
[{"id":340798,"date":"2026-09-18T17:30:54","date_gmt":"2026-09-18T21:30:54","guid":{"rendered":"https:\/\/aperture.org\/?p=340798"},"modified":"2026-09-22T18:11:25","modified_gmt":"2026-09-22T22:11:25","slug":"aperture-opens-at-380-columbus-avenue","status":"publish","type":"post","link":"https:\/\/aperture.org\/editorial\/aperture-opens-at-380-columbus-avenue\/","title":{"rendered":"Aperture Opens at 380 Columbus Avenue"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">To mark the momentous opening of Aperture\u2019s permanent home in New York\u2019s Upper West Side, supporters, artists, and neighbors gathered for a ceremonial ribbon cutting on the morning of September 18, following festive celebrations the evening before. The opening events toasted Aperture\u2019s new chapter at 380 Columbus Avenue\u2014a dedicated space for \u201cserious photographers and creative people everywhere,\u201d as its founders envisioned seventy-four years ago.&nbsp;<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0456-1024x683.jpg\" alt=\"\" class=\"wp-image-340930\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0456-1024x683.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0456-300x200.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0456-768x512.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0456-1536x1024.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0456-320x213.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0456-600x400.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0456-24x16.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0456-36x24.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0456-48x32.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0456.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">New York State Senator Erik Bottcher, New York City Council Member Gale A. Brewer, Aperture Board Chair Cathy Kaplan, Aperture Executive Director Sarah Meister, Executive Director of the New York State Council on the Arts Erika Mallin, Commissioner of the New York City Department of Cultural Affairs Diya Vij, and Deputy Borough President for Manhattan Miesha Smith. Photo by Lloyd McCullough<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Honoring Aperture\u2019s past and future, more than thirty artists gathered to take a group photograph, marking the significance of the occasion. Other artists in attendance included Emmet Gowin, Richard Renaldi, Sable Elyse Smith, Naima Green, Philip Montgomery, Edward Burtynsky, and Carlos Jaramillo.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"715\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0860-1024x715.jpg\" alt=\"\" class=\"wp-image-340911\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0860-1024x715.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0860-300x209.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0860-768x536.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0860-1536x1072.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0860-2048x1430.jpg 2048w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0860-320x223.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0860-24x17.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0860-36x25.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0860-48x34.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0860-600x419.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Front row (left to right): Tina Barney, Stephen Shore, Hiroshi Sugimoto, Ming Smith, Coreen Simpson; Second row (left to right): Miranda Barnes, Melissa O\u2019Shaughnessy, Gillian Laub, Elizabeth Kahane, Susan Meiselas, Tommy Kha, Robin Schwartz, Dawoud Bey, Kwame Brathwaite Jr., Anastasia Samoylova; Back row (left to right): Mitch Epstein, Lyle Ashton Harris, Justine Kurland, Stefan Ruiz, Carole Naggar, Dean Majd, Abdulhamid Kircher, Ethan James Green, Deana Lawson, Fred Ritchin, Kelli Connell. Photo by Landon Nordeman<\/figcaption><\/figure>\n\n\n<div class=\"gutenberg-side-by-side-images\">\n\t<div class=\"gutenberg-left-column\">\n\t\t<div class=\"gutenberg-left-column-image\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0744-scaled.jpg\" alt=\"Michael Famighetti, Deana Lawson, Hiroshi Sugimoto, Kwame Brathwaite Jr. Photo by Landon Nordeman\">\n\t\t<\/div>\n\t\t<div class=\"gutenberg-image-description\">\n\t\t\t<figcaption>Michael Famighetti, Deana Lawson, Hiroshi Sugimoto, Kwame Brathwaite Jr. Photo by Landon Nordeman<\/figcaption>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"gutenberg-right-column\">\n\t\t<div class=\"gutenberg-right-column-image\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0334-scaled.jpg\" alt=\"Rama Duwaji, Sarah Meister. Photo by Landon Nordeman\">\n\t\t<\/div>\n\t\t<div class=\"gutenberg-image-description\">\n\t\t\t<figcaption>Rama Duwaji, Sarah Meister. Photo by Landon Nordeman<\/figcaption>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n<div class=\"gutenberg-side-by-side-images\">\n\t<div class=\"gutenberg-left-column\">\n\t\t<div class=\"gutenberg-left-column-image\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0179-scaled.jpg\" alt=\"Sarah Meister, Cathy Kaplan, Helen Nitkin. Photo by Landon Nordeman\">\n\t\t<\/div>\n\t\t<div class=\"gutenberg-image-description\">\n\t\t\t<figcaption>Sarah Meister, Cathy Kaplan, Helen Nitkin. Photo by Landon Nordeman<\/figcaption>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"gutenberg-right-column\">\n\t\t<div class=\"gutenberg-right-column-image\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0499-scaled.jpg\" alt=\"Judy Glickman Lauder, Celso Gonzalez-Falla, Elizabeth Kahane, Susan Meiselas, Dawoud Bey. Photo by Landon Nordeman\">\n\t\t<\/div>\n\t\t<div class=\"gutenberg-image-description\">\n\t\t\t<figcaption>Judy Glickman Lauder, Celso Gonzalez-Falla, Elizabeth Kahane, Susan Meiselas, Dawoud Bey. Photo by Landon Nordeman<\/figcaption>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Cathy Kaplan, Chair of Aperture\u2019s Board of Trustees, welcomed guests and recognized the many funders and organizations whose steadfast support made the new home possible. Public officials, including New York City Council Member Gale A. Brewer; Erika Mallin, Executive Director of the New York State Council on the Arts; Diya Vij, Commissioner of the New York City Department of Cultural Affairs; Miesha Smith, Deputy Borough President for Manhattan; and Erik Bottcher, New York State Senator, joined to celebrate Aperture\u2019s contributions to New York\u2019s arts and culture landscape.&nbsp;<\/p>\n\n\n<div class=\"gutenberg-post-gallery-container\"><\/div>\n<link rel=\"stylesheet\" href=\"https:\/\/maxcdn.bootstrapcdn.com\/bootstrap\/3.3.6\/css\/bootstrap.min.css\" \/>\n<script src=\"https:\/\/maxcdn.bootstrapcdn.com\/bootstrap\/3.3.7\/js\/bootstrap.min.js\"><\/script>\n\n\n<div id=\"dynamic_slide_show-81352\" class=\"carousel slide\" data-ride=\"carousel\">\n\t<div class=\"carousel-inner\">\n\t\t<div class=\"item active\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0104.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Gale A. Brewer, Sarah Meister, Cynthia Hornig. Photo by Lloyd McCullough<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0367.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Photo by Lloyd McCullough<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0284.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Diya Vij, Erika Mallin, Gale A. Brewer. Photo by Lloyd McCullough<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0055.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Photo by Lloyd McCullough<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\t<\/div>\n\t<a class=\"left carousel-control\" href=\"#dynamic_slide_show-81352\" data-slide=\"prev\">\n\t\t<span class=\"glyphicon glyphicon-chevron-left\"><\/span>\n\t\t<span class=\"sr-only\">Previous<\/span>\n\t<\/a>\n\t<a class=\"right carousel-control\" href=\"#dynamic_slide_show-81352\" data-slide=\"next\">\n\t\t<span class=\"glyphicon glyphicon-chevron-right\"><\/span>\n\t\t<span class=\"sr-only\">Next<\/span>\n\t<\/a>\n<\/div>\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Just before the ribbon-cutting moment, Aperture Executive Director Sarah Meister expressed deep appreciation and emphasized the significance of 380 Columbus Avenue as a welcoming forum to gather, share ideas, and engage with photography. \u201cJust like each brick in the beautiful arches of this load-bearing masonry building needs its neighbor to serve its function, each of us has played an essential role in making this historic moment possible,\u201d said Meister, in thanks to the supporters, staff, and community.<\/p>\n\n\n\n<div class=\"wp-block-group is-layout-constrained wp-block-group-is-layout-constrained\"><div class=\"gutenberg-side-by-side-images\">\n\t<div class=\"gutenberg-left-column\">\n\t\t<div class=\"gutenberg-left-column-image\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0211.jpg\" alt=\"Cathy Kaplan. Photo by Lloyd McCullough\">\n\t\t<\/div>\n\t\t<div class=\"gutenberg-image-description\">\n\t\t\t<figcaption>Cathy Kaplan. Photo by Lloyd McCullough<\/figcaption>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"gutenberg-right-column\">\n\t\t<div class=\"gutenberg-right-column-image\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0119.jpg\" alt=\"Elizabeth Kahane, Melissa O\u2019Shaughnessy. Photo by Lloyd McCullough\">\n\t\t<\/div>\n\t\t<div class=\"gutenberg-image-description\">\n\t\t\t<figcaption>Elizabeth Kahane, Melissa O\u2019Shaughnessy. Photo by Lloyd McCullough<\/figcaption>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"683\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0115-1024x683.jpg\" alt=\"\" class=\"wp-image-340924\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0115-1024x683.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0115-300x200.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0115-768x512.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0115-1536x1024.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0115-320x213.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0115-600x400.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0115-24x16.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0115-36x24.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0115-48x32.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260918_Aperture_RibbonCutting_0115.jpg 2048w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">David Leven, Stella Betts, Sarah Meister, Bryan Bernardino, Anthony Balsley, Niki Spada, Kyra Cavicchio, Limy Rocha. Photo by Lloyd McCullough<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">At the celebrations, guests previewed the bookstore, stocked with new and classic Aperture publications along with titles in collaboration with Dashwood Books, New York, and Offset Projects, New Delhi, and visited the gallery space featuring the inaugural installation <em>Aperture<\/em> Loves <em>New York<\/em>, which <em><\/em>showcases artists anchored in Aperture\u2019s publishing history with photographs and corresponding Aperture books that have advanced the medium of photography and captured the complex spirit of New York itself. Guests also stopped by the new photo booth, which will remain available for visitors. Now open to the public, Aperture hosts a full season of artist talks, panel discussions, and book celebrations.<\/p>\n<\/div>\n\n\n\n<div style=\"height:30px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"gutenberg-post-gallery-container\"><\/div>\n<link rel=\"stylesheet\" href=\"https:\/\/maxcdn.bootstrapcdn.com\/bootstrap\/3.3.6\/css\/bootstrap.min.css\" \/>\n<script src=\"https:\/\/maxcdn.bootstrapcdn.com\/bootstrap\/3.3.7\/js\/bootstrap.min.js\"><\/script>\n\n\n<div id=\"dynamic_slide_show-50142\" class=\"carousel slide\" data-ride=\"carousel\">\n\t<div class=\"carousel-inner\">\n\t\t<div class=\"item active\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_1108-scaled.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Naima Green, Nicole Acheampong, Sable Elyse Smith. Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0652-scaled.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Tina Barney, Kwame Brathwaite Jr., Dawoud Bey, Sarah Meister. Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0047-scaled.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Stephen Shore. Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0987-scaled.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Marvin Heiferman, Kelli Connell, Richard Renaldi. Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0607-scaled.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Brendan Embser, Ethan James Green. Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_1021-scaled.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Michael Famighetti, Coreen Simpson. Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0544-scaled.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Dean Majd, Roxana Marcoci. Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0535-scaled.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Justine Kurland, Elizabeth Kahane, Shira White. Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/20260917_Aperture_0775-scaled.jpg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Roxana Marcoci, Makeda Best, Ming Smith. Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/image-3-scaled.jpeg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Thomas R. Schiff, Mary Ellen Goeke. Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/image-2-1-scaled.jpeg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Edward Burtynsky, Julia Johnston, Cathy Kaplan. Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/image-1.jpeg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Photo by Lloyd McCullough<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div><div class=\"item\"><img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/image-4.jpeg\" \/>\n\t\t\t\t<div class=\"carousel-caption\">\n\t\t\t\t\t<p>Photo by Landon Nordeman<\/p>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\t<\/div>\n\t<a class=\"left carousel-control\" href=\"#dynamic_slide_show-50142\" data-slide=\"prev\">\n\t\t<span class=\"glyphicon glyphicon-chevron-left\"><\/span>\n\t\t<span class=\"sr-only\">Previous<\/span>\n\t<\/a>\n\t<a class=\"right carousel-control\" href=\"#dynamic_slide_show-50142\" data-slide=\"next\">\n\t\t<span class=\"glyphicon glyphicon-chevron-right\"><\/span>\n\t\t<span class=\"sr-only\">Next<\/span>\n\t<\/a>\n<\/div>\n\n\n<div style=\"height:40px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<p class=\"sans-light wp-block-paragraph\">Aperture thanks and Zabar\u2019s for their generous support of the opening celebrations, with champagne provided by Ruinart and wine provided by Massican. Promotional support for <em>Aperture<\/em> Loves <em>New York<\/em> is provided in part by the New York City Tourism Foundation.<\/p>\n\n\n\n<p class=\"sans-light wp-block-paragraph\">Aperture\u2019s capital campaign to date includes transformative gifts from Judy Glickman Lauder, Melissa and James O\u2019Shaughnessy, Vasant Nayak, Thomas R. Schiff, and Jon Stryker and Slobodan Randjelovi\u0107, as well as from Michael Hoeh and the Thompson Family Foundation. Aperture received significant grants from New York State Council on the Arts; and City of New York, including the Manhattan Borough President, New York City Council, and New York City Department of Cultural Affairs. Support for the campaign reflects the full participation of Aperture\u2019s Board of Trustees, along with generous contributions from other individuals and foundations. The acquisition of the new space was led by Cathy M. Kaplan, Chair of Aperture\u2019s Board; Helen Nitkin, Chair of the Board\u2019s Real Estate Committee; and Sarah Meister, Executive Director. Financing has been provided by LISC NY, a nonprofit community development institution.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n","protected":false},"excerpt":{"rendered":"<p>The new home for photography, now open to the public as of September 18<\/p>\n","protected":false},"author":2,"featured_media":340936,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":false,"apple_news_is_preview":false,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":"[]","apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[1795],"tags":[],"magazine":[],"post_author":[],"class_list":["post-340798","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-aperture-news"],"acf":[],"apple_news_notices":[],"featured_image_src":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/image-2-600x400.jpeg","featured_image_src_square":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/image-2-600x600.jpeg","author_info":{"display_name":"aperturewp","author_link":"https:\/\/aperture.org\/author\/aperturewp\/"},"_links":{"self":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340798","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/comments?post=340798"}],"version-history":[{"count":0,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340798\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media\/340936"}],"wp:attachment":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media?parent=340798"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/categories?post=340798"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/tags?post=340798"},{"taxonomy":"magazine","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/magazine?post=340798"},{"taxonomy":"post_author","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/post_author?post=340798"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":340795,"date":"2026-09-18T09:52:20","date_gmt":"2026-09-18T13:52:20","guid":{"rendered":"https:\/\/aperture.org\/?p=340795"},"modified":"2026-09-18T09:52:24","modified_gmt":"2026-09-18T13:52:24","slug":"behind-the-scenes-with-the-architects-of-apertures-new-home","status":"publish","type":"post","link":"https:\/\/aperture.org\/editorial\/behind-the-scenes-with-the-architects-of-apertures-new-home\/","title":{"rendered":"Behind the Scenes with the Architects of Aperture\u2019s New Home"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">This week, Aperture opens the doors of its new home at 380 Columbus Avenue in New York City. Situated on the first two floors of a historic building on the Upper West Side, the bookstore and gallery is a place to gather, share ideas, and engage with photography, and will be a platform for a <a href=\"https:\/\/aperture.org\/editorial\/a-season-of-public-programs-at-apertures-new-home\/\">dynamic series of public programs<\/a>.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Design for Aperture\u2019s new home has been led by the award-winning architecture practice LEVENBETTS. Here, Stella Betts and David Leven dive into five lesser-known facts about our new space, from embracing the building\u2019s history to the nickname \u201cAperture Gray.\u201d<\/p>\n\n\n<div class=\"double-image-block double-block out-limit \">\n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_016-scaled.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\"><\/div>\n      <\/div>\n    <\/div>\n  \n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_025-scaled.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\"><\/div>\n      <\/div>\n    <\/div>\n  <\/div>\n\n\n\n<p class=\"heading-1b wp-block-paragraph\"><strong>History of the Building<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>David Leven:<\/strong> The building is historical; it was built in the 1880s or so as a residential building called The Evelyn. It was designed by an architect named Emile Gruwe in a kind of Renaissance Revival fashion. During our research, we discovered that part of Aperture\u2019s space was originally dining and kitchen areas for multiple apartments. It would have been a place for cooking and dining for residents who may not have had kitchens in their own apartments, alongside communal fireplaces and so on. It was a social space. The entry we have created for Aperture is located in this area. We were interested in this idea of socialness and community, which has now been carried from the past to the present, but reinterpreted in a new way within the architecture.<\/p>\n\n\n<div class=\"double-image-block double-block out-limit height-auto\">\n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_044-scaled.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\"><\/div>\n      <\/div>\n    <\/div>\n  \n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_027-scaled.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\"><\/div>\n      <\/div>\n    <\/div>\n  <\/div>\n\n\n\n<p class=\"heading-1b wp-block-paragraph\"><strong>Bookstore &amp; Gallery<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Stella Betts:<\/strong> The bookstore space is really about celebrating the books and the magazine that Aperture does. It\u2019s the public face, and it was vital that you really see it when you\u2019re on the street, and that there\u2019s a visibility as soon as you enter from the lobby.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Leven:<\/strong> As soon as you come in, you\u2019re seeing bookshelves and the public space. There will be talks and events that happen in this space, where we\u2019re able to bring in chairs and a projector screen that comes down.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The shelving in the store has very thin lines, as a kind of juxtaposition to the roughness of the brick walls. We took into consideration how thin and minimal they could be and still carry the weight of all the books that are going to go in here.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">There was also a lot of discussion with Sarah Meister, Aperture\u2019s director, about whether to paint the gallery and programs area white, or how much do we leave or take away, what gets cleaned or left. In the end, we all decided that we really wanted to keep the markings and the character of the original building. And I think that that still works well with the photography that will be shown here, almost becoming in dialogue with the building itself.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_030-1-1024x768.jpg\" alt=\"\" class=\"wp-image-340848\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_030-1-1024x768.