Aperture's Blog, page 149

2016 Aperture Portfolio Prize Now Open!

Submit your portfolio for Aperture’s editorial staff to review. The deadline is December 2, 2015 at 12 noon EST. More details here.

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Drew Nikonowicz, Medium Photography Festival Lecture

Drew Nikonowicz, winner of the 2015 Portfolio Prize will present a lecture at the 4th annual Medium Festival of Photography.

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Trevor Paglen at Metro Pictures

Trevor Paglen’s new exhibition at Metro Pictures focuses on the unseen images of the Internet: the deep-sea cables that connect massive amounts of data across the globe, and now serve as vulnerable points in cyber warfare. Writer Genevieve Allison considers the effect of our viewing such obscured sites of power in Paglen’s latest series. This article first appeared in Issue 16 of the Aperture Photography App.

Trevor Paglen, Installation view, 2015. Metro Pictures, New York.

By Genevieve Allison

Paranoia has never been far from the causation of war, but as the nature of material reality becomes increasingly virtual, such fears have also become part of its mechanization. And perhaps most central to these transformations is the appropriation of the Internet as an instrument of mass surveillance. In his second exhibition at Metro Pictures, Trevor Paglen delves into the subject of the Internet’s physical geography as well as vulnerability. He looks at where it sits on the earth’s surface, what is its otherwise faceless architecture: vast networks of transoceanic fiber-optic cables laid on the seabed, carrying telecommunication signals between the world’s continents.

Trevor Paglen, Installation view, 2015. Metro Pictures, New York.

 

Throughout his many careers—as photographer, fine artist, geographer, author, and independent scholar—Paglen has pursued questions about regulatory prerogative as it relates to surveillance and security, and how these forces shape the public domain and the production of public space, whether mapped, imagined or virtualized. Previous work has investigated, in publication form, the CIA’s extraordinary rendition program (Torture Taxi, 2006) and military iconography (I could tell you but then you would have to be destroyed by me, 2008) but is best recognized through his ethereal photographs of celestial fields and classified landscapes—sublime images informed by the artist’s empirical observation of covert activity. In this latest body of work, Paglen documents and charts the location of major submarine cables, illustrating global data communication in concrete terms rather than through abstract and popularly constructed metaphors like the cloud, the Web, or cyberspace. The real subject, however, is how these sites are targeted and accessed by national security agencies.

Trevor Paglen, Columbus III, NSA/GCHQ-Tapped Undersea Cable, Atlantic Ocean, 2015

 

A dual-channel video installation of material Paglen filmed for Citizenfour, Laura Poitras’s Oscar-winning film about Edward Snowden, is the focal point of the exhibition, consisting of a series of photographs, charts, and several sculptures. Throughout the twenty-four minutes of Eighty Nine Landscapes (2015), lonely seascapes, and countrysides unfold with slow, haunting beauty. The video presents locations where main arterial transoceanic cables connect to the continental shelf. More specifically, these “choke points” are where the U.S. government’s National Security Agency (NSA) has installed onshore surveillance utilities to tap information as the cables reach landfall. As the scenery shifts from rolling green hills to windswept coastal expanses, land-based surveillance stations come in and out of view. Their presence—remote, surreal, and unnatural in these picturesque landscapes—are ominous signs of real-world manifestations of virtual activity. It might have once been an abstract, infinitely nebulous space of interpretation, but since the Edward Snowden leaks, the underlying fragility and weaponization of global communication has been exposed and deeply questioned—along with the spying, sabotage, and malware waged through it, outside of public visibility.

Trevor Paglen, Bahamas Internet Cable System (BICS-1), NSA/GCHQ-Tapped Undersea Cable, Atlantic Ocean, 2015

 

A series of large-format C-prints of the submerged cables offer another meticulously staked-out vantage point, which Paglen was able to explore after learning to dive and conducting extensive research and fieldwork. The resulting images seem more like inky color-field explorations into aquatic green than surveys of any geographic import, but their titles give reference to their location and significance—photographs such as Globenet NSA/GCHQ-Tapped Undersea Cable Atlantic Ocean, 2015, and Bahamas Internet Cable System (BICS-1)NSA/GCHQ-Tapped Undersea Cable, Atlantic Ocean, 2015. The images trace the obscured existence of this extreme feat of engineering on the seafloor and bring to bear a parallel between perhaps humanity’s greatest achievement and its least explored frontier. The seductive images may seem at a far remove from what we think of as anything resembling conflict photography, but they appeal to its key critical discourses: to illustrate the nature of conflict, and to study its darkest values via an impulse toward aestheticization.

