Aperture Magazine
#228, Fall 2017

228_MAG_HOMEPAGE

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The Magazine of Photography and Ideas

Elements of Style

Aperture’s “Elements of Style” issue investigates the role of style, dress, and beauty in the formation of individual identity. From the stunning studio work of Kwame Brathwaite, the Harlem-based photographer who advanced the potent political slogan “Black Is Beautiful,” to Collier Schorr’s representations of the queer community in fashion contexts, to Pieter Hugo’s portraits of young students at a Beijing art school, this issue reveals, across time and geographies, how fashion and style help us to see who we are and who we might become.

On newsstands September 6.

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Table of Contents

Front

Agenda
Exhibitions to See: Thomas Ruff, Nicholas Nixon, Viviane Sassen, and Photography in Argentina

Redux
Eric Banks on James Joyce in Paris, 1965

Backstory
Joel Smith on Peter Hujar

Curriculum
by Gregory Crewdson

Words

Editors’ Note: Elements of Style

Humanity, Visibility, Power
Collier Schorr in Conversation with Matthew Higgs

Kwame Brathwaite: Black Is Beautiful
by Tanisha C. Ford

Who Was Van Leo?
by Negar Azimi

The Cult of Walter Pfeiffer
by Alistair O’Neill

The International Style
by Adam Murray

Pictures

Joel Meyerowitz
Introduction by Thessaly La Force

Jalan & Jibril Durimel
Introduction by Antwaun Sargent

Nadine Ijewere
Introduction by M. Neelika Jayawardane

Helga Paris
Introduction by Daniel Berndt

Buck Ellison
Introduction by Rebecca Bengal

Olgaç Bozalp
Introduction by Kaya Genç

Bill Gaskins
Introduction by Andrianna Campbell

Is Fashion Modern?
Introduction by Paola Antonelli and Michelle Millar Fisher

Pieter Hugo
Introduction by Stephanie H. Tung

Back

Aperture Beat

Object Lessons
Richard Avedon’s Datebook, 1969

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Aperture: 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. FRONT Redux Brian Wallis on Leonard Freed’s Black in White America, 1968 Spotlight Eli Durst’s In Asmara by Alexandra Pechman Curriculum By Martha Rosler Dispatches Maria Nicolacopoulou on Athens BACK Object Lessons Les Femmes de l’Avenir, 1900–1902 WORDS 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 artists who redefined the course of twentieth-century photography The Feminist Avant-Garde In self-portraiture and body art, experimental pioneers of the 1970s By Nancy Princenthal Sex Wars Revisited Lesbian erotica as critical rebellion By Laura Guy A Taste of Power: Renée Cox in Conversation with Uri McMillan From Angela Davis to Beyoncé, the icons and avatars of black style History Is Ours The legacy of protest in video and performance By Eva Díaz On Defiance How women have resisted representational photography By Eva Respini Beyond Binary New visions of trans feminism By Julia Bryan-Wilson Our Bodies, Online Feminist images in the age of Instagram By Carmen Winant PICTURES 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
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