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_030-1-300x225.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_030-1-768x576.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_030-1-1536x1152.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_030-1-2048x1536.jpg 2048w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_030-1-320x240.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_030-1-24x18.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_030-1-36x27.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_030-1-48x36.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_030-1-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"heading-1b wp-block-paragraph\"><strong>Emphasizing the Existing Materials<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Betts:<\/strong> When we were initially looking at potential spaces for Aperture\u2019s future home, I think the idea of moving to the Upper West Side was a little bit of a leap. For the past twenty years or so Aperture had been located in Chelsea and had even set its sights on SoHo and other neighborhoods. What we all fell in love with about this space and location is the character, the history. And we wanted to continue to capture a downtown loft feeling\u2014what David calls \u201cthe rawness of the space.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">To do this, we made an effort to leave a sort of history of the building. That\u2019s also a really important thing for us in terms of what we love about photography, it\u2019s about telling stories. What was significant with this project was to tell the story of the building and to not remove that history.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Leven:<\/strong> We\u2019ve had so many great conversations about how much do we leave, how much do we take away, what gets cleaned, what gets preserved. There are steel lintels holding up thousands of pounds. There are original archways and markings and brickwork throughout. It all goes back to this idea of the history and story.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Betts:<\/strong> A big part of the design process was cataloging every single wall. We photo-documented each wall and made decisions in terms of to what degree certain things were going to be cleaned. For example, many of the walls retain so-called imperfections that in other projects would be removed.<\/p>\n\n\n<div class=\"inline-ad background-inline-ad\">\n                <div class=\"inline-ad-mobile\">\n            <!-- \/1034851\/sidenav_2 -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-3\"><\/div>\r\n<\/div>        <\/div>\n        <div class=\"inline-ad-desktop\">\n            <!-- \/1034851\/Leaderboard -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-0\" style=\"text-align: center\"><\/div>\r\n<\/div>        <\/div>\n    <\/div>\n\n\n<div class=\"double-image-block double-block out-limit height-auto\">\n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_053-scaled.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\"><\/div>\n      <\/div>\n    <\/div>\n  \n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_041-scaled.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\"><\/div>\n      <\/div>\n    <\/div>\n  <\/div>\n\n\n\n<p class=\"heading-1b wp-block-paragraph\"><strong>Aperture Gray<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Betts:<\/strong> We took this approach of what we are calling \u201cinsertions,\u201d where we\u2019re adding to the space and making it distinct from the existing space. These insertions were created in a palette that we affectionately named \u201cAperture Gray,\u201d which was partially based on the photography Zone System.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Leven:<\/strong> This was also in order to not add too many other elements within the palettes and things you see. The light Aperture Gray color recedes into the space, but it\u2019s also omnipresent throughout: the doorframes are all the same color. The bookshelves are all the same color. The desks pick up that color.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Betts:<\/strong> The books themselves will animate the space, and there\u2019ll be photography in the gallery as well. So, the idea for us was to let the building be present with the photography and books, and the additions that we\u2019ve made are in this neutral Aperture Gray.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"768\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_017-1024x768.jpg\" alt=\"\" class=\"wp-image-340853\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_017-1024x768.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_017-300x225.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_017-768x576.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_017-1536x1152.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_017-2048x1536.jpg 2048w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_017-320x240.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_017-24x18.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_017-36x27.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_017-48x36.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_017-600x450.jpg 600w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">All images Aperture bookstore and gallery, 2026. Photographs by Kris Graves<\/figcaption><\/figure>\n\n\n\n<p class=\"heading-1b wp-block-paragraph\"><strong>Equity of Light<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Betts:<\/strong> Aperture\u2019s home has a split between two floors, so you need light for both the lower level and the upper level, and we really wanted to have all areas have some degree of shared light or direct light\u2014an equity of light. The idea of transparency also was really important.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Downstairs there are some very thick, heavy stone foundation walls that have beautiful texture. Although there are windows, the lower level doesn\u2019t get the same amount of light as the upper floor. In order for the light to bounce, we decided to paint the entire downstairs white\u2014while keeping that original texture. When we had conversations during the design process it was very much like seeking a kind of Robert Ryman white-on-white painting where you get just a single palette color, but you get to enjoy the texture of the wall itself. It all goes back to the character of the building.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Stella Betts and David Leven of the architecture practice LEVENBETTS share details of the new space\u2014from embracing the building\u2019s history to coining \u201cAperture Gray.\u201d<\/p>\n","protected":false},"author":2,"featured_media":340851,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":true,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":false,"apple_news_is_preview":false,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":"[]","apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[322],"tags":[11191],"magazine":[],"post_author":[7465],"class_list":["post-340795","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-immersive","post_author-the-editors"],"acf":[],"apple_news_notices":[],"featured_image_src":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_037-600x400.jpg","featured_image_src_square":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Aperture_091526_037-600x600.jpg","author_info":{"display_name":"aperturewp","author_link":"https:\/\/aperture.org\/author\/aperturewp\/"},"_links":{"self":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340795","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/comments?post=340795"}],"version-history":[{"count":0,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340795\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media\/340851"}],"wp:attachment":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media?parent=340795"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/categories?post=340795"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/tags?post=340795"},{"taxonomy":"magazine","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/magazine?post=340795"},{"taxonomy":"post_author","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/post_author?post=340795"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":340803,"date":"2026-09-18T09:50:55","date_gmt":"2026-09-18T13:50:55","guid":{"rendered":"https:\/\/aperture.org\/?p=340803"},"modified":"2026-09-18T15:51:37","modified_gmt":"2026-09-18T19:51:37","slug":"the-artist-who-spent-fifty-years-bringing-museum-dioramas-back-to-life","status":"publish","type":"post","link":"https:\/\/aperture.org\/editorial\/the-artist-who-spent-fifty-years-bringing-museum-dioramas-back-to-life\/","title":{"rendered":"The Artist Who Spent Fifty Years Bringing Museum Dioramas Back to Life"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">A couple walks side by side across a sun-bleached desert. The taller, male figure rests his hand on the shoulders of his female companion, who glances off to one side, lips parted, as though she\u2019s about to remark on some distant curiosity. Seemingly unconcerned by the volcano erupting in the background, they might pass for a pair of flaneurs strolling the streets of Paris\u2014if they weren\u2019t naked and covered in long shaggy hair. Their faces are apelike, with heavy brows, flat noses, and jutting prognathic jaws.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Earliest Human Relatives<\/em> (1994) by Hiroshi Sugimoto is a bewildering photograph. At first glance, it might seem as though the hirsute figures are models wearing the latest in simian prosthetics, posing for the artist in some remote volcanic region. Or they could be extras from <em>2001: A Space Odyssey<\/em> caught sneaking off set for a cigarette break.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">But something\u2019s not quite right. The flock of birds pecking the dirt under a nearby tree looks flat and vaguely cartoonish on close inspection. So does the miniscule herd of horses even farther away. There\u2019s something unconvincing about the scene, even as our brains tell us the prehistoric figures are tangibly real.<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG117_Sugimoto_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Hiroshi Sugimoto, <em>Earliest Human Relatives<\/em>, 1994<\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG011_Sugimoto_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Hiroshi Sugimoto, <em>Mountain Lion<\/em>, 1980<\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Sugimoto\u2019s enigmatic photograph depicts a bygone diorama at New York\u2019s American Museum of Natural History. The figures\u2014sculptural reconstructions of Lucy, the famous fossil representative of <em>Australopithecus afarensis<\/em> from Ethiopia, and a male counterpart\u2014once stood on a patch of artificial dirt, before a painted background, behind a large pane of glass. I grew up with this tableau, fascinated by the primordial world (and, yes, the nakedness) it depicted. Transporting though it was, the figures were clearly sculptures, the landscape a mural. In Sugimoto\u2019s deadpan photograph, the diorama appears far more uncanny than it did in life. With his camera, he\u2019s completed the illusion.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When Sugimoto made <em>Earliest Human Relatives<\/em>, he\u2019d been photographing dioramas for nearly twenty years. The series, the artist\u2019s first and most sustained mature body of work, began soon after he moved to New York, in 1974.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Although it\u2019s tempting to imagine Sugimoto\u2014whose interest in science has since led him to photograph fossils, mathematical models, and the optical effects of prisms\u2014making an immediate beeline for the museum, it wasn\u2019t his first stop. In fact, it was the very last on a list of great institutions he visited to find his bearings in a new city.<\/p>\n\n\n\n<div class=\"gray-product-block open-cta-in-new-tab align wp-block-acf-gray-product-block\">\n\n  <div class=\"gray-product-block-container\">\n    <div class=\"gray-product-block-image\">\n      <a href=\"https:\/\/www.ezsubscription.com\/ape\/subscribe?key=4SPPyr\" target=\"_blank\" rel=\"noopener\">\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/2026_Aperture264_1600x900_Fan_gray-copy.jpg\" alt=\"Aperture Magazine Subscription\">\n      <\/a>\n    <\/div>\n    <div class=\"gray-product-block-content\">\n      <h4>Aperture Magazine Subscription<\/h4>\n            <div class=\"ellipsis\">The essential source for photography since 1952. Subscribe today and save 25% off the cover price.<\/div>\n      <a href=\"https:\/\/www.ezsubscription.com\/ape\/subscribe?key=4SPPyr\" class=\"button product_type_simple\" target=\"_blank\">Shop Now<\/a>\n    <\/div>\n  <\/div>\n\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\">And yet it was there, not in the city\u2019s great art collections, that Sugimoto\u2019s career began. Wandering the darkened halls of wildlife dioramas, he made a startling discovery. These displays, with their taxidermy animals, artificial plants, and painted backgrounds, looked \u201cutterly fake\u201d to the young artist, but when he closed one eye, simulating the way a single-lens camera perceives the world, they suddenly looked real. The seams between the three-dimensional foregrounds and painted walls became undetectable. Instead of static displays inside an urban museum, his photographs seemed to show living creatures in exotic habitats.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 1975, Sugimoto returned to the museum with an 8-by-10-inch camera. When a security guard asked him if he had permission for the photoshoot, the artist said he did. Technically, this was true. Sugimoto had told museum officials he was a tourist and secured permission to take photographs\u2014he\u2019d neglected to mention he would be constructing makeshift tents around the dioramas to block reflections on the glass or that the exposures would last around twenty minutes.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Sugimoto\u2019s desire to resurrect the lifeless animals on display is the same desire that motivated museum staff to fabricate them in the first place.<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">The artist photographed two dioramas on that first expedition. One depicts a rowdy flock of vultures tearing into a zebra carcass. In the other, a polar bear stands over a bloody seal on a stark expanse of ice. \u201cMy life as an artist began the moment I saw with my own eyes that I had succeeded in bringing the bear back to life on film,\u201d he later wrote.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sugimoto\u2019s desire to resurrect the lifeless animals on display is the same desire that motivated museum staff to fabricate them in the first place. The dioramas were the cries of naturalists lamenting the environmental devastation of the early twentieth century.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cAs civilization advances in Africa, the extinction of the elephant is being accomplished slowly but quite as surely as that of the American buffalo two generations ago,\u201d wrote Carl Akeley, the pioneering taxidermist, big game hunter, and namesake of the museum\u2019s Akeley Hall of African Mammals. Akeley mourned the destructive impact of Europeans and Americans on the African wilderness even though (or largely because) he\u2019d known the continent when it was a paradise for Great White Hunters.<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG133_Sugimoto_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Hiroshi Sugimoto, <em>Ordovician Period<\/em>, 1992<\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG358_Sugimoto_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Hiroshi Sugimoto,<em>Oyster Bay Screens<\/em>, 2025<\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\">By presenting audiences with spectacular wild scenes, Akeley hoped to rally support for conservation among urbanites who\u2019d likely never experience these places firsthand. Although his preservationist ideals and destructive appetites may be difficult for contemporary readers to reconcile, they weren\u2019t paradoxical for him or the many wealthy sportsmen who championed conservation at the time.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dioramas themselves have recently become endangered species. Few public museums could afford the costly collecting expeditions and painstaking artistry of the old dioramas today, even if they wanted to. Major institutions have even destroyed their antique dioramas in recent years, replacing them with sleeker, more modern displays equipped with touch screens, animatronics, and other whiz-bang attractions. Although the American Museum of Natural History has largely resisted this trend, Lucy and her companion barely survived a revamp that claimed their volcanic desert environment. Today, the couple stands inside a glass vitrine, surrounded by glowing screens. Over the past fifty years, Sugimoto has inadvertently created an archive of a disappearing art.<\/p>\n\n\n<div class=\"inline-ad background-inline-ad\">\n                <div class=\"inline-ad-mobile\">\n            <!-- \/1034851\/sidenav_2 -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-3\"><\/div>\r\n<\/div>        <\/div>\n        <div class=\"inline-ad-desktop\">\n            <!-- \/1034851\/Leaderboard -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-0\" style=\"text-align: center\"><\/div>\r\n<\/div>        <\/div>\n    <\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Museum staff who once bristled at Sugimoto\u2019s claim that the dioramas look more \u201creal\u201d in his photographs than they do in life have since come around. \u201cHe really does, through his work, honor the dioramas as the fine art that they are,\u201d said Stephen Quinn, an authority on dioramas who built and restored them at the museum for nearly forty years. Now, Sugimoto says, the series is almost complete. He took his last photographs at the American Museum of Natural History in the fall of 2025. How did he feel about finishing a body of work he began as a young man? \u201cRelief,\u201d he said, seated in his New York studio. \u201cFifty years is enough.\u201d<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG250_Sugimoto_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Hiroshi Sugimoto, <em>Polar Bear<\/em>, 1975<\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG410_Sugimoto_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Hiroshi Sugimoto, <em>Alaskan Brown Bear<\/em>, 1980<br>All photographs \u00a9 the artist and courtesy Fraenkel Gallery, San Francisco; Gallery Koyanagi, Tokyo; and Lisson Gallery, London<\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\">For this final photoshoot, Sugimoto used color film\u2014a first for the series. He returned to a diorama he shot before, in black and white, depicting a path winding through a bird sanctuary on Long Island. Although dozens of birds perch and flit through the blooming trees, in gray scale they\u2019re difficult to spot, their bodies well camouflaged. In color, the scene resembles an Impressionist painting: a scarlet tanager, practically invisible in the earlier print, is a shock of red among the dappled patches of pink, white, and green.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Over time, Sugimoto has increasingly trained his lens on overlooked dioramas showing ecosystems devoid of central, spectacular subjects. In these serene landscapes, the artist sees prophetic visions of a posthuman world.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u201cHumans should be punished by nature,\u201d Sugimoto told me recently, gesturing at a nearby window. \u201cThese skyscrapers\u2014so unnatural.\u201d Years ago, the artist could see the George Washington Bridge, about nine miles north of Chelsea. Now, glossy spires block the view.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sugimoto takes comfort in the thought that humans aren\u2019t long for this world. \u201cNature will survive,\u201d he said. The artist likes to imagine vines and wild grass overtaking the natural history museum uptown, its roof collapsing on the dioramas, and even his own Odawara Art Foundation in Japan in ruins. Thousands of years from now, he says, the stones will still look beautiful.<\/p>\n\n\n\n<p class=\"sans-light wp-block-paragraph\">This article originally appeared in <em>Aperture<\/em> No. 264, \u201cStop Time,\u201d guest edited by Hiroshi Sugimoto.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Hiroshi Sugimoto has photographed the dioramas at the American Museum of Natural History since 1975. Now his series is coming to a close. Did he find what he was looking for?<\/p>\n","protected":false},"author":2,"featured_media":340804,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":true,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":false,"apple_news_is_preview":false,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":"[]","apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[664],"tags":[11191,13808,1715],"magazine":[],"post_author":[7711],"class_list":["post-340803","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays","tag-immersive","tag-aperture-no-264-stop-time","tag-hiroshi-sugimoto","post_author-zoe-lescaze"],"acf":[],"apple_news_notices":[],"featured_image_src":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG019_Sugimoto_HR-600x400.jpg","featured_image_src_square":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG019_Sugimoto_HR-600x600.jpg","author_info":{"display_name":"aperturewp","author_link":"https:\/\/aperture.org\/author\/aperturewp\/"},"_links":{"self":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340803","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/comments?post=340803"}],"version-history":[{"count":0,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340803\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media\/340804"}],"wp:attachment":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media?parent=340803"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/categories?post=340803"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/tags?post=340803"},{"taxonomy":"magazine","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/magazine?post=340803"},{"taxonomy":"post_author","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/post_author?post=340803"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":340714,"date":"2026-09-11T12:21:37","date_gmt":"2026-09-11T16:21:37","guid":{"rendered":"https:\/\/aperture.org\/?p=340714"},"modified":"2026-09-16T16:00:11","modified_gmt":"2026-09-16T20:00:11","slug":"14-exhibitions-to-see-this-fall","status":"publish","type":"post","link":"https:\/\/aperture.org\/editorial\/14-exhibitions-to-see-this-fall\/","title":{"rendered":"14 Exhibitions to See This Fall"},"content":{"rendered":"\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1676\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG314_Agenda_Ma_HR.jpg\" alt=\"\" class=\"wp-image-340716\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG314_Agenda_Ma_HR.