Trevor Paglen, NSA-Tapped Fiber Optic Cable Landing Site, New York City, New York, United States, 2015. All images courtesy the artist and Metro Pictures, New York.

Trevor Paglen is on view at Metro Pictures in New York from September 10 to October 24.

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An Interview with Ishiuchi Miyako

Through her images of subjects ranging from the American Occupation of Japan and the bombing of Hiroshima, to women’s scarred bodies and her mother’s and Frida Kahlo’s personal effects, Ishiuchi Miyako, born in 1947, has explored the passage of time and history. Like Shomei Tomatsu and Daido Moriyama, renowned Japanese photographers who emerged in the 1950s and ’60s, Ishiuchi’s early work has been shaped by the residual presence of

World War II. Her first series, Yokosuka Story (1976–77), focused on her coastal hometown, the site of a U.S. naval base that was permeated by American culture. Projects that closely followed—Apartment (1977–78), which explored the interiors of Tokyo’s postwar housing, and Endless Night (1978–80), for which she photographed brothels—honed Ishiuchi’s vision as well as her process; for her, the image is a physical object made by hand in the darkroom.

For more recent work such as Mother’s (2000–2005), featured at the 2005 Venice Biennale; ひろしま / Hiroshima (2007); and Frida (2013), Ishiuchi turned to color, taking a forensic approach to examine clothing and objects laden with complex histories, underscoring the idea that the traces of time’s passage are her true subjects. Last year, Ishiuchi won the prestigious Hasselblad Award, and, on October 6, a major exhibition of her work, Postwar Shadows, will open at the J. Paul Getty Museum in Los Angeles. In this excerpt from the Fall 2015 “Interview Issue” of Aperture magazine, Yuri Mitsuda, curator at the Kawamura Memorial DIC Museum of Art, speaks with Ishiuchi about the evolution of her explorations of time and how she has negotiated a field dominated by men.

Yokosuka Story #58, 1976–77

Yuri Mitsuda: Were you ever excluded because you were a woman?

Ishiuchi Miyako: Not at all. I mean, Tomatsu loved women. Moriyama too. So there were always women around. I had no interest in them that way, though, as men. There wasn’t one guy who was my type among all those photography guys. Thank goodness. But it can be an ordeal, being a woman. People constantly accosting you. I watched it happen all around me. There were a lot of women who wanted to do something in photography, and one after another I saw their efforts come to nothing.

Yokosuka Story #98, 1976–77

YM: Why do you think that was?

IM: They underestimated how hard it would be. In my case, I thought I would do Yokosuka Story and then quit. Like I was getting back at an enemy. Yokosuka was a difficult place for a woman because of the sexual violence that occurred there. Rape was a part of daily life, but nobody saw it as a crime. I did not experience rape myself, but it scarred me. I’m gonna kill you once and for all; that was the feeling. That city, Yokosuka, it had inflicted so much on me, so much trauma, so many scars. If I don’t kill you I can’t move on—that was the feeling I had.

You had to have that kind of intense feeling. I thought I’d do it once and be done, but of course, I ended up continuing. I looked around and thought, Well, now I’ll do Hyakka Ryoran (A hundred flowers bloom, 1976).

Endless Night #71, 1978–80

YM: Hyakka Ryoran was an all-woman show you planned for Shimizu Gallery, wasn’t it? So you had the sense that you needed to do things as just women, as women photographers.

IM: Of course I did. We wanted to do something just for women, but separate from the women’s lib movement. The mainstream world of Japanese photography was absolutely a boys’ club. People outside Japan noticed it too, and they were right. I had no interest in them, at all. The workshop group was a boys’ club, too, of course, but the form it took was different. They were interesting, at least, Tomatsu and all those guys. They were fun to hang around with. We went out drinking every week on the Shinjuku Golden Street. We had fun drinking

together. I got my share of sexual harassment, of course. They were old-school guys, after all. It sounds idiotic saying it like that now, but that’s how it was.

