In his landscapes and portraits, Kay Kwabia translates city scenes in and around Accra into atmospheric images.
You can find just about anything at this vital market in Ghana. Misper Apawu’s new portraits highlight the traders who run the show.
Incorporating his experience with fashion photography, Idun-Tawiah’s images combine stylized flair with the intimacy of personal pictures.
In her self-portraits and staged images, the Filipino American artist explores the borderlands of identity.
In his photographs, Jarod Lew asks his family to reenact scenes from everyday life, invoking stories that wrestle with the tensions between control and care.
Priya Suresh Kambli works with pictures of her family in India and the US, making connections between past and present.
The photographer Adraint Bereal captures the agony and ecstasy of what it is to be a Black college student in the United States.
In two recent series, the photographer references fragments of antiquity, pulling the past into the present.
Syjuco’s rigorous photographs show how interrogating institutional collections can be a potent tool in decolonizing American history.
The renowned fashion photographer’s previously unseen experimental collages tell the story of a fictional designer who disappears at the height of her career.
In his collaborative multimedia project “The Repros,” Jojo Gronostay poses a timely critique of clothing brands, global trade, and neocolonialism.
Strachan speaks of his work in terms of a West African street festival where dance, poetry, music, and the performing arts are jumbled together in an exuberant whole.
In this series of collages, Thomas draws on stories from Aperture in the 2010s, a decade during which looking back was as vital as looking forward.
These previously unpublished selections of 35mm slides confirm and extend the stubborn singularity of Leiter’s color language.
In stirring portraits of his family, Steinmetz recalls the enduring influence of a 1980s issue of Aperture< about mother-daughter relationships.
In a series of photographs that conceal or duplicate human forms, Whitaker imagines how the digital revolution has fragmented everyday experience and meaning.
For the photographer Maja Daniels, history is an uneasy conglomerate of fiction and testimony.
The photographer’s compelling and confounding images riff on the idea of the domestic realm as a private theater of Black humanity.
An essential look at the vital photography scene of South Korea’s capital.