Aperture's Blog, page 183

Publisher’s Note

Dear PhotoBook Review Readers,

In art, as in life, there is a critical difference between a brilliant idea and the translation of that idea into concrete action or physical form. For the photographer, this process begins with the capture of an idea, of a keenly observed moment in space and time, onto a two-dimensional plane. That single image may turn into a body of work, a series—or simply an accumulation of images that wants to be set loose into the world. This is where the book form excels. As Horacio Fernández puts it in his introduction to The Latin American Photobook (Aperture, 2011), “Photobooks move around even more than photographers do. Sometimes they travel slowly, but they find their way out there in the end.”

I was reminded of the tremendous connective potential of the book when jurying the short list for this year’s Paris Photo–Aperture Foundation PhotoBook Awards. How else would one come in contact with a body of work being made by a collective of artists from Helsinki with a scant international-exhibition track record (Maanantai Collective, [Kehrer Verlag, 2013])? How else would I find myself mesmerized by the work of a Spanish artist previously unheard of (by me, in any case), save for his having found the perfect collaborator in a small but determined French publisher (Óscar Monzón, KARMA [RVB Books/Dalpine, 2013])? Yes, the Internet is great for finding a portfolio of images, but to see the work realized, sequenced, and presented on the printed page, with a par- ticular texture of paper, hyper-gloss varnish, or other physical aspect that subtly underscores the artist’s intent, is an entirely different, visceral experience. And it is when that book form effectively elevates a body of work that would not otherwise be immediately accessible, or that amplifies certain underpinnings of the artist’s concept, that one can recognize a really interesting Book Work. Finding that physical form can be an important first step to propelling an artist beyond his or her own studio, friends, and gallery walls. It is both a delicate art of transubstantiation and a factory operation of pure mechanical calculation.

A special thanks to Darius Himes, our guest editor, who suggested that this issue of The PhotoBook Review take some time to meditate on the fine art of making things. Both thanks and kudos to The PhotoBook Review’s now-former associate editor, Brian Sholis; he will have joined the Cincinnati Art Museum as associate curator of photography by the time this issue is released. Congratulations also to design director Emily Lessard, who helped launch The PhotoBook Review in 2011, and who is now leaving Aperture to work as the design director for New York City & Company. As always, the act of publication is one of community and of shared interests. Over to you, the reader, to do your part!

—Lesley A. Martin

Publisher, The PhotoBook Review and Aperture Foundation book program

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Recap: Prix Pictet: Power Closing Reception

Prix Pictet: Power closing reception at Aperture Gallery, January 22, 2014, Image © Katie Booth.

Prix Pictet: Power closing reception at Aperture Gallery, January 22, 2014, Image © Katie Booth.

Chief Curator of Photography at the Museum of Modern Art, Quentin Bajac with Aperture Foundation Executive Director Chris Boot, Image © Katie Booth.

Prix Pictet: Power closing reception at Aperture Gallery, January 22, 2014, Image © Katie Booth.

Prix Pictet: Power closing reception at Aperture Gallery, January 22, 2014, Image © Katie Booth.

Prix Pictet: Power closing reception at Aperture Gallery, January 22, 2014, Image © Katie Booth.

Prix Pictet: Power closing reception at Aperture Gallery, January 22, 2014, Image © Katie Booth.

Prix Pictet Chairman Stephen Barber with Aperture Foundation Executive Director Chris Boot, Image © Katie Booth.

Prix Pictet: Power closing reception at Aperture Gallery, January 22, 2014, Image © Katie Booth.

Chief Curator of Photography at the Museum of Modern Art, Quentin Bajac with Aperture Foundation Executive Director Chris Boot, Image © Katie Booth.

Prix Pictet: Power closing reception at Aperture Gallery, January 22, 2014, Image © Katie Booth.

Prix Pictet: Power closing reception at Aperture Gallery, January 22, 2014, Image © Katie Booth.

On Wednesday, January 22, over 100 invited guests gathered at Aperture Gallery for the finissage of Prix Pictet: Power. Prix Pictet Chairman Stephen Barber, Director Michael Benson, and Aperture Members and Trustees plus other special guests, were all in attendance.

Founded by Pictet, the Geneva-based wealth and asset management group in 2008, the Prix Pictet has rapidly established itself as the world’s leading prize in photography and sustainability. The award aims to uncover outstanding photography applied to confront the most pressing social and environmental challenges of today. The Prix Pictet: Power exhibition features this year’s shortlisted photographers and the winner, Luc Delahaye, who embrace this year’s theme of Power, with both awe-inspiring and disturbing images.

 

Want to join the Aperture community at our next event? Become an Aperture member today! 