YM: The excess energy produced by artists, by people engaged in making things—it doesn’t always lead to the most moral conduct.

IM: And there were plenty of people who left themselves vulnerable. But never me. I got a reputation as pigheaded, a dragon lady. But I stuck to my guns.

Mother’s #3, 2000

YM: If you didn’t, it would come to nothing.

IM: They’ll undermine you, drag you down.

YM: Do you mean how Hyakka Ryoran was thought of as unsuccessful?

IM: No, it was just completely ignored. There’s hardly any record that it happened at all. The only attention it got was in [the tabloid] Heibon Punch. They wrote about women taking pictures of men, of women making men strip naked. So that got picked up on television, as a kind of scandal.

Apartment #14, 1977–78

 

YM: At the time, Diane Arbus was getting a lot of attention as a female photographer.

IM: But I didn’t have a lot of interest in her. She was a special case, though. Arbus wasn’t popular as a woman; she was popular as an American.

Frida by Ishiuchi #50, 2012

YM: These past ten years you’ve exhibited more and more outside Japan. Do you think that’s expanded your view on things? Were there things you encountered that surprised you?

IM: I was surprised by the Hasselblad Award. I was even more surprised to learn that they knew everything about me—they had all the data, right at their fingertips!

These days, I have many more opportunities to show outside, rather than in Japan. And I find that the respect people have for photography [in the West] is different. Photographers are artists. In Japan, a photographer is just a photographer. No one thinks of photographers as artists in Japan.

ひろしま/Hiroshima #69 (Donor: Abe, H.), 2007. All photographs © Ishiuchi Miyako and courtesy The Third Gallery Aya, Osaka, and Michael Hoppen Gallery, London

 

YM: There’s a history of Japanese photographers saying things like, “I’m no artist; I’m just a photographer.” Especially photographers who specialize in street shots, in Ihei Kimura–style documentary photography. There’s a tendency to want to minimize the role of art, to rebel against the legacy of fine-art photography. That was the basis, or history, on which much of Japanese photography was formed.

IM: Of course. And I don’t care about definitions of art, about what art is or isn’t. All I’m doing is what I feel I must do, regardless of any label.

Frida by Ishiuchi #86, 2012

 

YM: All the shows you’re putting on, all the books you’re writing: your sixties have been kind of a turning point, haven’t they? How do you feel now, looking back over them?

IM: I’ve had free time up until now. Everyone else has been so busy, but I’ve had the freedom to do things. So I pushed myself past my limits, to do more than I really am able to. Or rather, to do everything I am able to. I know what I can’t do, so I only do what I know I can. I’ve started to think lately that perhaps I really am suited to photography. That’s the potential of photography, to be freer and freer, to do things with ever more freedom.

Translated from the Japanese by Brian Bergstrom.

Click here to find the complete interview from Aperture magazine on the Aperture Foundation website.

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John Gossage: Photographs in Books, the Complete Story

John Gossage from pomodori a grappolo (2015)

Join John Gossage the do-it-all photographer, book designer, production manager, and publisher for a two-day workshop that will guide participants through the process of producing a photobook, from conception to completion. Students will learn how to navigate various decisions, ranging from creative, aesthetic choices to budgetary options, while developing a photographic project into book form. Gossage will present an overview of the photobook-making process and lead conversations about specific books brought in by the participants. He will then review each participant’s proposed book project while engaging the group in discussion.

        Gossage will be joined by Aperture’s senior editor, Denise Wolff, for a conversation about how Aperture develops its publications and how its editors work with photographers. A few other special guests will stop by throughout the weekend to share their insights on photobook-making. Working step-by-step through the process of creation, with personalized advice, each participant will come closer to finalizing his or her photobook.

        Participants are required to bring a proposed book project at any stage of completion, from a group of pictures to a completed mock-up, as well as a photobook they admire to share with the group for discussion. Lunch and light refreshments will be served both days.

