Editors’ note from Aperture magazine #214, “Documentary, Expanded”.
Joel Smith considers the ever-expanding domain of photography history.
Mary Statzer on Peter Bunnell’s 1970 MoMA exhibition, Photography into Sculpture.
Martin Parr speaks about the wide-reaching influence of Dutch photography educator Corinne Noordenbos.
Photographer Pieter Hugo discusses the influence of South African design pioneer Garth Walker.
Catherine Opie recounts her first meeting and friendship with bookseller Andrew Cahan.
In memory of Amiri Baraka, Aperture republishes Vince Aletti’s article on Baraka’s 1970 book, In Our Terribleness.
From Aperture magazine #213, Britt Salvesen discusses the series inter esse by Maria Sewcz.
From Aperture magazine #213, Chris Boot discusses the work of artist Paul Trevor.
From Aperture magazine #213, Carole Naggar discusses the Roquette Rockers series by photographer Ken Pate.
From Aperture magazine #213, Bronwyn Law-Viljoen discusses the work of Mozambican photojournalist Ricardo Rangel.
Brian Dillon considers the diverse, eccentric collection of photography at London’s Archive of Modern Conflict.
In memory of painter and photographer Saul Leiter, Aperture republishes Eric Banks’s article about his visit with Leiter in his East Village studio.
Editors’ note from the Winter 2013 issue of Aperture magazine, “Photography As You Don’t Know It.”
Melissa Harris speaks with artist Sophie Calle about her most recent projects Last Seen, and What Do You See?
Christian Marclay speaks with poet Frances Richard about his snapshots of found musical notations, repurposed and then literally played by musicians.
From Aperture #206, Sylvia Plachy’s intimate visit with one of the celebrated denizens of New York’s Central Park Zoo, who passed this week at age twenty-seven.
From Aperture #212: Ian Jeffrey on Thomas Mailender’s use of the 1930s-era photographs published as The Night Climbers of Cambridge.
Aperture’s fall issue, “Arrhythmic Mythic Ra,” refracts themes of family, social history, and the astrophysical through the eyes of guest editor Deana Lawson, one of the most compelling photographers working today.
