For the past two decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling.
The acclaimed director reflects on the ways photography has been central in shaping her distinct cinematic language.
On the road with Vinca Petersen, who chronicled the raves, free parties, and traveling sound systems of ’90s-era Europe.
New Directions covers from the mid-twentieth century are easy to spot but difficult to describe, often using pictures to describe words rather than the other way around.
Wildly prolific, the late French writer was driven, compulsive, and rarely satisfied—and his own little-known photographs remain as elusive as ever.
From Olivia Laing to Hanya Yanagihara, writers have used images in clever ways on their book jacket designs. What are they trying to tell readers?
Beginning in the late 1930s, Van Leo made hundreds of dazzling and uncanny self-portraits. What does his archive tell us about the mysteries of identity?
Throughout her career, Goldin photographed her friends, her lovers, and the family she made for herself. Her work constitutes an autobiography in several volumes, her life as an episodic tale.
The guest editor of Aperture’s “Spirituality” issue, Tillmans speaks about contemporary image culture, the anxieties of time, and how photography might foster respect for the world.
Women have made some of the most radical accomplishments in nonconventional image making. Can working against the grain be an act of defiance?
Throughout his career, the irreverent Ukrainian photographer has flirted with conceptual and documentary traditions to subvert Soviet-era visual codes.
Sable Elyse Smith’s “Landscapes & Playgrounds” includes aerial photographs and handwritten letters, portraying the intimacy between an incarcerated father and a daughter.
Buck Ellison creates deliberately artificial depictions of wealth and aspiration, crafted with the precision of commercial shoots.
For the New York–based artist—whose practice incorporates photography, video, sound, installation, and performance—the research becomes the work itself.
Ruminating on a 1995 issue of “Aperture,” Linklater began to draw, write, fold, and scan, making a new project about the ways we see each other in images.
A touchstone for contemporary artists, Cumming was fascinated by illusion and trickery, inviting viewers to look in—and look again.
During the 1971 Paris Biennale, Nakahira photographed, printed, and exhibited his daily images of the city—creating a landmark photo-installation that pushed the bounds of a “living” work.
The pioneering photographer speaks about the evolution of her career—and how she negotiated a field dominated by men.
This spring, Aperture presents “Counter Histories,” an issue produced in collaboration with Magnum Foundation and informed by their ongoing Counter Histories grant initiative, featuring artists from around the world who tell new stories about how the past informs the present.