John Gossage was born in New York in 1946 and is based in Washington, D.C. His photographs have been featured in numerous solo and group exhibitions over the past forty-five years. His many one-person exhibitions have included The Better Neighborhoods of Greater Washington, Corcoran Gallery of Art, Washington, D.C., 1976; Gardens, Leo Castelli Gallery, New York, 1978; Photographs of Berlin, Cleveland Museum of Art, 1989; LAMF, Sprengel Museum, Hannover, Germany, 1990; One Work in 39 Parts, Saint Louis Art Museum, 1994; There and Gone, Sprengel Museum, Hannover, 1998; The Romance Industry, Comune di Venezia, Venice, 2003; Berlin in the Time of the Wall, Galerie Zulauf, Freinsheim, Germany, 2005; and The Pond, Smithsonian American Art Museum, Washington, D.C., 2011. An exhibition at the Art Institute of Chicago is currently in preparation.

        Gossage is regarded as one of the finest American photobook-makers of the last forty years. In 2010, Aperture reissued his monograph The Pond (1985) in a twenty-fifth-anniversary edition. Gossage’s other notable works include Stadt Des Schwarz (1987); LAMF (1987); There and Gone (1997); The Things That Animals Care About (1998); Hey Fuckface (2000); Snake Eyes (2002); Berlin in the Time of the Wall (2004); Putting Back the Wall (2007); The Secrets of Real Estate (2008); The Thirty-Two Inch Ruler/Map of Babylon (2010); and pomodori a grappolo (2015).

        In 2002, Gossage started his own publishing company, Loosestrife Editions. He is represented by the Stephen Daiter Gallery in Chicago, and his work is included in major public and private collections.

 

Tuition: $500 ($450 for currently enrolled photography students and Aperture Members at the $250 level and above)

 

Registration ends Monday, November 29

 

Register here

 

 

Contact education@aperture.org with any questions.

 

General Terms and Conditions

Please refer to all information provided regarding individual workshop details and requirements. Registration in any workshop will constitute your agreement to the terms and conditions outlined.

Aperture workshops are intended for adults 18 years or older.

If the workshop includes lunch, attendees are asked to notify Aperture at the time of registration regarding any special dietary requirements.

 

Release and Waiver of Liability

Aperture reserves the right to take photographs or videos during the operation of any educational course or part thereof, and to use the resulting photographs and videos for promotional purposes.

By booking a workshop with Aperture Foundation, participants agree to allow their likenesses to be used for promotional purposes and in media; participants who prefer that their likenesses not be used are asked to identify themselves to Aperture staff.

 

Refund/Cancellation Policy for Aperture Workshops

Aperture workshops must be paid for in advance by credit card, cash, or debit card. All fees are non-refundable if you should choose to withdraw from a workshop less than one month prior to its start date, unless we are able to fill your seat. In the event of a medical emergency, please provide a physician’s note stating the nature of the emergency, and Aperture will issue you a credit that can be applied to future workshops. Aperture reserves the right to cancel any workshop up to one week prior to the start date, in which case a full refund will be issued. A minimum of eight students is required to run a workshop.

 

Lost, Stolen, or Damaged Equipment, Books, Prints Etc.

Please act responsibly when using any equipment provided by Aperture or when in the presence of books, prints etc. belonging to other participants or the instructor(s). We recommend that refreshments be kept at a safe distance from all such objects.

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Issue 16 of the Aperture Photography App is Now Available

The new issue of the Aperture Photography App is now available to download on your iOS device. Here’s a look inside Issue 16:

●  An excerpt of Ishiuchi Miyako’s talk with Yuri Mitsuda from “The Interview Issue” of Aperture magazine

● A look back at Aperture magazine’s Fortieth Anniversary issue with an excerpted interview with Michael E. Hoffman

● A preview of images from Rochester 585/716: A Postcard from America Project

● A look inside Rick Sands’s recent Aperture workshop “Breaking the Light Barrier”

● A review of Trevor Paglen’s newest exhibition at Metro Pictures Gallery

Every issue of the Aperture Photography App is free– subscribers have new issues delivered to their device automatically. Select articles later appear here, on the Aperture blog. Click here to download the app today!

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A Look Inside the Aperture Digital Archive

The Aperture Digital Archive includes every issue of Aperture magazine since 1952, including rare, early editions. Over 15,000 images, from 220 issues of the magazine, will be searchable by photographer, genre, and decade.

The redesigned Aperture magazine appeared in Spring 2013, with a cover by Christopher Williams.

2014, issue 216: Photographers Inez & Vinoodh guest edit "Fashion" issue

2011, Issue 203: Richard Mosse’s Congo work is featured in the magazine and on the cover; this same series is later published in a best-selling Aperture book.