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG314_Agenda_Ma_HR-300x251.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG314_Agenda_Ma_HR-1024x858.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG314_Agenda_Ma_HR-768x644.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG314_Agenda_Ma_HR-1536x1287.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG314_Agenda_Ma_HR-305x256.jpg 305w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG314_Agenda_Ma_HR-24x20.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG314_Agenda_Ma_HR-36x30.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG314_Agenda_Ma_HR-48x40.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG314_Agenda_Ma_HR-600x503.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Hailun Ma, <em>Hometown<\/em>, 2018<br>Courtesy the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Hailun Ma \u2014 Amsterdam<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">It was only after moving to New York to study fashion photography that Hailun Ma began to recognize the artistic potential of her native Xinjiang\u2014China\u2019s westernmost region, home to twenty-five million people and more than forty ethnic groups, many of them Muslim majority. \u201cIf you search for images of Xinjiang online, you get these very <em>National<\/em> <em>Geographic<\/em> images,\u201d she once told <em>Vogue<\/em>. \u201cI wanted to present a younger perspective of what is happening.\u201d Her first major solo show outside of China gathers photographs that delight in the everyday traditions and style of Uyghur teenagers, Kazakh cowboys, and other communities sidelined in mainstream depictions of the country.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/www.foam.org\/events\/hailun-ma\" target=\"_blank\" rel=\"noreferrer noopener\">Hailun Ma<\/a><\/em> at Foam, Amsterdam, September 18, 2026\u2013January 20, 2027<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2520\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR.jpg\" alt=\"\" class=\"wp-image-340718\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR-238x300.jpg 238w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR-813x1024.jpg 813w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR-768x968.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR-1219x1536.jpg 1219w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR-1625x2048.jpg 1625w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR-203x256.jpg 203w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR-19x24.jpg 19w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR-29x36.jpg 29w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR-38x48.jpg 38w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG163_Agenda_Wex_HR-600x756.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Marianne Wex, panels from <em>Let\u2019s Take Back Our Space: \u201cFemale\u201d and \u201cMale\u201d Body<\/em> <em>Language as a Result of Patriarchal Structures<\/em>, 1977<br>\u00a9 2026 Marianne Wex Estate and courtesy The Museum of Modern Art, New York, Committee on Photography Fund, and The Modern Women\u2019s Fund<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Taking Back Our Space \u2014&nbsp;New York<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">From 1972 to 1977, Marianne Wex collected thousands of images tracing the connection between gesture and gender. The result, <em>Let\u2019s Take Back Our Space<\/em>, juxtaposes Wex\u2019s own snapshots of body language from the streets of Hamburg with sources reaching back to antiquity\u2014showing, say, how the pose of a manspreader on a park bench descends from the uninhibited contrapposto of <em>Doryphoros<\/em>. In this exhibition, Wex\u2019s opus, arrayed across systematized panels \u00e0 la Aby Warburg, is paired with work by contemporary artists such as Nona Faustine, K8 Hardy, and Wendy Red Star, who extend observation of everyday public space into defiant acts of reclamation.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/www.moma.org\/calendar\/exhibitions\/5678\" target=\"_blank\" rel=\"noreferrer noopener\">Taking Back Our Space: Photographic Perspectives<\/a><\/em> at the Museum of Modern Art, New York, September 20, 2026\u2013May 2, 2027<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1575\" height=\"2560\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-scaled.jpg\" alt=\"\" class=\"wp-image-340727\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-scaled.jpg 1575w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-185x300.jpg 185w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-630x1024.jpg 630w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-768x1248.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-945x1536.jpg 945w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-1260x2048.jpg 1260w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-157x256.jpg 157w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-15x24.jpg 15w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-22x36.jpg 22w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-30x48.jpg 30w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FCIDLY_2026_I-love-them-because-theres-no-start-or-finish_TSP4271-600x975.jpg 600w\" sizes=\"auto, (max-width: 1575px) 100vw, 1575px\" \/><figcaption class=\"wp-element-caption\">Taryn Simon, <em>There&#8217;s no start or finish<\/em> (detail), 2026<br>Courtesy the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Taryn Simon \u2014 New York<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For over two decades, Taryn Simon has mined the hidden systems of power and influence that covertly order our lives. <em>Father Country I Do Love You<\/em> will be the largest debut of a new work ever at the Guggenheim, and the first single-artist exhibition by a photographer in the rotunda. Across forty-two works of photographs, text, video, and sculpture, Simon traces the life of a real, unnamed federal agent, examining how his individual decisions reverberated across lives and nations in ways he never knew. It\u2019s Simon\u2019s most personal project yet, as the work lives in the shadow her own father, who traveled the globe for the US government before transitioning into a career selling arcade games. \u201cAmerica is the best story on earth,\u201d he once told her, \u201cif you could find someone to tell it.\u201d<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/www.guggenheim.org\/exhibition\/taryn-simon\" target=\"_blank\" rel=\"noreferrer noopener\">Taryn Simon: Father Country I Do Love You<\/a><\/em> at the Solomon R. Guggenheim Museum, New York, September 18, 2026\u2013March 14, 2027<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1688\" height=\"2560\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-scaled.jpg\" alt=\"\" class=\"wp-image-340723\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-scaled.jpg 1688w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-198x300.jpg 198w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-675x1024.jpg 675w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-768x1165.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-1013x1536.jpg 1013w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-1350x2048.jpg 1350w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-169x256.jpg 169w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-16x24.jpg 16w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-24x36.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-32x48.jpg 32w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DECRO0130-600x910.jpg 600w\" sizes=\"auto, (max-width: 1688px) 100vw, 1688px\" \/><figcaption class=\"wp-element-caption\">Roy DeCarava, <em>Couple dancing<\/em>, 1956<br>\u200b\u200b\u00a9 The Estate of Roy DeCarava<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Roy DeCarava \u2014&nbsp;Los Angeles<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Listening, for Roy DeCarava, was far from a passive act. For his series <em>the sound i saw<\/em>, he tuned his camera to the rhythms of midcentury New York\u2019s jazz world, immortalizing titans\u2014Trane, Count, Duke, Lady\u2014in his signature palette of charcoal and smoke. He also captured peripheral scenes: tender embraces, dancehall silhouettes, quiet moments of downtime. The result is a deeply personal exploration of how American life, as Ralph Ellison once wrote, \u201ccomes to focus\u201d through jazz. Curated by Ebony L. Haynes, this exhibition brings together 130 photographs from the series, accompanied by a listening room inspired by the records DeCarava cherished most.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/www.davidzwirner.com\/exhibitions\/2026\/roy-decarava-the-sound-i-saw\" target=\"_blank\" rel=\"noreferrer noopener\">Roy DeCarava: the sound i saw<\/a><\/em> at David Zwirner, Los Angeles, September 19\u2013October 31, 2026<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/10.-Juergen-Teller-Young-Pink-Kate-London-1998-c-Juergen-Teller-All-Rights-Reserved-2.jpg\" alt=\"\" class=\"wp-image-340721\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/10.-Juergen-Teller-Young-Pink-Kate-London-1998-c-Juergen-Teller-All-Rights-Reserved-2.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/10.-Juergen-Teller-Young-Pink-Kate-London-1998-c-Juergen-Teller-All-Rights-Reserved-2-300x200.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/10.-Juergen-Teller-Young-Pink-Kate-London-1998-c-Juergen-Teller-All-Rights-Reserved-2-1024x682.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/10.-Juergen-Teller-Young-Pink-Kate-London-1998-c-Juergen-Teller-All-Rights-Reserved-2-768x512.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/10.-Juergen-Teller-Young-Pink-Kate-London-1998-c-Juergen-Teller-All-Rights-Reserved-2-1536x1024.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/10.-Juergen-Teller-Young-Pink-Kate-London-1998-c-Juergen-Teller-All-Rights-Reserved-2-320x213.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/10.-Juergen-Teller-Young-Pink-Kate-London-1998-c-Juergen-Teller-All-Rights-Reserved-2-600x400.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/10.-Juergen-Teller-Young-Pink-Kate-London-1998-c-Juergen-Teller-All-Rights-Reserved-2-24x16.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/10.-Juergen-Teller-Young-Pink-Kate-London-1998-c-Juergen-Teller-All-Rights-Reserved-2-36x24.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/10.-Juergen-Teller-Young-Pink-Kate-London-1998-c-Juergen-Teller-All-Rights-Reserved-2-48x32.jpg 48w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Juergen Teller, <em>Young Pink Kate London<\/em> 1998 <br>\u00a9 the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>The 90s: Art and Fashion \u2014 London<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Hoist the Union Jack: <em>The 90s: Art and Fashion<\/em> looks back at a decade when Britain\u2019s irreverent cultural renaissance ruled the runways, airwaves, museums, and magazines. Curated by Edward Enninful, <em>The 90s<\/em> will bring together fashion by Vivienne Westwood, John Galliano, and Alexander McQueen; works by the (formerly) Young British Artists; and, of course, photographs by the likes of Corinne Day, David Sims, and Juergen Teller, who chronicled a new era of Swinging London in the pages of <em>i-D<\/em> and <em>The Face<\/em>.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/www.tate.org.uk\/whats-on\/tate-britain\/the-90s\" target=\"_blank\" rel=\"noreferrer noopener\">The 90s: Art and Fashion<\/a><\/em> at Tate Britain, London, October 8, 2026\u2013February 14, 2027<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2409\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File.jpg\" alt=\"\" class=\"wp-image-340722\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File-249x300.jpg 249w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File-850x1024.jpg 850w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File-768x925.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File-1275x1536.jpg 1275w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File-1700x2048.jpg 1700w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File-213x256.jpg 213w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File-20x24.jpg 20w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File-30x36.jpg 30w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File-40x48.jpg 40w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/DL_Houston-Beauty-Supply_4_Crop_2_V3_File-600x723.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Deana Lawson, <em>Edge Control_edv<\/em>c, 2023\u2013 <br>\u00a9 the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Deana Lawson \u2014&nbsp;New York<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Diane Arbus has always been a north star for Deana Lawson, the artist renowned for her regal photographs of Black people she meets in various scenarios, often pictured in domestic settings and bestowed with a transcendent, otherworldly, yet sometimes strangely specific presence. Like Arbus, Lawson can astonish and unnerve. For her first solo exhibition with Gagosian since signing with the gallery in 2022, Lawson presents recent portraits that gesture to vernacular photography and Old Master painting, together with a new series called <em>Edge Control<\/em>, about the phenomenon of surveillance in beauty supply shops, where shoplifters are tracked on cameras and their likenesses posted to store windows to deter theft. Beauty\u2014and scrutiny\u2014is in the eye of the beholder.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/gagosian.com\/exhibitions\/2026\/deana-lawson\/\" target=\"_blank\" rel=\"noreferrer noopener\">Deana Lawson<\/a><\/em> at Gagosian, New York, September 10\u2013October 24, 2026<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2500\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR.jpg\" alt=\"\" class=\"wp-image-340724\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR-240x300.jpg 240w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR-819x1024.jpg 819w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR-768x960.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR-1229x1536.jpg 1229w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR-1638x2048.jpg 1638w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR-205x256.jpg 205w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR-19x24.jpg 19w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR-29x36.jpg 29w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR-38x48.jpg 38w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/FFC-Paglen-TP_040_HR-600x750.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Trevor Paglen, <em>KEYHOLE 12-3 (IMPROVED CRYSTAL)<\/em> <em>Optical Reconnaissance Satellite Near Scorpio (USA 129), <\/em>2007<br>Courtesy the artist and Fellowship, Jessica Silverman Gallery, San Francisco, and Pace Gallery, New York<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>FotoFocus&nbsp;\u2014 Cincinnati<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">FotoFocus returns with its eighth edition, <em>The Long View<\/em>, offering seventy-four exhibitions in sixty-five venues throughout Greater Cincinnati, Dayton, Columbus, and Northern Kentucky. The \u201clong view\u201d of the title refers, in part, to the quarter-millennium of the United States, inviting artists and viewers to contend with the nation\u2019s past, present, and possible futures. Standouts include exhibitions by Paul Mpagi Sepuya, Nancy Rexroth, and Trevor Paglen, whose work\u2014spanning facial recognition technologies, alternate-reality games, and AI rabbit holes\u2014probes the dark infrastructures of surveillance and power that govern how we see the world, and how it sees us.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/www.fotofocus.org\/biennial\/2026\/\" target=\"_blank\" rel=\"noreferrer noopener\">FotoFocus Biennial 2026: The Long View<\/a><\/em>, Cincinnati, Ohio, October 1\u201331, 2026<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"1701\" height=\"2551\" style=\"object-position: 65% 20%;\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR.jpg\" alt=\"\" class=\"wp-image-340747\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR.jpg 1701w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR-200x300.jpg 200w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR-683x1024.jpg 683w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR-768x1152.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR-1024x1536.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR-1366x2048.jpg 1366w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR-171x256.jpg 171w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR-16x24.jpg 16w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR-24x36.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR-32x48.jpg 32w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG264_Agenda_Sory_HR-600x900.jpg 600w\" sizes=\"auto, (max-width: 1701px) 100vw, 1701px\" \/><figcaption class=\"wp-element-caption\">Sanl\u00e9 Sory, <em>Le Coup de Fil Sportif (The athletic phone call)<\/em>, 1998<br>\u00a9 the artist and Tezeta and courtesy David Hill Gallery<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Sanl\u00e9 Sory \u2014&nbsp;London<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sanl\u00e9 Sory cut his teeth photographing car crashes for newspapers. When he acquired his own equipment, in 1960, he opened the Volta Photo studio and turned to a more celebratory subject: the vibrant youth culture of newly independent Upper Volta (now Burkina Faso). Like his better-known peers Malick Sidib\u00e9 and Seydou Ke\u00efta, Sory redefined the photography of West Africa by portraying its people on their own terms. This show focuses on his rarely exhibited color portraits\u2014images of irrepressible panache made during the restive 1980s and \u201990s, when his country sought a new identity focused on anti-imperialism and self-reliance.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/thephotographersgallery.org.uk\/whats-on\/sanle-sory-colour-years\">Sanl\u00e9 Sory: Colour Years<\/a><\/em> at the Photographers\u2019 Gallery, London, October 14, 2026\u2013February 21, 2027<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1986\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc.jpg\" alt=\"\" class=\"wp-image-340719\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc-300x298.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc-1024x1017.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc-150x150.jpg 150w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc-768x763.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc-1536x1525.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc-258x256.jpg 258w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc-24x24.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc-36x36.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc-48x48.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc-600x596.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/07_Gould_Teenagers_4.2002.223_825563_PRc-100x100.jpg 100w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Jack Gould, <em>Untitled (Teenagers at soda fountain)<\/em>, c. 1950<br>\u00a9 President and Fellows of Harvard College and courtesy Harvard Art Museums<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Barbara Norfleet \u2014&nbsp;Cambridge, MA<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In the 1970s, the sociologist and curator Barbara P. Norfleet began assembling a vast archive of images from the 1930s to 1960s taken by photographers working on commission across the United States. Consisting of over twenty-thousand photographs depicting social rituals from weddings to corporate gatherings, the archive formed what Norfleet called a \u201cunique and valuable record of American life.\u201d This fall, the Harvard Art Museum stages the exhibition <em>The Way We Never Were<\/em>, drawn from Norfleet\u2019s archive. Thematic sections ranging from the rise of suburbia and cultural conformity to growing struggles for equal rights centers the role of the professional photographer and commissioned image in shaping how midcentury America came to define itself.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/harvardartmuseums.org\/exhibitions\/6622\/the-way-we-never-were-the-american-professional-photographers-collection\" target=\"_blank\" rel=\"noreferrer noopener\">The Way We Never Were: The American Professional Photographers Collection<\/a><\/em> at Harvard Art Museum, Cambridge, Massachusetts, through May 9, 2027.<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"1024\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-1024x1024.jpg\" alt=\"\" class=\"wp-image-340717\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-1024x1024.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-300x300.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-150x150.jpg 150w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-768x768.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-1536x1536.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-256x256.jpg 256w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-600x600.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-24x24.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-36x36.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-48x48.