Aperture magazine is pleased to present an exclusive opportunity for photography collectors to own work seen in the pages of the magazine. Sign up for the Collectors Subscription Series and receive four signed and numbered limited-edition prints, one from each issue of the magazine published in 2015.

Curated by the editors and limited to an edition of 30, prints will be presented in special packaging, and each will come with a statement from our editors about the work, the artist’s CV and bio, and a copy of the magazine where the work was printed. Aperture launched this unique series with issue 218, “Queer,” and a special edition by David Benjamin Sherry. The second edition is from Takashi Homma from issue 219, “Tokyo.” The Fall edition is from Guido Guidi from issue 220, "The Interview Issue". The Winter edition is from Carrie Mae Weems from issue 221, "Performance".

*Price for the complete edition is $2,500 but will increase as the edition sells through. Proceeds from the subscription series benefit Aperture magazine and the artists.

Carrie Mae Weems (born 1953) is an American artist who works with text, fabric, audio, digital images, and installation video but is best known for her work in the field of photography. Her award-winning photographs, films, and videos have been displayed in over 50 exhibitions in the United States and abroad and focus on serious issues that face African Americans today, such as racism, gender relations, politics, and personal identity.

On the occasion of receiving a MacArthur “Genius” Award, Carrie Mae Weems remarked, “I always think about the work ultimately as dealing with questions of love and greater issues of humanity. The way it comes across is in echoes of identity and echoes of race and echoes of gender and echoes of class.” In her most recent series Blue Notes, Weems overlays images of celebrities—such as the singer Claudia Lennear—with blocks of color. Signaling the influence of minimalists Mark Rothko and Ellsworth Kelly, Blue Notes offer a portal for projecting desire and sensual expression, while acknowledging the shaded, vital dimensions of race.

—The Editors 

Claudia, from the series Blue Notes, 2014-15
Image size: 11 x 14 inches
Paper size: 11 x 14 inches
Inkjet print

Guido Guidi was born in Cesena, Italy, in 1941. He studied in Venice at the University Institute of Architecture (now IUAV), where he followed the courses of Bruno Zevi, Carlo Scarpa and Mario De Luigi, and at the Advanced Course in Industrial Design with Italo Zannier and Luigi Veronesi.

Guido Guidi trained as an architect, painter, and draughtsman—and an abiding interest in perspective and modest architectural forms underpins his photographs. His influences range from Renaissance painting to American photographers Walker Evans, Stephen Shore, and Robert Adams, whose work investigates place and vernacular architecture with cool detachment. Guidi, too, shares their interest in the “ social landscape”, and throughout the 1980’s and 90’s, he used a large-format camera to look at changes afoot in Italy as a result of industrialization or migration. In counterpoint to his photographs of the individual’s relationship to the world are larger explorations. Guidi still lives in Cesena, where he continues to photograph; he teaches at universities in Venice and Ravenna and has published two recent books A New Map of Italy (2011) and Veramente (2014) which have brought his work to a larger audience. In issue 220, Guidi talks about his work, his influences , his contemporaries and how in his view, “ the spirit lies in simplicity, not in rhetoric”

—The Editors

Kaliningrad, Russia, 1994 by Guido Guidi
Image size: 6 ¾ x 8 ½ inches
Paper size: 9 ½ x 12 inches
Digital C-print

Takashi Homma (born in Tokyo, 1962) studied photography at Nihon University Col­lege of Art but left in 1984 to take a job as an in-house photographer at a Tokyo adver­tising agency. In 1991, he moved to London to work as a photographer for i-D maga­zine. In 1999, he was awarded a Kimura Ihei Commemorative Photography Award for the project Tokyo Suburbia (1998). Homma currently lives in Tokyo.

A note from editor Michael Famighetti about the work of Takashi Homma:
Takashi Homma emerged in the 1990s as one of the leading Japanese photographers of his generation. After living in London, where he worked for the groundbreaking style and culture magazine i-D, Homma made a series of projects about Tokyo. He became known for his elegantly restrained compositions and understated use of color. Recently, however, in a radical departure from this earlier work, Homma has begun to work with a camera obscura. He converts entire rooms in Tokyo into pinhole cameras, blacking out the windows with dark paper and sealing off light leaks with tap. “The concept was to use architecture to take pictures of architecture,” he explains. In this way, he’s photographed water towers, city streets, skylines—ordinary subjects that take on an aura of mystery. In some images, like this print, large dots eclipse part of the view, like a gothic Japanese flag.

Tokyo, 2014 by Takashi Homma
Image size:  7 1/8 x 10 inches
Paper size:  7 1/8 x 10 inches
Pigment print  

David Benjamin Sherry, (born in Woodstock, NY, 1981) currently lives and works in Los Angeles. He received his BFA in Photography from Rhode Island School of Design in 2003 and an MFA in Photography from Yale University in 2007. He is currently represented by Salon 94 gallery in New York City.

A note from editor Michael Famighetti about the first print in the series:
A portfolio of David Benjamin Sherry’s work appears in Aperture 218 “Queer.” Sherry, a Los Angeles-based photographer, has garnered significant acclaim for his vibrantly colored (analogue darkroom) images of the American West that often reference canonical figures of modern American photography, from Minor White to Edward Weston. Of Sherry’s work, curator Kevin Moore observes: “Rather than thinking of Sherry’s photographs as a queering…of a Western landscape tradition…it might be more insightful to point out that photography—straight or otherwise—has always made the world queer, abstracting and two-dimensionalizing everything it records.” Time Past and Time Future, Utah, 2014, a recent image from Sherry’s ongoing project, borrows its name from a T.S. Eliot poem and was made in a remote location at the height of an intense summer heat wave. “It felt otherworldly, secluded, and deeply sexual,” Sherry remarks about the location, bringing together the central themes that underpin his work—landscape, sexuality, and the specter of environmental collapse.

Time Past and Time Future, Utah, 2014 by David Benjamin Sherry
Image size: 11 x 14 inches
Paper size: 14 x 17 inches


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