1992, Issue 129: Special fortieth anniversary issue. Seventy photographers who had appeared in the pages of the magazine were asked to select three photographs, and one image from each artist is chosen for publication. Because no single image could represent forty years, Robert Rauschenberg—whose vast talents included collage—is asked to create a cover that would visually and metaphorically give a sense of Aperture.

1984, Issue 96: previously unpublished work from William Eggleston forms the basis for an entire issue devoted to color photography, which also includes portfolios from William

1975, vol. 19, no. 4: Helen Levitt’s New York City street photography is the first four-color portfolio to be published in Aperture.

1961, vol. 9, no. 2 included photographs by Robert Frank from The Americans and Pull My Daisy

Paul Strand’s “Letters from France and Italy” correspondence and selected images first appeared in 1953, vol. 2, no. 2

The first issue of Aperture magazine.

On September 10, 2015, Aperture Foundation launched a fully searchable online resource containing every issue of Aperture magazine since its founding in 1952, called the Aperture Digital Archive. From their desktops, laptops, tablets, or mobile devices, users will be able to access all 220 issues of the magazine, including groundbreaking issues such as “Edward Weston: Flame of Recognition,” “French Primitive Photography,” “Black Sun: The Eyes of Four,” and “Queer.” The archive brings together images and personal stories of hundreds of photographers, including Berenice Abbott, Ansel Adams, Diane Arbus, Cindy Sherman, Paul Strand, and more, alongside authoritative voices on photography through six decades, including Robert Adams, Peter C. Bunnell, Nancy Newhall, Fred Ritchin, John Szarkowski, and Minor White as well as critics whose perspectives provided new visions of photography, including Charles Bowden, Geoff Dyer, Neil LaBute, Janet Malcolm, Greil Marcus, and Francine Prose.

“Aperture is a document of great artistic, cultural, and scholarly value,” says Dana Triwush, the publisher, “and the archive is designed as a dynamic, interactive tool in keeping with the high standard of content and image quality for which the magazine is known.”

Aperture Foundation partnered with Bondi, a New York-based technology and creative services company whose platform powers the online archives of many top magazines. The Bondi platform presents every back issue as a full digital replica—preserving the magazine’s award-winning design—with every article and image indexed individually. The foundation has also partnered with JSTOR and ProQuest to bring the Aperture Digital Archive to college and university campuses around the world.

Look out for more writings in this tab about Aperture magazine’s archives from prominent voices in the photography world.

Click here to find the Aperture Digital Archive on the Aperture Foundation website.

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Report: On Hugh Mangum

By Sarah Stacke

Untitled, ca. 1900–1922: Hugh Mangum, self-portrait. Mangum grasped the power of photography to communicate information or a narrative. He’s using this series to express his identity and personality, and understood that many clients would be seeking the same.

Inside or outside his photo studio, Hugh Mangum created an atmosphere—respectful and often playful— in which hundreds of men, women, and children genuinely revealed their spirits. Born and raised in Durham, North Carolina, Mangum began establishing studios and working as an itinerant photographer in the early 1890s, traveling by rail through his home state, Virginia, and West Virginia. Mangum attracted and cultivated a clientele that drew heavily from both black and white communities. Though the early-twentieth-century American South in which he worked was marked by disenfranchisement, segregation, and inequality—between black and white, men and women, rich and poor—Mangum portrayed all of his sitters with candor, humor, and spirit. Above all, he showed them as individuals, and for that, his work—largely unknown—is mesmerizing. Each client appears as valuable as the next, no story less significant.

Mangum’s life was brief, yet it encompassed momentous shifts amid a turbulent period in American history. Born in 1877, the year the Civil War’s Reconstruction period ended, Mangum died from influenza in 1922, only three years after the end of the First World War and two years after women gained the right to vote. The personalities in Mangum’s images collectively, and often majestically, symbolize the triumphs and struggles of this pivotal era.

A century after their making, Mangum’s images allow us a penetrating gaze into individual faces of the past, and in a larger sense, they offer an unusually insightful glimpse of the early-twentieth-century American South. What follows are facets of this rich collection.