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Week in Review: 01.24.2014

Aperture aggregates the photography blogosphere’s most trending stories from the past week.

Olga, © Rob Hornstra / Courtesy Flatland Gallery

››The Winter Olympics are fast approaching, and the world is beginning to take notice of more than just the games. The traveling exhibition The Sochi Project, by Rob Hornstra and Arnold van Bruggen, is making waves on Fox News and in Chicago magazine after its opening at the DePaul Art Museum, Chicago. Everything from the Games’ budget and Putin’s politics to Sochi’s place in Russia as a subtropical conflict zone are being called into question. (Here, the Guardian interviewed Hornstra and van Bruggen about the project). The BBC also noticed that Sochi has some pretty strange bathrooms.

››The Associated Press is breaking ties with Narciso Contreras, a freelance photojournalist who won a Pulitzer Prize with a team of other AP photographers last year, due to a single Photoshopped image, the New York Times reported. Contreras turned himself in, admitting that he had removed a colleague’s video camera from one of his images taken in Syria. Contreras, who has covered the conflict in Syria extensively, accepted full responsibility. Even though it’s unfortunate, it was good to see one man’s honesty and an industry that still holds photojournalists accountable.

››This week, Carrie Mae Weems: Three Decades of Photography and Video opened at the Guggenheim Museum. Reviews of the retrospective, which was originally organized by the Frist Center for the Visual Arts in Nashville, have been mixed, though certainly not because of Weems’s work. The exhibition has been cut down to half its original size and split between two floors of annex galleries. However, given the show’s restrictions, Holland Cotter of the New York Times gave its curators credit for showcasing the work, and Maurice Berger stressed their importance. We looked back at Weems’s conversation with Dawoud Bey at Aperture.

››From the impact of stock photography to the use of social media, the ways people are making and sharing images are rapidly changing. Here, the Bold Italic gives some entertaining insight into how Instagram has made us all into liars. And when Stephen Mayes, a major player in the field of photography, weighs in on the future of the medium, it’s worth taking notice. Instead of hiding under a rock, Mayes encourages photographers to take the changes wrought by social media seriously, and maybe even get inspired by them. “What does that mean for the future of photography?” he says. “Every day I’m amazed by what’s happening.”

››For those of us not hiding under a rock, it was difficult to miss the hype surrounding Jezebel’s leaked un-altered images of Vogue’s latest cover girl, Lena Dunham. From the originals, we can see photographer Annie Leibovitz’s Photoshop job, and everyone from Time to Dunham herself had an opinion on whether or not it was ethical to leak the photos—for which Jezebel paid $10,000—and whether the images themselves sent the wrong message. For photographers, it raised questions about the purpose of editorial imagery: aren’t these photos sometimes supposed to be a bit fantastical?

››Speaking of photo-sharing, this Thursday was Museum Selfie Day, a call to museum-goers across the globe to do what, apparently, they do best: take selfies with priceless works of art. Everyone from college students to Jay-Z posted images—some funny, some just plain bizarre. From the New Republic, the event generated talk of the museum experience, but overall the day just showcased some great art from around the world.

››Since Aperture’s photobook This is Mars was published in 2013, we’ve been keeping an eye on updates from our favorite red planet. This week, NASA’s Opportunity rover, in its tenth year of exploration, discovered a new rock. That sounds pretty boring, but apparently, the rock is made up of material formed in aqueous environments, fitting with a picture of a Mars that was once more hospitable to life. And according to NASA’s lead scientist for the Mars Exploration Program, Michael Meyer, “It looks like a jelly doughnut.”

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Follow Aperture on Twitter (@aperturefnd) for a daily feed of photography-related news and commentary.

Katie Booth is an Aperture Work Scholar and a photographer. Originally from the Adirondacks, she holds a BFA in photography from SUNY Plattsburgh.

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Edmund Clark and Jacqueline Hassink in Conversation

In conjunction with the exhibition Prix Pictet: Power, which opened at Aperture Gallery on December 5, 2013, Aperture hosted a conversation between two of Prix Pictet’s short-listed photographers, Edmund Clark and Jacqueline Hassink. This was Prix Pictet’s fourth cycle, and nearly 650 photographers worldwide were nominated for the prize. Of the winning work, Kofi A. Annan, former secretary general of the United Nations and honorary president of the Prix Pictet, writes, “The work of the short-listed photographers provides a vivid portrait of human vulnerability. But they also remind us that the same forces that might engender despair can also be the source of great hope. They evoke a heartening reminder of our capacity for humanity, courage, and solidarity in the face of adversity.”