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR-100x100.jpg 100w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG268_Agenda_Gillen_HR.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Paula Gillen, <em>Hostage Situation<\/em>, 1979<br>\u00a9 the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Flashback \u2014 Baltimore<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In Paula Gillen\u2019s <em>Hostage Situation<\/em> (1979), a young, masked child yanks a woman\u2019s leg\u2014clad in fishnets and yellow peep-toe heels\u2014protruding through an unfinished ceiling. It\u2019s one of countless gems in <em>Flashback<\/em>, an unprecedented survey of Baltimore photography spanning almost two hundred years, from daguerreotypes of Frederick Douglass, to A. Aubrey Bodine\u2019s deadline-driven pictorialism, to the zany world of John Waters (that dangling leg belongs to Susan Lowe, a regular in Waters\u2019s films), to younger talents such as Devin Allen and Gioncarlo Valentine who are shaping the city\u2019s photographic landscape today.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/artbma.org\/exhibition\/flashback-baltimore-photography\/\" target=\"_blank\" rel=\"noreferrer noopener\">Flashback: Two Centuries of Baltimore Photography<\/a><\/em> at the Baltimore Museum of Art, October 4, 2026\u2013February 7, 2027<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"819\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-1024x819.jpg\" alt=\"\" class=\"wp-image-340742\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-1024x819.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-300x240.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-768x614.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-1536x1229.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-1280x1024.jpg 1280w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-640x512.jpg 640w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-320x256.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-24x19.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-36x29.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-48x38.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1-600x480.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/BL_Untitled_NYC_Court-House_V4_LoRes-1.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Baldwin Lee, <em>23 Wall Street<\/em>, 1977<br>\u00a9 the artist and courtesy Howard Greenberg Gallery and Hunters Point Press<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Baldwin Lee \u2014&nbsp;New York<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Raised in New York\u2019s Chinatown, Baldwin Lee studied with Walker Evans at Yale in the early 1970s. He would return to New York in the following years to photograph the city\u2019s empty, early-morning streets with a 4-by-5 camera. These images, which resonate with German photographer Thomas Struth\u2019s similarly unpeopled streetscapes from the same era, were printed in 2025 for this exhibition at Howard Greenberg Gallery, which previously presented Lee\u2019s now-celebrated large-format portraits made in the 1980s on road trips through the American South. Lee\u2019s portrayal of New York shows how both the skyline and the sidewalk have changed, as in his image of seemingly abandoned Financial Center lofts beneath the Twin Towers of the World Trade Center\u2014a monument to a bygone era.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/www.howardgreenberg.com\/exhibitions\/199-baldwin-lee-new-york-1975-1979\/\">Baldwin Lee: New York<\/a><\/em> at Howard Greenberg Gallery, New York, September 18\u2013October 31, 2026<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"599\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Jafa_1-1024x599.jpeg\" alt=\"\" class=\"wp-image-340725\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Jafa_1-1024x599.jpeg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Jafa_1-300x176.jpeg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Jafa_1-768x449.jpeg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Jafa_1-1536x899.jpeg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Jafa_1-320x187.jpeg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Jafa_1-24x14.jpeg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Jafa_1-36x21.jpeg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Jafa_1-48x28.jpeg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Jafa_1-600x351.jpeg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Jafa_1.jpeg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Arthur Jafa, <em>Pledge of Allegiance, 1899<\/em>, 2017<br>Courtesy the artist and Gladstone<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Arthur Jafa \u2014 New York<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Named for the pioneering jazz drummer Tony Williams, Arthur Jafa\u2019s exhibition <em>I Am Tony<\/em> presents video installations, paintings, photographs, and sculptures across two floors of the recently expanded New Museum. Renowned for his trenchant explorations of race and American culture, the artist will premiere new works alongside searing video montages including <em>Love Is the Message, The Message Is Death<\/em> (2016) and <em>The White Album<\/em> (2019), as well as early works such as the photograph <em>Monster<\/em> (1988), an unflinching self-portrait of the artist as a young man.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/www.newmuseum.org\/exhibition\/arthur-jafa-i-am-tony\/\">Arthur Jafa: I Am Tony<\/a><\/em> at the New Museum, New York, September 24, 2026\u2013January 3, 2027<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2000\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears.jpg\" alt=\"\" class=\"wp-image-340720\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears-300x300.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears-1024x1024.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears-150x150.jpg 150w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears-768x768.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears-1536x1536.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears-256x256.jpg 256w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears-600x600.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears-24x24.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears-36x36.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears-48x48.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/JWP_143_Kawauchi-Eyes-Ears-100x100.jpg 100w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Rinko Kawauchi, <em>Untitled<\/em>, 2004, from the series <em>the eyes the ears<\/em><br>Courtesy the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Japanese Women Photographers \u2014 New York<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A much-needed counterpoint to the male-centric canon of Japanese photography, <em>I\u2019m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now<\/em> reframes the history of the medium through the work of twenty-eight intergenerational artists. Presented in partnership with Aperture in conjunction with the <a href=\"https:\/\/aperture.org\/exhibitions\/aperture-loves-new-york\/\" target=\"_blank\" rel=\"noreferrer noopener\">2024 monograph<\/a>, this exhibition is curated by the book\u2019s editors, Pauline Vermare, Lesley A. Martin, and Takeuchi Mariko. <em>I\u2019m So Happy<\/em> spans the medium from installations to photobooks, providing an indispensable introduction to the contributions of Japanese women to photography by showcasing intimate observations of everyday life, critical perspectives on history, and radical experiments with form.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><em><a href=\"https:\/\/www.icp.org\/exhibitions\/im-so-happy-you-are-here-japanese-women-photographers-1950s-now\" target=\"_blank\" rel=\"noreferrer noopener\">I\u2019m So Happy You Are Here: Japanese Women Photographers from the 1950s to Now<\/a><\/em> at International Center of Photography, New York, October 15, 2026\u2013January 11, 2027.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2400\" height=\"1876\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy.jpg\" alt=\"\" class=\"wp-image-340542\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy.jpg 2400w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-300x235.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-1024x800.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-768x600.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-1536x1201.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-2048x1601.jpg 2048w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-320x250.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-24x19.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-36x28.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-48x38.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-600x469.jpg 600w\" sizes=\"auto, (max-width: 2400px) 100vw, 2400px\" \/><figcaption class=\"wp-element-caption\">Stephen Shore, <em>Crosby Street and Grand Street, New York, New York<\/em>, <em>February 24, 1974<\/em>, from <em>Uncommon Places<\/em> (Aperture, 1982)<br>\u00a9 the artist and courtesy 303 Gallery, New York<\/figcaption><\/figure>\n\n\n\n<p class=\"large wp-block-paragraph\"><strong>Aperture Loves New York \u2014&nbsp;New York<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Aperture<\/em> Loves <em>New York<\/em> pays tribute to photographers who have shaped\u2014and been shaped by\u2014the city. Showcasing artists long championed by Aperture and anchored in our publishing history, the presentation brings together important and memorable photographs with corresponding Aperture books that have advanced the medium of photography and captured the complex spirit of New York City. Organized by Aperture&#8217;s executive director, Sarah Meister, the installation features photographs by more than twenty artists ranging from past to present\u2014including Diane Arbus, Deana Lawson, Stephen Shore, Awol Erizku, and more.<\/p>\n\n\n\n<p class=\"small wp-block-paragraph\"><a href=\"https:\/\/aperture.org\/exhibitions\/aperture-loves-new-york\/\"><em>Aperture<\/em> Loves <em>New York<\/em><\/a> at Aperture, New York, September 18\u2013November 1, 2026.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The season\u2019s photography standouts traverse \u201990s fashion, New York street life, and government intrigue.<\/p>\n","protected":false},"author":2,"featured_media":340715,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":false,"apple_news_is_preview":false,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":"[]","apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[1686],"tags":[497,2285,8411],"magazine":[],"post_author":[7465],"class_list":["post-340714","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-featured","tag-trevor-paglen","tag-deana-lawson","tag-baldwin-lee","post_author-the-editors"],"acf":[],"apple_news_notices":[],"featured_image_src":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG263_Agenda_Sory_HR-scaled-600x400-1789143564.jpg","featured_image_src_square":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/264MAG263_Agenda_Sory_HR-scaled-600x600-1789143662.jpg","author_info":{"display_name":"aperturewp","author_link":"https:\/\/aperture.org\/author\/aperturewp\/"},"_links":{"self":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340714","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/comments?post=340714"}],"version-history":[{"count":0,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340714\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media\/340715"}],"wp:attachment":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media?parent=340714"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/categories?post=340714"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/tags?post=340714"},{"taxonomy":"magazine","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/magazine?post=340714"},{"taxonomy":"post_author","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/post_author?post=340714"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":340728,"date":"2026-09-11T12:08:42","date_gmt":"2026-09-11T16:08:42","guid":{"rendered":"https:\/\/aperture.org\/?p=340728"},"modified":"2026-09-15T16:53:35","modified_gmt":"2026-09-15T20:53:35","slug":"a-season-of-public-programs-at-apertures-new-home","status":"publish","type":"post","link":"https:\/\/aperture.org\/editorial\/a-season-of-public-programs-at-apertures-new-home\/","title":{"rendered":"A Season of Public Programs at Aperture\u2019s New Home"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Located on the first two floors of a historic building in a bustling neighborhood on the Upper West Side in Manhattan, Aperture\u2019s new home will be a place to gather, share ideas, and engage with photography.&nbsp;Here\u2019s a preview of this season\u2019s events, from a dynamic program in the gallery and bookstore to a lively calendar of talks and collaborations.<\/p>\n\n\n\n<hr class=\"wp-block-separator has-alpha-channel-opacity is-style-wide\" \/>\n\n\n\n<div style=\"height:20px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rebecca-norris-webb-shimmering-prospect-park-2018.jpg\" alt=\"\" class=\"wp-image-340775\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rebecca-norris-webb-shimmering-prospect-park-2018.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rebecca-norris-webb-shimmering-prospect-park-2018-300x200.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rebecca-norris-webb-shimmering-prospect-park-2018-1024x682.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rebecca-norris-webb-shimmering-prospect-park-2018-768x512.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rebecca-norris-webb-shimmering-prospect-park-2018-1536x1024.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rebecca-norris-webb-shimmering-prospect-park-2018-320x213.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rebecca-norris-webb-shimmering-prospect-park-2018-600x400.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rebecca-norris-webb-shimmering-prospect-park-2018-24x16.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rebecca-norris-webb-shimmering-prospect-park-2018-36x24.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rebecca-norris-webb-shimmering-prospect-park-2018-48x32.jpg 48w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Rebecca Norris Webb, <em>Shimmering<\/em>, Prospect Park, 2018, from <em>Brooklyn, The City Within<\/em> (Aperture, 2019)<br>Courtesy the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"category-sub wp-block-paragraph\"><a href=\"https:\/\/aperture.org\/exhibitions\/aperture-loves-new-york\/\"><strong><em>Aperture<\/em><\/strong> <strong>Loves<\/strong> <strong><em>New York<\/em><\/strong><\/a><br>On view September 18\u2013November 1, 2026<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The inaugural installation at Aperture&#8217;s new gallery, <em>Aperture<\/em> Loves <em>New York<\/em>, pays tribute to photographers who have shaped\u2014and been shaped by\u2014the city. Showcasing artists anchored in Aperture\u2019s publishing history, the presentation brings together important and memorable photographs with corresponding Aperture books that have advanced the medium of photography and captured the complex spirit of New York City. Organized by Sarah Meister, Executive Director, the installation features photographs by more than twenty artists, including Diane Arbus, Tina Barney, Dawoud Bey, Awol Erizku, Robert Frank, Lee Friedlander, Nan Goldin, Deana Lawson, Stephen Shore, Coreen Simpson, Alex Webb, Rebecca Norris Webb, and Carrie Mae Weems.<\/p>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2400\" height=\"2332\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px.jpg\" alt=\"\" class=\"wp-image-340813\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px.jpg 2400w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px-300x292.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px-1024x995.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px-768x746.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px-1536x1492.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px-2048x1990.jpg 2048w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px-263x256.jpg 263w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px-24x24.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px-36x36.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px-48x48.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Perez_Devotions_01_2400px-600x583.jpg 600w\" sizes=\"auto, (max-width: 2400px) 100vw, 2400px\" \/><figcaption class=\"wp-element-caption\">Cover of <em>Elle P\u00e9rez: Devotions<\/em> (Aperture, 2026)<\/figcaption><\/figure>\n\n\n\n<p class=\"category-sub wp-block-paragraph\"><a href=\"https:\/\/aperture.org\/events\/elle-perez-devotions-book-launch\/\"><strong>Elle P\u00e9rez: Devotions Book Launch<\/strong><\/a><br>Wednesday, September 23, 6:30 p.m. EDT<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Love, heartache, pleasure, pain\u2014Elle P\u00e9rez has emerged as a defining voice of their generation, collecting over the past decade a trove of deeply personal and arresting images of vulnerability\u2019s rawest materials. Join us for a special book launch of <em>Devotions<\/em> (Aperture, 2026), the artist\u2019s first monograph. Pre-signed books will be available for purchase. <a href=\"https:\/\/form.jotform.com\/262515821313046\">Advanced registration<\/a> required.&nbsp;<\/p>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/STATIC-Adil-Hasan-02.jpg\" alt=\"\" class=\"wp-image-340732\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/STATIC-Adil-Hasan-02.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/STATIC-Adil-Hasan-02-300x200.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/STATIC-Adil-Hasan-02-1024x682.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/STATIC-Adil-Hasan-02-768x512.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/STATIC-Adil-Hasan-02-1536x1024.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/STATIC-Adil-Hasan-02-320x213.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/STATIC-Adil-Hasan-02-600x400.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/STATIC-Adil-Hasan-02-24x16.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/STATIC-Adil-Hasan-02-36x24.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/STATIC-Adil-Hasan-02-48x32.jpg 48w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Adil Hasan, <em>STATIC<\/em>, 2026<br>Courtesy the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"category-sub wp-block-paragraph\"><a href=\"https:\/\/aperture.org\/events\/photobook-publishing-across-the-globe\/\"><strong>Photobook Publishing Across the Globe<\/strong><\/a><br>Wednesday, September 30, 6:30 p.m. EDT<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this conversation, Anshika Varma from Offset Projects and Russet Lederman and Olga Yatskevich from 10\u00d710 Photobooks will discuss the independent publishing scene from New Delhi to New York. Rooted in South Asia, Offset Projects is a curatorial initiative engaging with acts of reading and creation through photography\u2019s relationship with printed matter. 10\u00d710 Photobooks is a nonprofit, community-oriented organization that champions and facilitates thoughtful and passionate engagement with the photobook through a focus on contemporary practice and overlooked publications, stories, and creators in photobook histories. Through October 2, Offset Projects&nbsp;will present a curated selection of books for sale in Aperture\u2019s bookstore, showcasing a range of independent South Asian publishers.<\/p>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2400\" height=\"1876\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy.jpg\" alt=\"\" class=\"wp-image-340542\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy.jpg 2400w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-300x235.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-1024x800.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-768x600.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-1536x1201.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-2048x1601.jpg 2048w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-320x250.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-24x19.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-36x28.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-48x38.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Stephen-shore-crosby-street-and-grand-street-new-york-new-york-1974-copy-600x469.jpg 600w\" sizes=\"auto, (max-width: 2400px) 100vw, 2400px\" \/><figcaption class=\"wp-element-caption\">Stephen Shore, <em>Crosby Street and Grand Street, New York, New York<\/em>, <em>February 24, 1974<\/em>, from <em>Uncommon Places<\/em> (Aperture, 1982)<br>\u00a9 the artist and courtesy 303 Gallery, New York<\/figcaption><\/figure>\n\n\n\n<p class=\"category-sub wp-block-paragraph\"><a href=\"https:\/\/aperture.org\/events\/aperture-loves-new-york-stephen-shore-and-lucy-gallun\/\"><strong>Aperture Loves New York: Stephen Shore and Lucy Gallun<\/strong><\/a><br>Saturday, October 3, 1:00 p.m. EDT<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Marking the presentation of <em>Aperture<\/em> Loves <em>New York<\/em>, Stephen Shore and Lucy Gallun, Curator in the Department of Photography at the Museum of Modern Art, New York, will discuss the photographer\u2019s featured images from his landmark photobook <a href=\"https:\/\/store.aperture.org\/products\/uncommon-places-the-complete-works\"><em>Uncommon Places<\/em><\/a> (Aperture, 1982 and 2015) and Shore\u2019s enduring legacy.&nbsp;<\/p>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n<div class=\"inline-ad background-inline-ad\">\n                <div class=\"inline-ad-mobile\">\n            <!-- \/1034851\/sidenav_2 -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-3\"><\/div>\r\n<\/div>        <\/div>\n        <div class=\"inline-ad-desktop\">\n            <!-- \/1034851\/Leaderboard -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-0\" style=\"text-align: center\"><\/div>\r\n<\/div>        <\/div>\n    <\/div>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2400\" height=\"1600\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy.jpg\" alt=\"\" class=\"wp-image-340545\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy.jpg 2400w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy-300x200.