These Cold War objects exerted major influence on the culture of their day. It’s not just coincidence that they happen to look like art.
You may have to develop your own technology for your images. I’m not much interested in “straight” photography anymore.
The moment when still cameras began to include decent video options not only democratized filmmaking, but also marks the history of still images.
Bill Armstrong discusses his work Mandala #450 within the context his Infinity series of abstract, blurred images.
Photographer Bill Armstrong speaks with Aperture about his Infinity series, and his latest exhibition in New York.
Melissa Harris spoke with Daniel Vasella, then of Novartis AG, to understand both his passion and his criteria for commissioning photography.
Aperture speaks with the curator and a participating artist in Color Shift, a show that explores and revisits modernism’s reductive approach to medium, material, and color.
An interview with photographer Laura Letinsky, who has explored the expressive possibilities of still-life photography for fifteen years.
Aperture speaks with curator Okwui Enwezor about the exhibition “Rise and Fall of Apartheid” at International Center of Photography.
A look back at Aperture’s top five of 2012.
The Los Angeles–based photographer Zoe Crosher has had quite a big year. Carmen Winant spoke with the artist about her work.
An excerpt from Chris Boot’s conversation with 101 Tragedies editor Trisha Ziff.
Taryn Simon presents and discusses her work, including A Living Man Declared Dead and Other Chapters, I – XVIII.
Soth speaks with Aperture Remix curator Lesley A. Martin about infuences on his work.
Artist Brian Bress speaks with Carmen Winant about his work.
The Google Street View photographer speaks on his reinterpretation of American street photography.
The curator Britt Salvesen speaks about her background and her new job at LACMA with Sabine Mirlesse.
Melissa Harris talks with Richard Misrach and Kate Orff about the process of depicting and unpacking the complex ecologies featured in Petrochemical America.
Aperture’s issue on craft features photographers who make pictures the slow way—building camera obscuras, creating photograms, and laboring in traditional darkrooms to make handmade, unrepeatable forms.