Following an introduction by Aperture deputy director Sarah McNear, Clark and Hassink discussed the evolution of their projects, their experiences photographing, and their approaches to the theme of Power. Clark’s series Guantanamo: If the Light Goes Out, which took him inside Guantanamo Bay and to the homes of former inmates, provided an interesting contrast to Hassink’s series, Arab Domains, which brought her to the residences and boardrooms of some of the most influential women in the Middle East. They ended the evening by inviting the audience to participate in a brief Q&A session.



View “Edmund Clark and Jacqueline Hassink in Conversation” Part 2 and Part 3 on Vimeo.

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Recap: Show and Tell with Aperture Editors

Chris Boot speaks to Members at “Show and Tell with Aperture Editors." Photo by Frances Dorenbaum

Members at “Show and Tell with Aperture Editors." Photo by Frances Dorenbaum

Q & A session with Denise Wolff, Chris Boot and Lesley Martin at “Show and Tell with Aperture Editors." Photo by Frances Dorenbaum

Q & A session with Denise Wolff, Chris Boot and Lesley Martin at “Show and Tell with Aperture Editors." Photo by Frances Dorenbaum

Q & A session at “Show and Tell with Aperture Editors." Photo by Frances Dorenbaum

Members at “Show and Tell with Aperture Editors." Photo by Frances Dorenbaum

Members at “Show and Tell with Aperture Editors." Photo by Frances Dorenbaum

Senior editor Denise Wolff at “Show and Tell with Aperture Editors." Photo by Frances Dorenbaum

On Saturday, January 18, Aperture Foundation presented the Members-only program Show and Tell with Aperture Editors. Aperture executive director Chris Boot, books publisher Lesley A. Martin, and senior editor Denise Wolff presented some of their favorite book projects, for a behind-the-scenes look at how photobooks are made and at the creative decisions that inform this process.

Over sixty Members were in attendance for the lively discussion and exclusive Q&A session. Stay tuned for more exciting Aperture Member events throughout 2014!

For more information on Aperture’s Member program, please visit aperture.org/shop/donate.

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Week in Review: 01.17.2014

Aperture aggregates the photography blogosphere’s most trending posts from the week.

Image from the book This is Mars (Aperture, 2013), with photographs by NASA/MRO. Edited and designed by Xavier Barral, with texts by Alfred S. McEwen, Francis Rocard, and Nicolas Mangold.

›› With the New Year comes the quintessential batch of “Best of 2013″ lists. From photobooks to photojournalism, we were delighted to find our name on a few. The New Yorker‘s Photo Booth blog published a post titled “The Year in Photojournalism,” which included the above image from This is Mars. The book also made Brainpickings‘ Best Photography Books of 2013 list, and Ametsuchi made Terra Galleria‘s meta-list.

›› And 2014 has brought with it some big announcements. This week, MoMa announced its plan to demolish the Folk Art Museum building as part of its expansion plan for 2014, releasing photos of a redesign that has many puzzled. Clearly, the museum needs more space, but at what cost? The decision was met with strong opinions. Architect Elizabeth Diller defended the decision, and the New York Daily News, NYT, and Vulture weighed in.

›› After a long battle to keep Cooper Union free, its Board of Trustees announced that the school will be charging tuition for its fall 2014 applicants. The institution, once extraordinary in its unique meritocracy, will now be decidedly ordinary, joining the ranks of art colleges in NYC and elsewhere. The decision came when a cost-saving proposal created by the Cooper Union community was voted down on January 10. Reuters labeled the decision “depressing, yet entirely predictable,” and ArtFCity sympathized with incoming freshmen.

›› On the plus side, some things will still be free for artists in 2014. The New York Times announced it will continue its second annual free portfolio review. It’s free for photographers to submit images, and 150 will be chosen to attend the review this April. One of Aperture’s editors, Denise Wolff, is on the lineup of reviewers. Also promising was Flickr’s decision to include copyright metadata in its image files, perhaps in response to stories like this one. Now we can all feel a little better about sharing.

›› Larry Clark, whose work includes the 1971 photobook Tulsa and the iconic 1995 film Kids, made waves on the web this week, when he announced that he would be selling snapshots—which can sell for tens of thousands of dollars—for a mere 100 bucks a pop at an East Village art space. Of the decision, Clark said, “This is a payback to all the skate rats and collectors who would like a souvenir, so I can die happy.”

›› There are a handful of openings to look forward to as January comes to a close. FlakPhoto put together an exhibition titled Making Pictures of People with photographers from the online photo and art community, and Aperture’s own Richard Renaldi is on the list with his series Touching Strangers. The show opens January 31 at the Nelson-Atkins Museum of Art, Kansas City, Missouri. Opening the same day in New York, the International Center of Photography announced its upcoming exhibition of unpublished color photographs by Robert Capa, Capa in Color.