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy-1024x683.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy-768x512.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy-1536x1024.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy-2048x1365.jpg 2048w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy-320x213.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy-600x400.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy-24x16.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy-36x24.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Gillian-laub-aunt-lee-2016-copy-48x32.jpg 48w\" sizes=\"auto, (max-width: 2400px) 100vw, 2400px\" \/><figcaption class=\"wp-element-caption\">Gillian Laub, <em>Aunt Lee<\/em>, 2016, from <em>Family Matters<\/em> (Aperture, 2021)<br>Courtesy the artist&nbsp;<\/figcaption><\/figure>\n\n\n\n<p class=\"category-sub wp-block-paragraph\"><a href=\"https:\/\/aperture.org\/events\/aperture-loves-new-york-gillian-laub-and-jil-weinstock\/\"><strong>Aperture Loves New York: Gillian Laub and Jil Weinstock<\/strong><\/a><br>Wednesday, October 14, 6:30 p.m. EDT<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In this conversation, photographer and filmmaker Gillian Laub and artist and curator Jil Weinstock will discuss Laub\u2019s history in New York City and her acclaimed career, including an iconic photograph from her book <a href=\"https:\/\/store.aperture.org\/products\/gillian-laub-family-matters\"><em>Family Matters<\/em><\/a> (Aperture, 2021), featured in the installation <em>Aperture<\/em> Loves <em>New York<\/em>.&nbsp;<\/p>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2400\" height=\"1604\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy.jpg\" alt=\"\" class=\"wp-image-340547\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy.jpg 2400w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy-300x201.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy-1024x684.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy-768x513.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy-1536x1027.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy-2048x1369.jpg 2048w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy-320x214.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy-600x401.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy-24x16.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy-36x24.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Coreen-simpson-double-dutch-championship-the-fantastic-four-1981-copy-48x32.jpg 48w\" sizes=\"auto, (max-width: 2400px) 100vw, 2400px\" \/><figcaption class=\"wp-element-caption\">Coreen Simpson, <em>Double Dutch Champion\u00adship \u201cThe Fantastic Four,\u201d<\/em> June 1981<br>Courtesy the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"category-sub wp-block-paragraph\"><a href=\"https:\/\/aperture.org\/events\/aperture-loves-new-york-coreen-simpson-and-rujeko-hockley\/\"><strong>Aperture Loves New York: Coreen Simpson and Rujeko Hockley<\/strong><\/a><br>Wednesday, October 21, 6:30 p.m. EDT<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Coreen Simpson\u2014photographer, writer, jeweler\u2014has done it all. Working for publications such as <em>Essence<\/em>, <em>Unique New York<\/em>, and <em>The Village Voice<\/em>, from the late 1970s onward, Simpson covered New York\u2019s art and fashion scenes, producing portraits of a wide range of Black artists, literary figures, and celebrities. In this conversation with the writer and curator Rujeko Hockley, Simpson will discuss her influential practice and storied history of photographing in New York.<\/p>\n\n\n\n<div style=\"height:25px\" aria-hidden=\"true\" class=\"wp-block-spacer\"><\/div>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1667\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rizo_JoseIbarra_Image04.jpg\" alt=\"\" class=\"wp-image-340733\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rizo_JoseIbarra_Image04.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rizo_JoseIbarra_Image04-300x250.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rizo_JoseIbarra_Image04-1024x854.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rizo_JoseIbarra_Image04-768x640.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rizo_JoseIbarra_Image04-1536x1280.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rizo_JoseIbarra_Image04-307x256.jpg 307w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rizo_JoseIbarra_Image04-24x20.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rizo_JoseIbarra_Image04-36x30.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rizo_JoseIbarra_Image04-48x40.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Rizo_JoseIbarra_Image04-600x500.jpg 600w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Jos\u00e9 Ibarra Rizo, <em>Limbeth and Karim<\/em>, 2021<br>Courtesy the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"category-sub wp-block-paragraph\"><a href=\"https:\/\/aperture.org\/events\/photowork-symposium-at-aperture\/\"><strong>PhotoWork Symposium<\/strong><\/a><br>Wednesday, October 28, 6:30 p.m. EDT<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Aperture and PhotoWork have come together to present a series of programs featuring the PhotoWork Senior Fellows, which aims to propel artists to the next stage of their careers. The inaugural program will feature presentations by the 2025 Senior Fellows: Michelle Arcila, Will Matsuda, and Jos\u00e9 Ibarra Rizo. Each artist will present the body of work created throughout the fellowship, followed by an intimate discussion on process and practice with their Mentors: Ron Jude, Raymond Meeks, and Kristine Potter.<\/p>\n\n\n\n<p class=\"sans-light wp-block-paragraph\"><a href=\"https:\/\/mailchi.mp\/aperture\/all-aperture\" target=\"_blank\" rel=\"noreferrer noopener\">Sign up for Aperture\u2019s newsletter<\/a> to get the latest in photography, right to your inbox.<br><\/p>\n","protected":false},"excerpt":{"rendered":"<p>This fall, Aperture\u2019s bookstore and gallery will host artist talks, panel discussions, and book celebrations with Gillian Laub, Elle P\u00e9rez, Stephen Shore, and Coreen Simpson.<\/p>\n","protected":false},"author":2,"featured_media":340745,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":false,"apple_news_is_preview":false,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":"[]","apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[1686],"tags":[11191],"magazine":[],"post_author":[],"class_list":["post-340728","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-featured","tag-immersive"],"acf":[],"apple_news_notices":[],"featured_image_src":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Dawoud-bey-a-boy-in-front-of-the-loews-125th-street-movie-theater-harlem-1976-scaled-600x400-1789142575.jpg","featured_image_src_square":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/Dawoud-bey-a-boy-in-front-of-the-loews-125th-street-movie-theater-harlem-1976-scaled-600x600-1789142594.jpg","author_info":{"display_name":"aperturewp","author_link":"https:\/\/aperture.org\/author\/aperturewp\/"},"_links":{"self":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340728","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/comments?post=340728"}],"version-history":[{"count":0,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340728\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media\/340745"}],"wp:attachment":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media?parent=340728"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/categories?post=340728"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/tags?post=340728"},{"taxonomy":"magazine","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/magazine?post=340728"},{"taxonomy":"post_author","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/post_author?post=340728"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":340622,"date":"2026-09-10T14:22:51","date_gmt":"2026-09-10T18:22:51","guid":{"rendered":"https:\/\/aperture.org\/?p=340622"},"modified":"2026-09-10T14:22:54","modified_gmt":"2026-09-10T18:22:54","slug":"a-photographer-turns-up-the-color-in-his-family-portraits","status":"publish","type":"post","link":"https:\/\/aperture.org\/editorial\/a-photographer-turns-up-the-color-in-his-family-portraits\/","title":{"rendered":"A Photographer Turns Up the Color in His Family Portraits"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Luis Manuel Diaz lay on his grandmother\u2019s bed in a small town in rural Mexico, reclining beside a vase brimming with roses. The cobalt-blue room has no windows\u2014instead, its adobe walls, lit by a single exposed lightbulb, are crowded with family portraits, Catholic religious icons, mirrors, and the relics of his grandparents\u2019 lives. Turning his head toward a mirror embedded in a wardrobe, Diaz clicked the shutter release cable on his large-format view camera, catching the slight blur of his movement. The resulting photograph, <em>Untitled (Self-Portrait and the Family Tree)<\/em> (2024), recently presented in the <a href=\"https:\/\/cpw.org\/exhibition\/upstate-photography-biennial\/\">Upstate Photography Biennial<\/a> at the Center for Photography at Woodstock (CPW), is an arresting glimpse into the domestic life that Diaz has spent the past decade capturing in his series <em>Canta y No Llores (Sing and Don\u2019t Cry) <\/em>(2016\u2013present).<\/p>\n\n\n<div class=\"double-image-block double-block out-limit height-auto\">\n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_10.jpg\" alt=\"untitled (after party blues) 2025, New York US\r\rFrom series Canta y no Llores.\" data-fancybox>\n        <div class=\"photo-caption\">Luis Manuel Diaz, <em>Untitled (After Party Blues)<\/em>, New York, 2025<\/div>\n      <\/div>\n    <\/div>\n  \n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_08.jpg\" alt=\"untitled (face mask) 2022, New York US\r\rFrom series Canta y no Llores.\" data-fancybox>\n        <div class=\"photo-caption\">Luis Manuel Diaz, <em>Untitled (Face Mask)<\/em>, New York, 2022<\/div>\n      <\/div>\n    <\/div>\n  <\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Diaz was born in that small town in Michoac\u00e1n, Mexico, and cites his grandmother\u2019s bedroom as his most important early influence. \u201cI remember being five years old and just going and getting lost in the different modes of photography I saw there,\u201d he explained during an artist talk at CPW. Photographs were also a way for his family to maintain ties across vast distances; images can traverse international borders even when their subjects cannot. For much of Diaz\u2019s childhood, his father was based in the United States working full time in construction while the rest of the family remained in Mexico, meaning that they could only gather together on holidays. \u201cMy understanding of my father and how his face looked was heavily tied to these photographs of him,\u201d Diaz said. \u201cI was really interested in the performance that took place when he would make these portraits.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In 2005, when Diaz was nine years old, his family permanently reunited in the United States, moving to the suburbs of Westchester, New York. After a childhood spent swimming in local lagoons and picking fruit from trees, New York\u2019s concrete landscape was jarring. The photographer likes to joke that as he travels north after visiting his grandparents in Mexico to his parents\u2019 house, the color drains out of the world. Michoac\u00e1n is filled with lush hues and patterns, both in nature and in its homes; the Northeastern United States, by contrast, trends pretty greige. Diaz\u2019s photographs make the infamous sepia-tinted \u201c<a href=\"https:\/\/knowyourmeme.com\/memes\/mexican-filter\">Mexico filter<\/a>\u201d that US media tends to slap on to anything south of the border seem all the more comical in comparison\u2014the imperialist expansion of the American monochrome revealed for what it is.<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_09.jpg\" alt=\"untitled (first communion)\r2025, New York US\r\rFrom series Canta y no Llores.\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Luis Manuel Diaz, <em>Untitled (First Communion)<\/em>, New York, 2025<\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_06.jpg\" alt=\"untitled (hidden mother) 2023, New York US\r\rFrom series Canta y no Llores.\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Luis Manuel Diaz, <em>Untitled (Hidden Mother)<\/em>, New York, 2023<\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Not only does Diaz have an eye for color, he also takes the drama and beauty of Catholic religious painting and applies it to everyday life. If one were to describe the subject of <em>Untitled (Hidden Mother)<\/em> (2023) literally, for example, it would be banal: A mother holds up a blanket behind her daughters in a suburban New York home. Diaz\u2019s lens, however, imbues it with cosmic significance. The unseen mother\u2014only hinted at near the edges of the frame\u2014seems to protect her older daughter, who lies asleep, angelic, framed by the rich red flowers of the blanket and the glow of white around her body. Likewise, <em>Untitled (First Communion)<\/em>, a 2025 portrait of Diaz\u2019s youngest sister, Stephanie, captures her sitting on the floor, shoes off, drinking Capri-Sun after her first communion. But with the gentle light on her skin, the translucent white ruffles of her dress, and her veil draped over the edge of the sofa, she seems positively lifted from a Renaissance painting. \u201cGrowing up Catholic, I was really drawn to the religious narrative tableaux that I would see everywhere,\u201d Diaz explained. \u201cParticularly the emphasis they put on the body\u2014either the body in pain, or just living life.\u201d<\/p>\n\n\n<div class=\"inline-ad background-inline-ad\">\n                <div class=\"inline-ad-mobile\">\n            <!-- \/1034851\/sidenav_2 -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-3\"><\/div>\r\n<\/div>        <\/div>\n        <div class=\"inline-ad-desktop\">\n            <!-- \/1034851\/Leaderboard -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-0\" style=\"text-align: center\"><\/div>\r\n<\/div>        <\/div>\n    <\/div>\n\n\n\n<p class=\"wp-block-paragraph\">More than anything, it seems, Diaz is enchanted by the body at rest. Not that he does much resting himself. After seeing his parents labor for so many years doing construction and housekeeping and the toll it took on their bodies\u2014in 2017, his father was almost buried alive on a job site and suffered severe injuries\u2014Diaz knows better than anyone what\u2019s at stake in his practice. He has honored his parents\u2019 sacrifice by working nonstop. Since getting his BFA from Parsons School of Design (2019) and MFA from Yale University (2025), he has built a portfolio that a mid-career professional\u2014let alone a recent graduate\u2014would be proud of. \u201cWeirdly enough, what provides a sense of rest for me is making images, even though it\u2019s so laborious,\u201d Diaz said. \u201cThrough the ground glass, I get to witness my youngest sister becoming more self-aware, my mom or dad getting new gray hairs or wrinkles. I find it really centering, but this passage of time also ups the stakes\u2014and what\u2019s more beautiful than sharing an experience, mediated through photography, that allows me to spend time with my family?\u201d<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_03.jpg\" alt=\"untitled (Guadalupe and Stephanie playing House), 2023, New York US\r\rFrom series Canta y no Llores.\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Luis Manuel Diaz, <em>Untitled (Guadalupe and Stephanie Playing House)<\/em>, New York, 2023<\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_07.jpg\" alt=\"Fault Line, 2023, New York US\r\rFrom series Canta y no Llores.\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Luis Manuel Diaz, <em>Fault Lines<\/em>, New York, 2023<\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n<div class=\"double-image-block double-block out-limit \">\n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_15.jpg\" alt=\"Detangle, 2022 New York US\r\rFrom series Canta y no Llores.\" data-fancybox>\n        <div class=\"photo-caption\">Luis Manuel Diaz, <em>Detangle<\/em>, New York, 2022<\/div>\n      <\/div>\n    <\/div>\n  \n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_11.jpg\" alt=\"Counting Stars, 2023, New York US\r\rFrom series Canta y no Llores.\" data-fancybox>\n        <div class=\"photo-caption\">Luis Manuel Diaz, <em>Counting Stars<\/em>, New York, 2023<\/div>\n      <\/div>\n    <\/div>\n  <\/div>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_04.jpg\" alt=\"Abuelo y el Mel\u00f3n, 2024, Michoacan MX\r\rFrom series Canta y no Llores.\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Luis Manuel Diaz, <em>Abuelo y el Mel\u00f3n<\/em>, Michoac\u00e1n, Mexico, 2024<\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_05.jpg\" alt=\"untitled (Grandma's garden mid-drought) 2024, Michoacan MX\r\rFrom series Canta y no Llores.\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Luis Manuel Diaz, <em>Untitled (Grandma\u2019s Garden Mid-Drought)<\/em>, Michoac\u00e1n, Mexico, 2024<\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_14.jpg\" alt=\"untitled (apparition) 2021, Michoac\u00e1n MX\r\rFrom series Canta y no Llores.\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Luis Manuel Diaz, <em>Untitled (Apparition)<\/em>, Michoac\u00e1n, Mexico, 2021<\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_02.jpg\" alt=\"untitled (asphalt portal), 2025, New York, US\r\rFrom series Canta y no Llores.\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Luis Manuel Diaz, <em>Untitled (Asphalt Portal)<\/em>, New York, 2023<\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<p class=\"sans-light wp-block-paragraph\">Read more from our series \u201c<a href=\"https:\/\/aperture.org\/category\/introducing\" target=\"_blank\" rel=\"noreferrer noopener\">Introducing<\/a>,\u201d which highlights exciting new voices in photography.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In Mexico and New York, Luis Manuel Diaz takes the drama and beauty of Catholic religious painting and applies it to everyday life.<\/p>\n","protected":false},"author":2,"featured_media":340623,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":true,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":false,"apple_news_is_preview":false,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":"[]","apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[3508],"tags":[11191],"magazine":[],"post_author":[13807],"class_list":["post-340622","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-introducing","tag-immersive","post_author-julia-curl"],"acf":[],"apple_news_notices":[],"featured_image_src":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_01-600x400.jpg","featured_image_src_square":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Diaz_Luis_01-600x600.jpg","author_info":{"display_name":"aperturewp","author_link":"https:\/\/aperture.org\/author\/aperturewp\/"},"_links":{"self":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340622","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/comments?post=340622"}],"version-history":[{"count":0,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340622\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media\/340623"}],"wp:attachment":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media?parent=340622"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/categories?post=340622"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/tags?post=340622"},{"taxonomy":"magazine","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/magazine?post=340622"},{"taxonomy":"post_author","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/post_author?post=340622"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":340654,"date":"2026-09-01T09:52:40","date_gmt":"2026-09-01T13:52:40","guid":{"rendered":"https:\/\/aperture.org\/?p=340654"},"modified":"2026-09-01T09:52:48","modified_gmt":"2026-09-01T13:52:48","slug":"hiroshi-sugimoto-is-playing-the-long-game","status":"publish","type":"post","link":"https:\/\/aperture.org\/editorial\/hiroshi-sugimoto-is-playing-the-long-game\/","title":{"rendered":"Hiroshi Sugimoto Is Playing the Long Game"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">For someone who has made a career of contemplating sight, Hiroshi Sugimoto is skeptical of appearances. \u201cAll my life I have made a habit of never believing my eyes,\u201d he once remarked.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Born in Tokyo in 1948, a son in a family of merchants, Sugimoto studied economics before deciding, in 1970, to go west\u2014not to America, but to the Soviet Union, on a backpacking trip inspired by the utopian promises of the socialist experiment. After his travels in Eastern Europe, he moved to Los Angeles, the other end of the ideological spectrum, to study photography at Art Center. His interest in the medium had long been simmering, at least since seeing the revelatory, strange magic of a photogram in an elementary school science class. After college, Sugimoto moved to New York and sold Japanese antiques in SoHo, a business that connected him to the leading Conceptual artists of the 1970s at a time when he grappled with photography\u2019s second-tier status within the art world. The experience deepened his fascination with old objects as markers of time, surfaces of memory and projection, and sources of aesthetic intrigue.