyo Onorato & Nico Krebs: Eurasia Introduction by Aaron Schuman Trevor Paglen: Landing Site Introduction by Brian Wallis Jacob Aue Sobol: Arrivals and Departures Introduction by Pico Iyer Carly Steinbrunn: The Voyage of Discovery Introduction by Stanley Wolukau-Wanambwa Maha Maamoun: Domestic Tourism Introduction by Natalie Bell Yto Barrada: Dinosaur Road Introduction by Carmen Winant Ishikawa Naoki: Archipelago Introduction by Niwa Harumi Justine Kurland: Highway Kind Introduction by David Campany
Aperture 221

Aperture 221

aperture 221 performance issue