Untitled, ca. 1900–1922: Durham was known to have an unusually prosperous black community. Black-owned businesses included the North Carolina Mutual Life Insurance Company, Mechanics and Farmers Bank, furniture, cigar, and tobacco factories, textile and lumber mills, brickyards, churches, a library, schools, and a hospital. North Carolina Central University, an institution that throughout the Jim Crow era provided professional development for black residents of Durham and beyond, was founded in 1910.

Women

Near the end of the nineteenth century, women on both sides of the color line began to dismantle the barriers that separated the male and female worlds. As the New Woman of the 1890s emerged, the terms of masculinity and femininity were questioned, causing considerable debate and self-reflection. Women claimed the right to education, found employment in positions that were previously reserved for men, and demanded the right to vote. Many women earned their own wages; some lived independently. Political, religious, educational, social, and work-related clubs, both private and public, were formed by women from all walks of life as they redefined their roles in society and as individuals.

The bicycle played a considerable role in female emancipation and subsequently in fashion, as women preferred clothing that allowed more movement. The bicycle embodied the freedom, independence, and mobility of the New Woman. In 1896, Susan B. Anthony exclaimed, “Let me tell you what I think of bicycling. I think it has done more to emancipate women than anything else in the world. It gives women a feeling of freedom and self-reliance. I stand and rejoice every time I see a woman ride by on a wheel . . . the picture of free, untrammeled womanhood.”

Untitled, ca. 1900–1922: In this image a young woman balances precariously on her bicycle. The instability captured here perhaps brings her back to the first time she rode a bike, exploring the freedom and mobility it bestowed.

Technology

Over the course of thirty years, Mangum used several types of cameras and formats.

He often used a Penny Picture Camera, which allowed multiple and distinct exposures on a single glass plate negative. Depending on the circular or square template, one glass plate might contain anywhere from six to twenty-four images. This was ideal for creating inexpensive novelty pictures as multiple sitters could be photographed on one negative, reducing cost and labor.

Notably, the Penny Picture Camera worked in a step-and-repeat process in which the negative holder was repositioned behind the lens after each exposure. As a result, the order of the images on the negatives represents the order in which Mangum’s diverse clientele rotated through the studio, the negatives reasonably representing an afternoon or day’s work for this gregarious photographer.

Black Community

There are no indications that Hugh Mangum intended his photographs to serve any political purposes, but it is likely that for many of his sitters, in fact they did. By the turn of the twentieth century, African Americans had long engaged the power of photography in order to challenge racial ideas, as well as to visually create and celebrate black identity. Mangum’s sitters used the images to emphasize accomplishments, prosperity, beauty, and individuality. They shared them with friends and made them the foundation of family photo albums, ultimately shaping their own identities and those of future generations.

Mangum lived during the same period as acclaimed black thinkers like Booker T. Washington, Ida B. Wells-Barnett, W. E. B. Du Bois, and Zora Neale Hurston. These were some of the most difficult years in African American history. Although there are no tidy dates separating the phases and forms of racial discrimination, the removal of federal troops at the end of Reconstruction was arguably the advent of Jim Crow laws, and lynching peaked in the 1890s. Yet at the same time Mangum was making portraits, members of the black community were building on the strength of their own values and institutions, and cultivating resistance to laws and customs that excluded them.

Untitled, ca. 1900–1922: Durham was known to have an unusually prosperous black community. Black-owned businesses included the North Carolina Mutual Life Insurance Company, Mechanics and Farmers Bank, furniture, cigar, and tobacco factories, textile and lumber mills, brickyards, churches, a library, schools, and a hospital. North Carolina Central University, an institution that throughout the Jim Crow era provided professional development for black residents of Durham and beyond, was founded in 1910.

Deterioration

During Mangum’s lifetime he likely exposed thousands of glass plate negatives. Most of them were destroyed through benign neglect after his death or are now lost, as were almost all records of the names and dates associated with them. The images that survived—nearly eight hundred glass plate negatives—were salvaged from the tobacco pack house where Mangum built his first darkroom. For decades, the negatives caught the droppings of chickens and other creatures living in the pack house. Today they are in various states of an ongoing deterioration; even the most controlled environment cannot halt the creeping decay. The effect can be poetic, adding a layer of meaning to the image that would otherwise be absent. Some plates are broken and on others the emulsion is peeling away, but the hundreds of vibrant personalities in the photographs prevail, engaging our emotions, intellect, and imagination.