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">When we invited Sugimoto to <a href=\"https:\/\/store.aperture.org\/products\/aperture-no-264\" target=\"_blank\" rel=\"noreferrer noopener\">guest edit an issue of the magazine<\/a>, he responded that he\u2019d like to focus on the impossible task of stopping time. Beneath his quiet poise, there\u2019s a touch of the mad scientist about Sugimoto, aspiring chrononaut. His New York studio doubles as an impeccably organized cabinet of curiosities. Near a window, a large glass prism splits light into its constituent parts. A Tesla coil (when switched on) emits an antiquated crackling buzz. Dragonfly fossils dating from the Triassic period rest on a table. He is perhaps the only photographer who keeps a 400,000-volt Van de Graaff generator in his darkroom. When he\u2019s not conducting high-voltage experiments, he enjoys the traditional tearoom he had meticulously constructed upstairs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The large philosophical ideas that animate Sugimoto\u2019s work are entwined with his daily life. As an artist, he has embraced typological rigor, returning to subjects over many decades\u2014dioramas, seascapes, studies of light, waxworks, the Surrealists\u2014to ponder the uncanny nature of representation, the indeterminacy of space-time, and the pathos and folly of humanity\u2019s quest for immortality despite our species being a mere blip when registered in cosmic scale. His Enoura Observatory, overlooking Japan\u2019s Sagami Bay, may be the culmination of his life\u2019s work, showcasing his aesthetic and philosophical obsessions while allowing visitors serene environs to contemplate their own relationships to a vast sea, sky, and unknowable universe.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This all might make Sugimoto sound intensely serious, but he also projects an air of playful humor and bonhomie. The scope of his personality can be gleaned in the portraits made by Daniel Shea this past spring at his studio, where Sugimoto, ever the Renaissance man, privately played his harmonica behind a closed door during his lunch break, the muffled notes carrying throughout the space.<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAG222_Shea_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAG231_Shea_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Michael Famighetti: In 1979, you opened Mingei Gallery in SoHo, where you sold Japanese folk art and crafts. How did that project begin?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Hiroshi Sugimoto<\/strong><strong>:<\/strong> Well, all my life is just coincidence. It\u2019s never been well planned. It just happens. So, I came to New York in 1974, and then decided to join this contemporary art club, using photography as my medium. My wife and I had a baby, and she wanted to have a steady income so she wouldn\u2019t have to rely on my income, which was almost zero at the time. She was very well-trained as a coordinator in Tokyo for Shiseido, and she started the antique gallery. But because the baby was just one year old, I helped her with the gallery, and then I just got involved in the business. I liked it.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong> What were the options for a photographer in New York at that time?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto:<\/strong><strong> <\/strong>I looked around commercial photography and fashion photography as a kind of proving ground. I worked as an assistant for a fashion photographer and also a commercial photographer, shooting products at the department store. One hundred shots a day with a 4-by-5. I decided I had to promote myself as not just a photographer, and I found another option when I came to New York. Contemporary art was more respected than just being a photographer. Photography was considered a second-class citizen of art. So, I thought, this is a good idea, to raise the status of photography to a serious art.<\/p>\n\n\n\n<div class=\"gray-product-block open-cta-in-new-tab align wp-block-acf-gray-product-block\">\n\n  <div class=\"gray-product-block-container\">\n    <div class=\"gray-product-block-image\">\n      <a href=\"https:\/\/www.ezsubscription.com\/ape\/subscribe?key=4SPPyr\" target=\"_blank\" rel=\"noopener\">\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/2026_Aperture264_1600x900_Fan_gray-copy.jpg\" alt=\"Aperture Magazine Subscription\">\n      <\/a>\n    <\/div>\n    <div class=\"gray-product-block-content\">\n      <h4>Aperture Magazine Subscription<\/h4>\n            <div class=\"ellipsis\">The essential source for photography since 1952. Subscribe today and save 25% off the cover price.<\/div>\n      <a href=\"https:\/\/www.ezsubscription.com\/ape\/subscribe?key=4SPPyr\" class=\"button product_type_simple\" target=\"_blank\">Shop Now<\/a>\n    <\/div>\n  <\/div>\n\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti: Mingei Gallery helped connect you to many of the leading artists of the era, including some of the major minimalists, Donald Judd, Dan Flavin, as well as Isamu Noguchi, Louise Nevelson, among others.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>Mingei Gallery became a circle of artists. So I had fun. But at that time in the 1970s, New York was dangerous. SoHo was illegal loft living. Drugs everywhere. But I made many friends among the artists of that time, and they knew that I was also a photographer. My first show was in 1981 at the Sonnabend Gallery. My Mingei Gallery started from 1979, so it was almost at the same time that I started my career as an antique dealer and as an artist.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong> Did this also drive your longstanding interest in collecting historical objects, which includes examples of photography\u2019s earliest experiments? We\u2019re sitting in your studio among many intriguing things, including your collection of fossils of dinosaur eggs and trilobites, which might be considered a form of proto-photography.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>The nice thing about my collection is I didn\u2019t have a proper art history education. So I just trusted my eye. If I go out to a flea market and find something interesting, without knowing its age, the presence of the object itself is most important. There must be something behind it, because it has a very powerful presence. I usually purchase something, and then buy hundreds of books to study it.<\/p>\n\n\n<div class=\"double-image-block double-block out-limit \">\n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAG223_Shea_HR.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\"><\/div>\n      <\/div>\n    <\/div>\n  \n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAG230_Shea_HR.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\"><\/div>\n      <\/div>\n    <\/div>\n  <\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong> In many respects, duration is at the heart of your practice, both in terms of the long exposures in the theater pictures, for example, where you photograph an entire film in one frame, but also how, over many decades, you have returned to the same subjects again and again.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>I have worked in series. Basically, there were three series that made my life fully booked. I started the <em>Diorama<\/em> series at the American Museum of Natural History in 1975. This is the fifty-first year of that series. Technically, I\u2019m still doing exactly the same thing. Same developer. So no progress at all . . .<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong> But the <em>Diorama<\/em> work has recently taken a new direction: color photographs of dioramas mounted onto traditional screens. But, aside from this change, the work has been remarkably consistent, without an obvious time signature, sort of out of time.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto:<\/strong><strong> <\/strong>I\u2019m usually trying to match the original 1975 quality. That\u2019s the most difficult part. The black-and-white photo paper has changed. It used to be very good, but now they use less silver in it to cut costs. I don\u2019t want people to think, Wow, your quality is lower than fifty years ago. So that\u2019s very challenging!<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti: There is a sense of accumulation, or at least repetition, in your work as you photograph the same subjects over long expanses of time. I know that you\u2019re interested in the photographs of Bernd and Hilla Becher and other artists working in typology.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>The Bechers were a few years before me. Early on, they were the only photographers being shown as contemporary artists. And then I just happened to join the same gallery, Sonnabend.<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAG228_Shea_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAG227_Shea_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti: Photography is all about reproducibility, but what, specifically, interests you about typologies as a form?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto:<\/strong><strong> <\/strong>Well, repeating subjects, such as <em>Seascapes<\/em> (1980\u2013ongoing) especially\u2014just one seascape doesn\u2019t have any conceptual meaning. Water and air are the two fundamental elements of the world. That\u2019s the subject, not the seascapes.<\/p>\n\n\n\n<div class=\"half-page-sidebar-ad align wp-block-acf-half-page-sidebar-ad\">\n      <div class=\"half-page-sidebar-ad-container\">\n      <!-- \/1034851\/sidenav_1 -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-2\"><\/div>\r\n<\/div>    <\/div>\n        <div class=\"half-page-sidebar-ad-mobile\">\n      <!-- \/1034851\/sidenav_2 -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-3\"><\/div>\r\n<\/div>    <\/div>\n  <\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti: Just the elements. You photograph the sea at Enoura Observatory, in Japan, every year on January 1?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto:<\/strong><strong> <\/strong>New Year\u2019s Day is the only day I can photograph in Japan without any sea traffic. Even the fishermen take that day off. I traveled around the world to compare the quality of the water and air. Now, I have stopped traveling around. I\u2019m aging. And also the quality of the sea is changing.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">We are losing nature. In the 1980s and 1990s, I traveled to the most remote places, far from civilization and human habitation. And then finally, I found the seas I was searching for. Wow. Kind of the primordial sea that humans used to see. But near civilization, there\u2019s always heavy traffic on the sea, cargo ships and fishermen. I went to Scotland, to the North Sea, but I was too late. All you see are oil towers.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">If one big digital bomb is dropped, then we lose electricity, and we have to go back to the old darkroom techniques.<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti: Your introduction to photography came through your elementary school science teacher, who taught you how to make photograms. You have an abiding interest in Man Ray, who famously made photograms, many of which formed the center of an exhibition at the Met last year. You have also revisited the mathematical models he photographed in the 1930s. What drew you toward the Surrealists?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto:<\/strong><strong> <\/strong>I encountered these mathematical models in 2002, and I instantly recognized that these were the same ones photographed by Man Ray. So I thought, Well, maybe I can do it better?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong>Better than Man Ray? You\u2019re also building your own sleek versions of mathematical models now as well, creating otherworldly sculptural forms.<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>[<em>Laughs<\/em>] And I can even make it more accurately. Man Ray\u2019s photographs are of plaster models made in Germany in the late nineteenth century. The French Institut Henri Poincar\u00e9 purchased the set, and then Man Ray and probably Marcel Duchamp saw it together, and then they were so interested. I carry the same kind of interest. Marcel Duchamp is my mentor.<\/p>\n\n\n<div class=\"double-image-block double-block out-limit \">\n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAG225_Shea_HR.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\"><\/div>\n      <\/div>\n    <\/div>\n  \n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAG224_Shea_HR.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\"><\/div>\n      <\/div>\n    <\/div>\n  <\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti: Duchamp was famously interested in chance as an artistic mode or strategy. When I think of your work, there\u2019s always such rigor, a sense of control, but then you\u2019re also are interested in experimentation\u2014there is the element of scientific exploration, or tinkering, at play. How does that balance between the chance of photography and control play out in your photographs, especially with the <em>Lighting Fields<\/em> (2007\u201325) images that are made by deploying live current in the darkroom?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto:<\/strong><strong> <\/strong>Photography is a chance operation, and creating <em>Lightning Fields<\/em> is a very dangerous operation. We risk our lives. What\u2019s the voltage? Four hundred thousand?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti: Shades of Mary Shelley. I was reading that you went up from one machine to another. Is that true? You started with one that was gentler but you needed a bigger jolt?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto:<\/strong><strong> <\/strong>Right. But it\u2019s all motivated by my visit to William Henry Fox Talbot\u2019s home at Lacock Abbey, where I discovered many electric devices studied by Michael Faraday and Talbot. But then, Talbot stopped his research because the invention of photography took up all his time . . . life, actually. He wanted to continue the study of electricity but this photography issue distracted him. Many people began copying him, and he had to spend a great deal of time asserting his patent rights.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti: I\u2019m interested in your fascination with Newtonian theory and the first edition of Sir Isaac Newton\u2019s <em>Opticks<\/em>. The<em> Opticks<\/em> series (2018\u2013ongoing) is your first work in color?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>Yes, I wanted to re-create his experiments on the nature of color. That happened to be the last year Polaroid film was produced, and a curator organized a farewell exhibition, <em>Bye-bye Polaroid<\/em>, at the Yokohama Museum of Art. They approached me, \u201cWell, why don\u2019t you try it? We\u2019ll give you the last batch of film and an SX-70 camera.\u201d So the museum show was planned, and I was invited. I already had this prism set up in my Tokyo studio. The room was designed as a chamber to observe the quality of light and shadow, with Japanese stucco walls. I projected the colors from the prism onto the walls so that I could photograph the spectrum of colors within white light.<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAG232_Shea_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAG221_Shea_HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Hiroshi Sugimoto and studio views, New York, April 2026<br> All photographs by Daniel Shea for <em>Aperture<\/em><\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong> You split your time between New York and Tokyo. How has living between two cultures for so long shaped your practice?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto:<\/strong><strong> <\/strong>The jet lag confuses my sense of time. But I can use that. I have my best ideas when I am jet-lagged.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong> Creating a context for viewing your photographs is a central part of your work as an artist\u2014how does architecture and space figure in your overall practice?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>I started by designing the exhibition spaces for every show. It is kind of an obsession. People started asking me to design the spaces because they saw I have a very good sense of space. That\u2019s how it started. And then the projects were getting bigger and bigger, and I had to establish my architectural studio, New Material Research Laboratory. But I don\u2019t have an architect\u2019s license, so I work with a licensed architect.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong> What is essential to consider when planning an environment to view photographs?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>It\u2019s not just the walls, I have to consider the entire space. For example, the Cartier Foundation, in Paris, is a huge glass box. So I made free-standing monolithic walls. So it\u2019s a sculptural space with my photography.<\/p>\n\n\n<div class=\"inline-ad background-inline-ad\">\n                <div class=\"inline-ad-mobile\">\n            <!-- \/1034851\/sidenav_2 -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-3\"><\/div>\r\n<\/div>        <\/div>\n        <div class=\"inline-ad-desktop\">\n            <!-- \/1034851\/Leaderboard -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-0\" style=\"text-align: center\"><\/div>\r\n<\/div>        <\/div>\n    <\/div>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong> Do you have a dream space, or building, that you would want to be exhibited in? Or I should ask: Was there a museum that you felt very excited about having your work shown in because of the space itself ?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>For an exhibition at the Royal Ontario Museum, I built a free-standing, crescent-shaped wall in the exhibition hall because there were no vertical walls. It was the opening of the new building designed by Daniel Libeskind, but my wall was delivered on the day of the exhibition opening. It wasn\u2019t completely finished! But the crescent-shaped wall was beautiful, with a super-sharp edge that requires special care.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong> Enoura Observatory, outside of Tokyo, seems to be the apotheosis of your career, an expression of so many of your interests. There is a space for theater, an optical glass stage, a tea house, gardens. It\u2019s your total work of art. Was it a longstanding dream to create this?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>Enoura Observatory brings together the different artistic fields I\u2019ve been practicing into one place. It was very difficult to begin with, to purchase the land, and then the construction cost a lot of money. But I didn\u2019t want to ask the rich people to support me or borrow money from a bank. I decided to use all the money I make from my art to support the creation of a new type of art, which is my foundation.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong> Across the grounds of Enoura, there is a sense of considering time on a grand scale\u2014from objects representing longstanding traditions to sites meant to contemplate the cosmos or the sea and nature. It\u2019s very much a living work, changing throughout the year. Do you have a favorite season there?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>My favorite season? In Japan we only have two seasons now, winter and summer. Maybe soon there will only be summer. But my favorite time to be at Enoura is for the winter and summer solstices.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti:<\/strong><strong> You have described yourself as an \u201chabitual self-interlocutor.\u201d What conversation is playing out in your head these days?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto:<\/strong><strong> <\/strong>These days? Well, the exhibition in Tokyo, at the National Museum of Modern Art, is titled <em>Extinction<\/em>. The extinction of black-and-white silver-gelatin prints, but at the same time, the possibility that our civilization might be facing extinction. Everything can be done by AI, and probably the artist is the last vestige of the first people. Art is so fragile, and everything is digital. If one big digital bomb is dropped, then we lose electricity, and we have to go back to the old darkroom techniques.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Famighetti: Would you be happy to go back to the \u201cold darkroom\u201d? In many ways you already have through your interest in photography\u2019s origins. Why do the origins of the medium continue to fascinate you?<\/strong><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Sugimoto: <\/strong>In the very beginning, the process was not fully formed. There is a beauty in the imperfection of the technique. Now, we are in the post-photography era. Perhaps I will be memorialized as the last photographer.<\/p>\n\n\n\n<p class=\"sans-light wp-block-paragraph\">This interview originally appeared in <em>Aperture<\/em> No. 264, \u201cStop Time.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"<p>As guest editor of <em>Aperture<\/em>\u2019s fall issue, Sugimoto traces his obsessions\u2014from the nature of seeing to humanity\u2019s quest for immortality.