Aperture 96 - Fall 1984
Aperture 96
The recognition and acceptance of color photography grew significantly with the Museum of Modern Art’s 1976 exhibition of work by William Eggleston. The notion that photography was a black-and-white medium was irreversibly challenged by that event. Eggleston’s work created the context for this issue of Aperture, which enabled us to include work of diverse intentions, all of which emphatically stretched our awareness of color. The sequence that emerged corresponded with a sensibility that is particular and vital to our time.
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Issue Details
Format: Paperback / softback
Publication date: 1984-10-01
Measurements: 9.6 x 11.6 x 0.25 inches
ISBN: 9780893811518
Table Of Contents
People and Ideas
Art is Politics: A Review of El Salvador and A Vanishing World by Danny Lyon
Konsumerterror: Late-Industrial Alienation by Lewis Baltz
Color Codes
Elvis Presley’s Graceland through the eyes of William Eggleston and the art of Cindy Sherman’s personal myth are probed by Mark Holborn.
Ironic Harmonies
Joel Sternfeld documents the pattern that technology and sensibility weave into our social landscape.
Klanscape Effigies
William Christenberry’s Klan Room is a theater of obsessive evil.
Urban Combat
Luis Medina captures the color blasts of Chicago’s painted walls.
The Drama of Ambiguity
Color cues in the street narratives of Patrick D. Pagnano.
Night Life
Jan Staller, on the city streets, tracks the color of night.
Natural Formalism
Len Jenshel holds the edge between unrestrained natural occurrence and precise formal considerations.
Conversation with a Work of Art
Peter Plagens interviews 23 March 1983, a work by painter/sculptor/photographer Lucas Samaras.
The Berlin Series
William Eggleston’s unpublished work on the walled city, with writings by Peter Schneider.
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