Untitled, ca. 1900–1922: In this image, the surprised expression on the man’s face fits perfectly with the position of the deterioration that befell the negative on which he is photographically etched.

Sarah Stacke is writing a book about Hugh Mangum’s life and work.

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The 2015 Paris Photo-Aperture Foundation PhotoBook Awards Shortlist

On Friday evening, September 18, at the New York Art Book Fair, the Paris Photo-Aperture Foundation PhotoBook Awards shortlist was announced after two days of deliberation by the short list jury, consisting of Yannick Bouillis, founder of Offprint Projects; Julien Frydman, director of development at the LUMA Foundation; Lesley A. Martin, creative director of Aperture Foundation; Mustuko Ota, editor-in-chief of IMA magazine; and Christophe Weisner, artistic director of Paris Photo.

The thirty-five books—plus one special jury mention for a facsimile reproduction of the classic Japanese book, Chizu (The Map) by Kikuji Kawada—are listed below. Thank you to everyone who entered! There was an overwhelming response, with over 1,000 books from over sixty countries submitted. More information on all the titles to come soon, here on-line and in the next issue of The PhotoBook Review.

PHOTOGRAPHY CATALOGUE OF THE YEAR

Beastly/Tierisch

Duncan Forbes, Matthias Gabi, and Daniela Janser

Spector Books/Fotomuseum Winterthur

A Guide for the Protection of the Public in Peacetime

Timothy Prus, Ed Jones, and David Alan Mellor

Archive of Modern Conflict

Images of Conviction: The Construction of Visual Evidence

Diane Dufour and Xavier Barral

Le Bal/Éditions Xavier Barral

TR Ericsson: Crackle & Drag

TR Ericsson, Arnaud Gerspacher, and Barbara Tannenbaum

Yale University Press/Cleveland Museum of Art

William Eggleston: A Cor Americana

Thyago Noguiera

Instituto Moreira Salles

FIRST PHOTOBOOK OF THE YEAR

Annette Behrens

(in matters of) Karl

Fw:Books

Noa Ben-Shalom

Hush: Israel Palestine 2000–2014

Sternthal Books

Sophie Bramly

Walk This Way

Galerie 213

Matthew Connors

Fire In Cairo

SPBH Editions

Iñaki Domingo

Ser Sangre

RM Verlag/La Kursala/Here Press

J. W. Fisher and J. T. Leonard

Landmark

Daylight

Dominic Forde

Ramps, Pools, Ponds and Pipes

Self-published

Siegfried Hansen

Hold the Line

Verlag Kettler

Lucy Helton

Transmission

Silas Finch

Benoît Jeannet

A Geological Index of the Landscape

Self-published

Sjoerd Knibbeler

Paper Planes

Fw:Books

Madeleine Kotte and Cornelius de Bill Baboul

5 PTOHOGRAHPIES—40 × 28 CM

The Ptohograhpies

Daniel Mayrit

You Haven’t Seen Their Faces

Riot Books

Katarzyna Mazur

Anna Konda

dienacht Publishing

Gilles Raynald

Jean-Jaurès

Purpose Éditions

Paweł Szypulski

Greetings from Auschwitz

Edition Patrick Frey/Foundation for Visual Arts

Hiroshi Takizawa

Mass

Newfave

Maurice van Es

Now Will Not Be With Us Forever

RVB Books

Adrian Octavius Walker

My Lens, Our Ferguson

Self-published

Akihito Yoshida

Brick Yard

Self-published

PHOTOBOOK OF THE YEAR

Anthony Cairns

LDN EI

Self-published

Dana Lixenberg

Imperial Courts 1993–2015

Roma Publications

Thomas Mailaender

Illustrated People

Archive of Modern Conflict/RVB Books

Mike Mandel

Good 70s

J&L Books/D.A.P.

Tod Papageorge

Studio 54

Stanley/Barker

Christian Patterson

Bottom of the Lake

Walther König

Fazal Sheikh

Erasure

Steidl

Will Steacy

Deadline

b.frank books

Daisuke Yokota

Taratine

Session Press

Xu Yong

Negatives

New Century Press

JURORS’ SPECIAL MENTION

Kikuji Kawada

Chizu (The Map)

Akio Nagasawa

The post The 2015 Paris Photo-Aperture Foundation PhotoBook Awards Shortlist appeared first on Aperture Foundation NY.