<\/p>\n","protected":false},"author":2,"featured_media":340655,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":false,"apple_news_is_preview":false,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":"\"\"","apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[322],"tags":[11191,13808,1715],"magazine":[],"post_author":[7450],"class_list":["post-340654","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","tag-immersive","tag-aperture-no-264-stop-time","tag-hiroshi-sugimoto","post_author-michael-famighetti"],"acf":[],"apple_news_notices":[],"featured_image_src":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAGShea_400_HR-600x400-1788270554.jpg","featured_image_src_square":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/264MAGShea_400_HR-600x600-1788270562.jpg","author_info":{"display_name":"aperturewp","author_link":"https:\/\/aperture.org\/author\/aperturewp\/"},"_links":{"self":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340654","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/comments?post=340654"}],"version-history":[{"count":0,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340654\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media\/340655"}],"wp:attachment":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media?parent=340654"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/categories?post=340654"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/tags?post=340654"},{"taxonomy":"magazine","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/magazine?post=340654"},{"taxonomy":"post_author","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/post_author?post=340654"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":340549,"date":"2026-08-21T12:52:54","date_gmt":"2026-08-21T16:52:54","guid":{"rendered":"https:\/\/aperture.org\/?p=340549"},"modified":"2026-08-21T12:52:57","modified_gmt":"2026-08-21T16:52:57","slug":"in-france-an-exhibition-focuses-on-the-power-of-truth","status":"publish","type":"post","link":"https:\/\/aperture.org\/editorial\/in-france-an-exhibition-focuses-on-the-power-of-truth\/","title":{"rendered":"In France, an Exhibition Focuses on the Power of Truth"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Visitors to Rencontres d\u2019Arles will know the long, hot walk down the circular ring road that surrounds the old city, mimicking the shape of the bullring at its center, to the brutalist beauty of the Monoprix supermarket at its end. The crescent-shaped building topped by large, yellow cement blocks bearing its name is, for the duration of the storied annual photography festival in southern France, home to multiple exhibitions, accessible only through the clothing section of the high-end store. This year, half the entire floorspace above the store is dedicated to the festival\u2019s <a href=\"https:\/\/www.rencontres-arles.com\/en\/expositions\/2026\/2026-discovery-award-louis-roederer-foundation\" target=\"_blank\" rel=\"noreferrer noopener\">Louis Roederer Foundation Discovery Award<\/a>. Occupying an unlikely spot for an exhibition, this cohesive yet competitive show awards up-and-coming voices in photography.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The exhibition <em>The best possible way to tell the truth\u2026<\/em> showcases the work of seven artists: Charlotte Yonga, Souleymane Bachir Diaw, Phan Quang, Amira Lamti, Jordan Beal, Mallory Lowe Mpoka (who won the public vote), and Magali Paulin (who was awarded the jury prize). Selected by curator Nadine Hounkpatin, these artists bring viewpoints from Vietnam, Senegal, Martinique, France, Cameroon, and Tunisia, a diversity that is mirrored by their modes of practice and in the realization and presentation of their work. \u201cWhat above all unites these seven artists is a shared intellectual and ethical commitment. Each approaches photography as a space of inquiry, one in which images construct meaning, negotiate memory and inheritances, and challenge dominant narratives, rather than simply documenting reality,\u201d Hounkpatin explains.<\/p>\n\n\n<div class=\"gutenberg-side-by-side-images\">\n\t<div class=\"gutenberg-left-column\">\n\t\t<div class=\"gutenberg-left-column-image\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2-2025_07_17-MAGALI109140.jpg\" alt=\"Magali Paulin, <em>Indochina Pavilion<\/em> built for the 1907 Nogent-sur-Marne Colonial Exhibition, July 2024<br>Courtesy the artist&#8221;>\n\t\t<\/div>\n\t\t<div class=\"gutenberg-image-description\">\n\t\t\t<figcaption>Magali Paulin, <em>Indochina Pavilion<\/em> built for the 1907 Nogent-sur-Marne Colonial Exhibition, July 2024<br>Courtesy the artist<\/figcaption>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"gutenberg-right-column\">\n\t\t<div class=\"gutenberg-right-column-image\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/1-2021_12_31-Magali104922.jpg\" alt=\"Magali Paulin, Former greenhouses of the <em>Colonial Garden<\/em> in Nogent-sur-Marne, built around 1899, July 2024<br>Courtesy the artist&#8221;>\n\t\t<\/div>\n\t\t<div class=\"gutenberg-image-description\">\n\t\t\t<figcaption>Magali Paulin, Former greenhouses of the <em>Colonial Garden<\/em> in Nogent-sur-Marne, built around 1899, July 2024<br>Courtesy the artist<\/figcaption>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">Martinican-French artist Paulin uses photography and text to tell the story of the Jardin d\u2019Agronomie Tropicale, located in Nogent-sur-Marne, Paris, and dating back to 1907. Paulin photographed the site and documented its history, and her installation leaves two photographs propped up on the floor, unhung to echo the unresolved nature of colonialism. \u201cThe garden of Nogent immediately struck me as one of the matrixes of the plantation system,\u201d Paulin says. \u201cIt was a place where the extraction of both natural resources and knowledge was organized, and where agricultural strategies for France\u2019s colonial territories were developed. A place responsible for so many sufferings.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Shot in black and white, the images have an aura of stillness to them, isolating details of plants, figures, and structures to highlight the history of this garden. One image shows a monolith inscribed only with the word <em>NOIRS<\/em>, zeroing in on a detail from a monument to the Black soldiers who died for France. \u201cI was deeply unsettled by the presence of the former colonial pavilions and the memorials dedicated to colonial soldiers,\u201d Paulin explains. \u201cThe park itself is peaceful, wooded, removed from the bustle of central Paris. It was precisely this paradox that drew me in. The site revealed itself to me as a haunted space, but also as a place from which to think about the broader haunting of colonial history in public space.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"1333\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_film1-copie.jpg\" alt=\"\" class=\"wp-image-340583\" style=\"width:1000px;height:auto\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_film1-copie.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_film1-copie-300x200.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_film1-copie-1024x682.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_film1-copie-768x512.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_film1-copie-1536x1024.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_film1-copie-320x213.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_film1-copie-600x400.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_film1-copie-24x16.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_film1-copie-36x24.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_film1-copie-48x32.jpg 48w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Mallory Lowe Mpoka, Still from <em>She Who Summons<\/em>, Mbour, Senegal, 2025. Color, sound, 9 minutes, 52 seconds<br>Courtesy the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Mpoka\u2019s series <em>Cosmologies of the Heiresses <\/em>uses textile, film, and found photography to tell the story of her coming of age after the passing of her mother, leaving her the matriarch of her family. Alongside Mpoka\u2019s film work and staged photography, two large woven works in warm, ochre shades depict her and her mother, with the images in negative shown on the reverse of each work. \u201cWhat compelled me was recognizing that my experience wasn\u2019t unique,\u201d Mpoka says. \u201cSo many women, particularly Black women, inherit responsibility at a very young age and are expected to move through that quietly, almost as though it were inevitable. Those experiences often become invisible because they\u2019re understood as duty rather than something worthy of reflection.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"611\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_Phan-Quang_Re_cover_no.7_2014_Hanoi-Vietnam-1024x611.png\" alt=\"\" class=\"wp-image-340586\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_Phan-Quang_Re_cover_no.7_2014_Hanoi-Vietnam-1024x611.png 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_Phan-Quang_Re_cover_no.7_2014_Hanoi-Vietnam-300x179.png 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_Phan-Quang_Re_cover_no.7_2014_Hanoi-Vietnam-768x458.png 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_Phan-Quang_Re_cover_no.7_2014_Hanoi-Vietnam-1536x917.png 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_Phan-Quang_Re_cover_no.7_2014_Hanoi-Vietnam-320x191.png 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_Phan-Quang_Re_cover_no.7_2014_Hanoi-Vietnam-24x14.png 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_Phan-Quang_Re_cover_no.7_2014_Hanoi-Vietnam-36x21.png 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_Phan-Quang_Re_cover_no.7_2014_Hanoi-Vietnam-48x29.png 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_Phan-Quang_Re_cover_no.7_2014_Hanoi-Vietnam-600x358.png 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_Phan-Quang_Re_cover_no.7_2014_Hanoi-Vietnam.png 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><figcaption class=\"wp-element-caption\">Phan Quang, <em>Re\/cover No. 7<\/em>, Hanoi, Vietnam, 2014, from the series <em>Re\/cover<\/em>, 2013\u201316<br>Courtesy the artist and Gallerie Bao<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Quang\u2019s series offers a moving investigation of women who had children with Japanese soldiers in Vietnam following World War II. In some cases, the soldiers were forced to separate from them when they were repatriated after the war, leaving their partners and children vulnerable and often without contact. His images show his subjects veiled in fabric, emblematic of the shadow these forced separations cast over their lives. The series was photographed over the course of the last five years, and Quang plans to expand it to other affected countries in Asia.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Focusing on his native Martinique, Beal\u2019s <em>Linaments<\/em> uses AI to explore the ways we imagine tropical islands and the visual tropes of paradise. Martinique, an island in the Caribbean, was colonized by the French in 1635. This brought multiple disasters with it, from the displacement of the indigenous Kalinago to the slavery-powered sugar industry. Beal created images of the island using AI and shot them on the screen. The resulting photos are grainy and have a dreamlike quality to them, raising questions of history, exoticism, and desire.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"2000\" height=\"2000\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_.jpg\" alt=\"\" class=\"wp-image-340592\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_.jpg 2000w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_-300x300.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_-1024x1024.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_-150x150.jpg 150w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_-768x768.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_-1536x1536.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_-256x256.jpg 256w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_-600x600.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_-24x24.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_-36x36.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_-48x48.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2_A-photo-of-the-horizon-in-Martinique-III-2025_-100x100.jpg 100w\" sizes=\"auto, (max-width: 2000px) 100vw, 2000px\" \/><figcaption class=\"wp-element-caption\">Jordan Beal, <em>A photo of the horizon in Martinique I<\/em>, 2025<br>Courtesy the artist<\/figcaption><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Diaw\u2019s series <em>Sutura<\/em> explores silence and the unspoken in families. Drawing on precise compositions and symbolism, Diaw creates work based on unanswered questions to build out his own multifaceted answers. He poses his subjects and then shoots sections of the body or has them partially concealed and indiscernible, evoking the unsaid in family dynamics. \u201cI generally construct an image by gathering, in a specific location, people, artifacts, fabrics, and garments I want to work with,\u201d Diaws says. \u201cAfter that, I activate them in a performative and intuitive way where I use sequencing and repetition, whether it is through still-life or self-portraiture. This way, I build a kind of catalog of aesthetic and meanings, which will later be integrated into a network.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Lamti\u2019s work <em>Bent el Machta<\/em> explores the traditionally female role of the <em>matcha<\/em>, the guardian of wedding rites in the Tunisian Sahel, through photographs printed traditionally and onto fabric. \u201cTraditional fabrics, such as the <em>safsari<\/em>, became important elements within the work, not only as backgrounds or surfaces but as materials that hold their own histories and meanings,\u201d Lamti says. Through staged images, collage, and documentary images, she shows us elements of this tradition, including an image of her brother in the traditional dress of the <em>matcha<\/em>. \u201cThe project is connected to Tunisian and wider North African contexts, and more specifically to the evolving experiences of women, who continue to redefine themselves and their place within contemporary life while remaining connected to their ancestral roots,\u201d she explains.<\/p>\n\n\n<div class=\"gutenberg-side-by-side-images\">\n\t<div class=\"gutenberg-left-column\">\n\t\t<div class=\"gutenberg-left-column-image\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/1_Sutura_worn-white-grand-bubu-with-golden-embroidery-and-green-headscarf_grey-area_2022-crop-v2.jpg\" alt=\"Souleymane Bachir Diaw, <em>Worn White Grand-Bubu With Golden Embroidery and Green Headscarf, Grey Area<\/em>, 2021, from the series <em>Sutura<\/em>, 2021\u2013ongoing<br>Courtesy the artist&#8221;>\n\t\t<\/div>\n\t\t<div class=\"gutenberg-image-description\">\n\t\t\t<figcaption>Souleymane Bachir Diaw, <em>Worn White Grand-Bubu With Golden Embroidery and Green Headscarf, Grey Area<\/em>, 2021, from the series <em>Sutura<\/em>, 2021\u2013ongoing<br>Courtesy the artist<\/figcaption>\n\t\t<\/div>\n\t<\/div>\n\t<div class=\"gutenberg-right-column\">\n\t\t<div class=\"gutenberg-right-column-image\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/2-9.tsypossible-cyonga_HD-copie.jpg\" alt=\"Charlotte Yonga, <em>D\u00efane, Mahenina and Belly<\/em>, Antananarivo, Madagascar, 2024<br>Courtesy the artist&#8221;>\n\t\t<\/div>\n\t\t<div class=\"gutenberg-image-description\">\n\t\t\t<figcaption>Charlotte Yonga, <em>D\u00efane, Mahenina and Belly<\/em>, Antananarivo, Madagascar, 2024<br>Courtesy the artist<\/figcaption>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<p class=\"wp-block-paragraph\">\u201cThe combination of photography and drawing comes afterwards. I bring them together quite instinctively, often through analogies of form or color,\u201d says Yonga, who shoots in film and, while she is waiting for it to be processed, makes abstract drawings based on her memory of the experience of making the photographs<em>. (Tsy) Possible<\/em>, made while on a residency in Madagascar, looks at the full spectrum of love and relationships. Her tender images of couples, single portraits, and images of the beauty of Madagascar provide a window into a place at a specific time.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">These projects expand on the postcolonial themes that have created exciting conversations in photography in recent years by using tools taken from outside of photography to highlight their key ideas. Here, multiple voices speak on vastly different themes in a variety of ways, yet the exhibition as a whole focuses on a single point\u2014the power of a truth. From unearthing the history of a public park to the devastating reality of colonialism as seen through the lens of AI, the truth is as platformed as it is up for grabs. At Rencontre d\u2019Arles, one of the centers of the establishment, this feels like a true platform for the contemporary.<\/p>\n\n\n\n<p class=\"sans-light wp-block-paragraph\"><em>The best possible way to tell the truth\u2026<\/em> is on view at Rencontre d\u2019Arles, France, through October 4, 2026.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Rather than simply documenting reality, photographers at this summer\u2019s Arles Festival negotiate memory and challenge dominant narratives.<\/p>\n","protected":false},"author":2,"featured_media":340582,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":false,"apple_news_is_preview":false,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":"\"\"","apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[254],"tags":[],"magazine":[],"post_author":[13800],"class_list":["post-340549","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-reviews","post_author-amah-rose-abrams"],"acf":[],"apple_news_notices":[],"featured_image_src":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/1-Amen-Digital-Photography-Inkjet-printing-on-190g-matte-paper-108x72cm-Edition-of-3-2024-600x400.jpg","featured_image_src_square":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/1-Amen-Digital-Photography-Inkjet-printing-on-190g-matte-paper-108x72cm-Edition-of-3-2024-600x600.jpg","author_info":{"display_name":"aperturewp","author_link":"https:\/\/aperture.org\/author\/aperturewp\/"},"_links":{"self":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340549","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/comments?post=340549"}],"version-history":[{"count":0,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340549\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media\/340582"}],"wp:attachment":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media?parent=340549"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/categories?post=340549"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/tags?post=340549"},{"taxonomy":"magazine","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/magazine?post=340549"},{"taxonomy":"post_author","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/post_author?post=340549"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":340556,"date":"2026-08-18T11:36:23","date_gmt":"2026-08-18T15:36:23","guid":{"rendered":"https:\/\/aperture.org\/?p=340556"},"modified":"2026-08-24T10:27:41","modified_gmt":"2026-08-24T14:27:41","slug":"how-catherine-opie-learned-the-art-of-teaching-photography","status":"publish","type":"post","link":"https:\/\/aperture.org\/editorial\/how-catherine-opie-learned-the-art-of-teaching-photography\/","title":{"rendered":"How Catherine Opie Learned the Art of Teaching Photography"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">In my thirty-two years of teaching photography, working with students has never been separate from the rest of my artistic life; it has always been a parallel yet deeply interwoven practice. Looking back, I am struck not by any single revelation but by the accumulation of conversations and shared discoveries that took place in classrooms, studios, hallways, and offices. My <a href=\"https:\/\/store.aperture.org\/products\/catherine-opie-the-photography-workshop-series\" target=\"_blank\" rel=\"noreferrer noopener\">new book<\/a>, part of Aperture\u2019s Photography Workshop Series<em>,<\/em> emerges from a collective space defined less by hierarchy than by inquiry, curiosity, and exchange.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">At the start of this project, my central question was how to articulate the fundamentally collaborative nature of teaching. Yes, I have my own experiences and bodies of work, which inevitably shape the way I reach students, but advancing my own perspectives was never the reason I wanted to teach. For me, teaching is relational; it lives in conversation. I don\u2019t believe that an artist educates by imparting a singular vision. Instead, teaching photography is an invitation for students to develop their own voices by looking closely at the world and at images\u2014and then trusting what they notice.<\/p>\n\n\n<div class=\"double-image-block double-block out-limit \">\n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-Justin-Bond-scaled.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\">Catherine Opie, <em>Justin Bond<\/em>, 1993<\/div>\n      <\/div>\n    <\/div>\n  \n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-Alistair-Fate-scaled.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\">Catherine Opie, <em>Alistair Fate<\/em>, 1994<\/div>\n      <\/div>\n    <\/div>\n  <\/div>\n\n\n\n<p class=\"wp-block-paragraph\">This book is structured around sustained conversations with five former students: Lucas Blalock, Janna Ireland, Paul Mpagi Sepuya, Jeff Whetstone, and Carmen Winant. Each one of them has become an educator, and they carry forward their own influences and sets of questions and methods. What emerges in our dialogue is not simply five individual narratives but a portrait of how knowledge, mentorship, and artistic history circulate\u2014and reverberate\u2014across generations. None of us teaches alone, just as none of us makes work alone. To be a teacher means to be part of a lineage that moves from one person to the next and reconfigures itself with each new maker. Each of our bodies of work contributes to that ongoing discourse. The classroom has often been envisioned as a chamber in which the master speaks and the students listen. But the real classroom is something else entirely\u2014full of unpredictable and shifting energies, ambiguities, and discoveries. It is an environment in which authority is questioned as often as it is followed, where the teacher attends as much as her students, and where the collective voice shapes the direction of inquiry. In this way, the classroom becomes a community, and my role within it is that of guide, witness, and coinvestigator.<\/p>\n\n\n\n<blockquote class=\"wp-block-quote is-layout-flow wp-block-quote-is-layout-flow\">\n<p class=\"wp-block-paragraph\">Every photograph contains a question. Every artist remains a learner. Every classroom is a chamber of overlapping voices.<\/p>\n<\/blockquote>\n\n\n\n<p class=\"wp-block-paragraph\">Students bring their own histories\u2014personal, political, and aesthetic\u2014and photography is a way for them to articulate those histories. Often, they do not yet know the questions they are trying to ask. My highest task is to create a space where they can learn how to see, rather than be told what to see.<\/p>\n\n\n<div class=\"double-image-block double-block out-limit height-auto\">\n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-Sky-and-Mike-Cruising-1992.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\">Catherine Opie, <em>Sky and Mike, Cruising, 1992<\/em>, 1992\/2024<\/div>\n      <\/div>\n    <\/div>\n  \n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-The-Gang.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\">Catherine Opie, <em>The Gang<\/em>, 1990<\/div>\n      <\/div>\n    <\/div>\n  <\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Over my decades in the classroom, I have watched generations of students arrive with different assumptions about what photography is and what it does. The collapse of the analog and digital divide, the rise of social media, and the shifting landscape of public and private imagery have transformed how young artists understand their work. The velocity with which images move through the world today is radically different from when I began my life in photography. Yet the essential questions remain. What do images do? Who is their audience? How do we represent the world without exploiting it? How do we represent people without exploiting them? How do artists sustain a practice over time? Who or what should we look to for inspiration?<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The nature of influence became a recurring theme as I spoke with Paul, Carmen, Lucas, Janna, and Jeff. In art school, students are often warned about influence as if it threatens originality. The truth is that all art emerges from something learned, observed, or absorbed. Influence is not a burden; it is an inheritance.<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-Oliver-in-a-Tutu.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Catherine Opie, <em>Oliver in a Tutu<\/em>, 2004<\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-Chicken.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Catherine Opie, <em>Chicken<\/em>, 1991<\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\">My own early work was shaped by the 1970s and \u201980s, by avant-garde academic texts that framed political and cultural visibility and conceptual work by artists such as Barbara Kruger and Martha Rosler, who linked images with language and critique. But each generation develops its own constellation of people and references. Lucas spoke about teachers who shaped his thinking in ways he had not anticipated. Carmen described artists who transformed her approach, long before she understood how they were teaching her. Paul talked about learning to appreciate the image as an object through the example set by both his peers and famous figures in photography. Janna reflected on how rigorously studying history helped her to comprehend both narrative and form. Jeff recounted how an intersection of landscape, environment, and cultural memory directed his path. Together, their experiences form a shared and constantly evolving archive.<\/p>\n\n\n\n<div class=\"gray-product-block open-cta-in-new-tab align wp-block-acf-gray-product-block\">\n\n  <div class=\"gray-product-block-container\">\n    <div class=\"gray-product-block-image\">\n      <a href=\"https:\/\/b2e2ab-e3.myshopify.com\/products\/catherine-opie-the-photography-workshop-series\" target=\"_blank\" rel=\"noopener\">\n        <img decoding=\"async\" src=\"https:\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/2026_OpieWorkshop_01.jpg?v=1786980738\" alt=\"Catherine Opie on Identity and Collectivity\">\n      <\/a>\n    <\/div>\n    <div class=\"gray-product-block-content\">\n      <h4>Catherine Opie on Identity and Collectivity<\/h4>\n              <h5>$29.95<\/h5>\n            <div class=\"ellipsis\"><p>An expansive dialogue about what it means to develop your artistic voice in collaboration with others.<\/p><\/div>\n      <a href=\"https:\/\/b2e2ab-e3.myshopify.com\/products\/catherine-opie-the-photography-workshop-series\" class=\"button product_type_simple\" target=\"_blank\">Shop Now<\/a>\n    <\/div>\n  <\/div>\n\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\">The practical realities of building an artistic life also surfaced repeatedly as we talked. Students often imagine that a career in art can be sustained by inspiration alone, but those of us who have cultivated one know that endurance, structure, and discipline are equally essential. Being an artist is a long-term commitment that requires patience and an ability to navigate uncertainty. Teaching therefore must include honest discussions about labor, economic realities, and the complex institutional structures through which artists move. The work of sustaining a practice is built in the slow accumulation of time spent looking, thinking, and making; the work of building an artistic life requires a different kind of savvy.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Throughout our exchanges, I found that a shared sense of inquiry connected all six of us. The art of photography is full of contradictions; it is mechanical yet emotional, instantaneous yet historical, documentary yet conceptual. To teach the medium means to embrace these contradictions rather than resolve them\u2014and to encourage students to ask questions for which there are no predetermined answers.<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-Football-Landscape.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Catherine Opie, <em>Football Landscape #12 (Alice vs.W.B. Ray, Corpus Christi, TX)<\/em>, 2008<\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-AB-101-Demonstration-1991.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">Catherine Opie, <em>AB 101 Demonstration, 1991<\/em>, 1991\/2024<\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\">As educators we not only inherit histories but also challenge and expand on them. We carry forward our own influences and our own urgencies; each one of us adds something new to the lineage. Although our artistic practices differ, Carmen, Janna, Jeff, Lucas, Paul, and I all approach teaching as something profoundly cooperative and communal and shaped by the institutions, mentors, peers, and students who show us unexpected routes through the medium. What does it mean to pass knowledge on\u2014for a question to be carried forward by another and reshaped by their own experiences and the times in which they live? As former students become teachers, the conversation widens again, and the cycle continues.<\/p>\n\n\n<div class=\"inline-ad background-inline-ad\">\n                <div class=\"inline-ad-mobile\">\n            <!-- \/1034851\/sidenav_2 -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-3\"><\/div>\r\n<\/div>        <\/div>\n        <div class=\"inline-ad-desktop\">\n            <!-- \/1034851\/Leaderboard -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-0\" style=\"text-align: center\"><\/div>\r\n<\/div>        <\/div>\n    <\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Photography thrives on these continuities. Every photograph contains a question. Every artist remains a learner. Every classroom is a chamber of overlapping voices. This book is an acknowledgment of the voices that have shaped my three decades of teaching and an expression of gratitude for all the relationships that sustained me. In thinking about the future of photographic education, I cannot ignore the shifting landscape of art schools. The college I attended, the San Francisco Art Institute, closed after a long and influential history. Its closure\u2014and that of fellow institutions\u2014is a profound loss. Places like SFAI cultivate forms of dialogue and experimentation that simply cannot be replicated by large university art departments. Despite having spent most of my career teaching at both Yale and UCLA, I believe that independent art schools such as CalArts remain essential for artists who need a community that understands the myriad complexities of making art and an environment built around intensive studio practice and dedicated critique. That these independent colleges continue to exist matters deeply for the next generations of artists who require spaces where risk, curiosity, and imagination are central to their education. Our collective work is to make sure that they continue to thrive.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">This book is a testament to the legacy of those kinds of institutions: It reflects both the education I received and the education I have offered, and recognizes the communities that make artistic life possible. The classroom, the studio, the critique, and the collective practice of learning from one another form a lineage that extends far beyond any single career\u2014it is my hope that the conversations will resonate and guide in ways that we cannot know, and will be continued by those who reimagine the future of the medium.<\/p>\n\n\n<div class=\"double-image-block double-block out-limit \">\n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-untitled-10-scaled.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\">Catherine Opie, <em>Untitled #10 (From Your Shore to My Shore)<\/em>, 2009<br>All photographs \u00a9 the artist and courtesy of Regen Projects, Los Angeles; Lehmann Maupin, New York, Hong Kong, Seoul, and London; Thomas Dane Gallery; and Peder Lund Gallery, Oslo<\/div>\n      <\/div>\n    <\/div>\n  \n          <div class=\"image-1\">\n      <div>\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-Larkie.jpg\" alt=\"\" data-fancybox>\n        <div class=\"photo-caption\">Catherine Opie, <em>Larkie, 2009<\/em>, 2009\/2024<\/div>\n      <\/div>\n    <\/div>\n  <\/div>\n\n\n\n<p class=\"sans-light wp-block-paragraph\">This essay originally appeared in <em>Catherine Opie on Identity and Collectivity <\/em>(Aperture, 2026).<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Students often imagine that a career in art can be sustained by inspiration alone. But endurance, structure, and collaboration are equally essential.<\/p>\n","protected":false},"author":2,"featured_media":340559,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":false,"apple_news_is_preview":false,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":"\"\"","apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[664],"tags":[11191,2735],"magazine":[],"post_author":[13799],"class_list":["post-340556","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays","tag-immersive","tag-catherine-opie","post_author-catherine-opie"],"acf":[],"apple_news_notices":[],"featured_image_src":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-Flipper-Tanya-Chloe-Harriet-1-600x400.jpg","featured_image_src_square":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/Catherine-Opie-Flipper-Tanya-Chloe-Harriet-1-600x600.jpg","author_info":{"display_name":"aperturewp","author_link":"https:\/\/aperture.org\/author\/aperturewp\/"},"_links":{"self":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340556","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/comments?post=340556"}],"version-history":[{"count":0,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340556\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media\/340559"}],"wp:attachment":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media?parent=340556"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/categories?post=340556"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/tags?post=340556"},{"taxonomy":"magazine","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/magazine?post=340556"},{"taxonomy":"post_author","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/post_author?post=340556"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}},{"id":340525,"date":"2026-08-13T15:33:44","date_gmt":"2026-08-13T19:33:44","guid":{"rendered":"https:\/\/aperture.org\/?p=340525"},"modified":"2026-08-17T18:42:37","modified_gmt":"2026-08-17T22:42:37","slug":"an-odyssey-across-the-japanese-archipelago","status":"publish","type":"post","link":"https:\/\/aperture.org\/editorial\/an-odyssey-across-the-japanese-archipelago\/","title":{"rendered":"An Odyssey Across the Japanese Archipelago\u00a0"},"content":{"rendered":"\n<p class=\"sans-light wp-block-paragraph\">This article originally appeared in <em>Aperture<\/em>, Spring 2016, \u201cOdyssey.\u201d<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">An adventurer turned photographer, Ishikawa Naoki has journeyed from the North Pole to the South Pole using only human-powered vehicles. He is the youngest person ever to have scaled the highest peaks on all seven continents, as well as K2, one of the world\u2019s most hazardous mountains. But Ishikawa, who was born in Tokyo in 1977, doesn\u2019t travel out of a desire to conquer nature\u2014but rather, as he says, in order to relativize his own perspective.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">For his series <em>Archipelago<\/em> (2009), made over ten years, Ishikawa traveled around the numerous island chains in the seas to the north and south of Japan. The artist\u2019s twenty-first-century project to reposition Japan\u2014once seen as being on the far edge of the world (\u201cthe land where the sun rises\u201d), as one cluster in a long chain of islands in Asia\u2014and to reconsider its history and culture in that context is an act redolent with implications. From the southernmost tip of Kyushu he traveled to Okinawa, the Yaeyama Islands, the Ryukyu Islands, Taiwan, and Kinmen, a tiny group of islands situated within a hair\u2019s breadth of the Chinese mainland that has several times become the site of fierce territorial battles between Taiwan and China. For his travels in the north, he went to Sakhalin, the Sea of Okhotsk, the Bering Sea\u2014and even as far as Haida Gwaii in the Gulf of Alaska<\/p>\n\n\n\n<div class=\"gray-product-block open-cta-in-new-tab align wp-block-acf-gray-product-block\">\n\n  <div class=\"gray-product-block-container\">\n    <div class=\"gray-product-block-image\">\n      <a href=\"https:\/\/www.ezsubscription.com\/ape\/subscribe?key=4SPPyr\" target=\"_blank\" rel=\"noopener\">\n        <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/09\/2026_Aperture264_1600x900_Fan_gray-copy.jpg\" alt=\"Aperture Magazine Subscription\">\n      <\/a>\n    <\/div>\n    <div class=\"gray-product-block-content\">\n      <h4>Aperture Magazine Subscription<\/h4>\n            <div class=\"ellipsis\">The essential source for photography since 1952. Subscribe today and save 25% off the cover price.<\/div>\n      <a href=\"https:\/\/www.ezsubscription.com\/ape\/subscribe?key=4SPPyr\" class=\"button product_type_simple\" target=\"_blank\">Shop Now<\/a>\n    <\/div>\n  <\/div>\n\n<\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Throughout the islands, Ishikawa devoted himself to documenting local festivals and practices, as well as people\u2019s daily lives. \u201cThere are certain realities that disappear when you package them up in language,\u201d he says. \u201cMy idea is to break through all that, and simply present the things in the world.\u201d His work attempts to view afresh customs and ceremonies, teasing out histories and cultures on the margins that have been overlooked in favor of cities like Tokyo and Osaka.<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG405_Ishikawa-HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG226_Ishikawa-HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<div class=\"half-page-sidebar-ad align wp-block-acf-half-page-sidebar-ad\">\n      <div class=\"half-page-sidebar-ad-container\">\n      <!-- \/1034851\/sidenav_1 -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-2\"><\/div>\r\n<\/div>    <\/div>\n        <div class=\"half-page-sidebar-ad-mobile\">\n      <!-- \/1034851\/sidenav_2 -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-3\"><\/div>\r\n<\/div>    <\/div>\n  <\/div>\n\n\n\n<p class=\"wp-block-paragraph\">Festivals in the Tokara Islands, to the south, and also in further islands, are quite different from those you might find on Japan\u2019s main island of Honshu, having more in common with traditions in Southeast Asia, the Philippines, or Taiwan. In a world we are continually being told has shrunk with the power of the Internet and the effects of globalization, fascinating customs and practices abound that are unique to particular cultural and spiritual topographies. \u201cBefore we had political boundaries, it was each local area, each locality\u2014that was all that mattered,\u201d Ishikawa explains. \u201cThe world was made up simply of individual places.\u201d As we gaze at such places through Ishikawa\u2019s eyes we experience this topographical uniqueness in a direct, unmediated way.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The photographs in this series are often compared to Shomei Tomatsu\u2019s prizewinning 1975 book on Okinawa, <em>Taiyo no empitsu<\/em> (The pencil of the sun). But the impulse behind Tomatsu\u2019s images is different in character\u2014his are real-time documents shot through with experiences of the political realities of the postwar years. Ishikawa\u2019s work, set in present-day Japan, well past the postwar period, is impelled by a more epistemological project, an attempt to express the idea of what it is to know. Facing both north and south, he fits together the various pieces of an archipelago of his own design. Today, in 2015, pivotal changes are occurring in Asia that could never have been foreseen when this collection first came out seven years ago\u2014the China\u2013U.S. summit meeting, the historic meeting between President Xi Jinping of China and President Ma Ying-jeou of Taiwan. The archipelago that Ishikawa envisioned now seems situated like the long arc of a bow taut with the tension of what was yet to come in the relations between Asia and the rest of the world.<\/p>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG406_Ishikawa-HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG234_Ishikawa-HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n\n<figure class=\"wp-block-image size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"821\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR-1024x821.jpg\" alt=\"\" class=\"wp-image-340532\" srcset=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR-1024x821.jpg 1024w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR-300x240.jpg 300w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR-768x616.jpg 768w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR-1536x1231.jpg 1536w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR-640x512.jpg 640w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR-320x256.jpg 320w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR-24x19.jpg 24w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR-36x29.jpg 36w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR-48x38.jpg 48w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR-600x481.jpg 600w, https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG232_Ishikawa-HR.jpg 2000w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n<div class=\"inline-ad background-inline-ad\">\n                <div class=\"inline-ad-mobile\">\n            <!-- \/1034851\/sidenav_2 -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-3\"><\/div>\r\n<\/div>        <\/div>\n        <div class=\"inline-ad-desktop\">\n            <!-- \/1034851\/Leaderboard -->\r\n<div class=\"advertisement\">\r\n  <span>Advertisement<\/span>\r\n  <div id=\"div-gpt-ad-1343857479665-0\" style=\"text-align: center\"><\/div>\r\n<\/div>        <\/div>\n    <\/div>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG233_Ishikawa-HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG404_Ishikawa-HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n<\/div>\n\n\n<div class=\"left-and-right-image-block left-and-right-block out-limit\">\n        <div class=\"left-image left-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG227_Ishikawa-HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\"><\/div>\n    <\/div>\n  <\/div>\n      <div class=\"right-image right-side\">\n    <div>\n    <img decoding=\"async\" src=\"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG231_Ishikawa-HR.jpg\" alt=\"\" data-fancybox>\n    <\/div>\n    <div>\n    <div class=\"photo-caption\">All photographs by Ishikawa Naoki from the series <em>Archipelago<\/em>, 2009<br>Courtesy the artist<\/div>\n    <\/div>\n  <\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>For ten years, Ishikawa Naoki traveled among the country&#8217;s numerous islands, documenting scenes of everyday life and ceremonial traditions found on the margins.<\/p>\n","protected":false},"author":2,"featured_media":340537,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_is_hidden":false,"apple_news_is_paid":false,"apple_news_is_preview":false,"apple_news_is_sponsored":false,"apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":"\"\"","apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[3728],"tags":[11191,2197,1036,2151],"magazine":[],"post_author":[7725],"class_list":["post-340525","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-from-the-archive","tag-immersive","tag-ishikawa-naoki","tag-japan","tag-aperture-222-odyssey","post_author-harumi-niwa"],"acf":[],"apple_news_notices":[],"featured_image_src":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG229_Ishikawa-HR-600x400.jpg","featured_image_src_square":"https:\/\/aperture.org\/wp-content\/uploads\/2026\/08\/222MAG229_Ishikawa-HR-600x600.jpg","author_info":{"display_name":"aperturewp","author_link":"https:\/\/aperture.org\/author\/aperturewp\/"},"_links":{"self":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340525","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/comments?post=340525"}],"version-history":[{"count":0,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/posts\/340525\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media\/340537"}],"wp:attachment":[{"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/media?parent=340525"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/categories?post=340525"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/tags?post=340525"},{"taxonomy":"magazine","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/magazine?post=340525"},{"taxonomy":"post_author","embeddable":true,"href":"https:\/\/aperture.org\/wp-json\/wp\/v2\/post_author?post=340525"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}]