Announcing the 2015 Paris Photo-Aperture Foundation PhotoBook Awards Shortlist

On Friday evening, September 18, at the New York Art Book Fair, the Paris Photo-Aperture Foundation PhotoBook Awards shortlist was announced after two days of deliberation by the short list jury, consisting of Yannick Bouillis, founder of Offprint Projects; Julien Frydman, director of development at the LUMA Foundation; Lesley A. Martin, creative director of Aperture Foundation; Mustuko Ota, editor-in-chief of IMA magazine; and Christophe Weisner, artistic director of Paris Photo.

The thirty-five books—plus one special jury mention for a facsimile reproduction of the classic Japanese book, Chizu (The Map) by Kikuji Kawada—are listed below. Thank you to everyone who entered! There was an overwhelming response, with over 1,000 books from over sixty countries submitted. More information on all the titles to come soon, here on-line and in the next issue of The PhotoBook Review.

PHOTOGRAPHY CATALOGUE OF THE YEAR

Beastly/Tierisch

Duncan Forbes, Matthias Gabi, and Daniela Janser

Spector Books/Fotomuseum Winterthur

A Guide for the Protection of the Public in Peacetime

Timothy Prus, Ed Jones, and David Alan Mellor

Archive of Modern Conflict

Images of Conviction: The Construction of Visual Evidence

Diane Dufour, with Émilie Hanmer

Le Bal/Éditions Xavier Barral

TR Ericsson: Crackle & Drag

TR Ericsson, Arnaud Gerspacher, and Barbara Tannenbaum

Yale University Press/Cleveland Museum of Art

William Eggleston: A Cor Americana

Thyago Noguiera

Instituto Moreira Salles

FIRST PHOTOBOOK OF THE YEAR

Annette Behrens

(in matters of) Karl

Fw:Books

Noa Ben-Shalom

Hush: Israel Palestine 2000–2014

Sternthal Books

Sophie Bramly

Walk This Way

Galerie 213

Matthew Connors

Fire In Cairo

SPBH Editions

Iñaki Domingo

Ser Sangre

RM Verlag/La Kursala/Here Press

J. W. Fisher and J. T. Leonard

Landmark

Daylight

Dominic Forde

Ramps, Pools, Ponds and Pipes

Self-published

Siegfried Hansen

Hold the Line

Verlag Kettler

Lucy Helton

Transmission

Silas Finch

Benoît Jeannet

A Geological Index of the Landscape

Self-published

Sjoerd Knibbeler

Paper Planes

Fw:Books

Madeleine Kotte and Cornelius de Bill Baboul

5 PTOHOGRAHPIES—40 × 28 CM

The Ptohograhpies

Daniel Mayrit

You Haven’t Seen Their Faces

Riot Books

Katarzyna Mazur

Anna Konda

dienacht Publishing

Gilles Raynald

Jean-Jaurès

Purpose Éditions

Paweł Szypulski

Greetings from Auschwitz

Edition Patrick Frey/Foundation for Visual Arts

Hiroshi Takizawa

Mass

Newfave

Maurice van Es

Now Will Not Be With Us Forever

RVB Books

Adrian Octavius Walker

My Lens, Our Ferguson

Self-published

Akihito Yoshida

Brick Yard

Self-published

PHOTOBOOK OF THE YEAR

Anthony Cairns

LDN EI

Self-published

Dana Lixenberg

Imperial Courts 1993–2015

Roma Publications

Thomas Mailaender

Illustrated People

Archive of Modern Conflict/RVB Books

Mike Mandel

Good 70s

J&L Books/D.A.P.

Tod Papageorge

Studio 54

Stanley/Barker

Christian Patterson

Bottom of the Lake

Walther König

Fazal Sheikh

Erasure

Steidl

Will Steacy

Deadline

b.frank books

Daisuke Yokota

Taratine

Session Press

Xu Yong

Negatives

New Century Press

JURORS’ SPECIAL MENTION

Kikuji Kawada

Chizu (The Map)

Akio Nagasawa

The post Announcing the 2015 Paris Photo-Aperture Foundation PhotoBook Awards Shortlist appeared first on Aperture Foundation NY.