›› What to expect in 2014? Well, no one seems sure what to call it, but there’s plenty of talk about photography’s shift toward digitized, interdisciplinary media. Whatever you label it, it’s clear that lines are being blurred in innovative ways. Even Sundance has implemented a new program that includes photography, and here, the Collector Daily attempts to sum it up for us.

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Follow Aperture on Twitter (@aperturefnd) for a daily feed of photography-related news and commentary.

Katie Booth is an Aperture Work Scholar and a photographer. Originally from the Adirondacks, she holds a BFA in Photography and Graphic Design from SUNY Plattsburgh.

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Cities, Real or Imagined: LagosPhoto 2013

By Bronwyn Law-Viljoen

LagosPhoto 2013 is the fourth iteration of the Nigeria-based international photography festival, which runs yearly through October and November. This year the theme of the festival—“The Megacity and the Non-City”—moved from last year’s local focus on Lagos to larger philosophical questions about cities in general. In addition to the main exhibition, the festival included a broad program of satellite exhibitions, film screenings, discussions, master classes, and workshops in venues throughout Lagos. It also hosted the World Press Photo exhibition, the itinerant exhibition Témoin/Witness, the contemporary photography competition POPCAP, and the FOTObook project, among other collaborations and initiatives.

Adeola Olagunju, Dreamland, from the series Resurgence: A Manifesto, 2013

Nigerian artist Adeola Olagunju’s series Resurgence: A Manifesto seemed to me to encapsulate the dual elements of the festival’s theme. Her works represent a particular moment in our imagining of our relationship to cities, at least on the African continent: her photographed performances in abandoned industrial buildings present the theatrical as the point of connection between the city—real or imagined—and the bodies that occupy, are oppressed by, or shape city space.

These are certainly not new considerations, but the juxtaposition of images of performances and of cities, in this context, gave the festival theme a new and interesting twist. Though the curatorial statement presented in the festival press release covers a few too many bases, it does draw attention to the extent to which “displacement, fantasy, and an unstable sense of identity” constitute a political, emotive, and aesthetic response to the intellectually and spatially overwhelming idea of the “megacity.” In Lagos, Africa’s fastest-growing and most populous city, with an estimated population of around twenty million, the idea of enacting, insisting on, or even just conceiving of an individual identity is an urgent one, but also one not to be imagined without considering the historical and philosophical matrices at work in this context.

Hence the relevance of Cameroonian Samuel Fosso’s newest “performed” images in the series The Emperor of Africa (2013), in which Fosso plays Mao Tse-tung. The intersections of Chinese and African history go a long way back. In Nigeria in particular, the Chinese presence has grown steadily since the 1950s, often accompanied by controversy over issues such as Chinese migrants’ working conditions and the use of Chinese rather than Nigerian workers on construction projects. My own reference point for this work was an up-close view from a crowded expressway, on a shoot with the Dutch photographer Hans Wilschut, of the Lagos Rail Mass Transit project: the transit system’s Okokomaiko-Iddo-Marina Line, also known as the blue line, is being built by a Chinese construction company.

Samuel Fosso, Untitled, from the series The Emperor of Africa, 2013

Ayana V. Jackson, Dictatorship, from the series Poverty Pornography, 2012

Not unlike Fosso, though with very different effects, Ayana V. Jackson (United States) and Uche Okpa-Iroha (Nigeria) insert themselves into historical and cultural narratives in order to redirect the gaze of the viewer and interrogate the politically loaded presence, or absence, of the black body. In Jackson’s series Poverty Pornography (2011), the photographer plays a lynched slave, then a child soldier, putting her own beautiful, naked body in place of the usually abject subject depicted in such images. In his series The Plantation Boy (2012), Okpa-Iroha plays an imagined black character in Francis Ford Coppola’s The Godfather, appearing in film stills alongside Brando and De Niro. In the same pavilion as these two series, Spanish photographer Cristina de Middel’s The Afronauts (2012), an invented version of one Zambian man’s lunar longings and his bizarre (but earnest) 1960s space program, makes explicit the aspirations toward, and the possibilities afforded by, fiction in the work of many of the photographers in the festival.

Uche Okpa-Iroha, Untitled, from the series The Plantation Boy, 2012

Curatorial arrangements set these works, as well as Kenyan Cyrus Kabiru’s C-Stunners (2012) and Beninese Leonce Raphael Agbodjelou’s Musclemen series (2012), against the theatrical backdrop of the city. In Hans Wilschut’s painterly cityscapes of various megacities, Lagos included, the city appears as an amalgamation of the grandiose, the absurd, and the spectacular. On the other hand, in Nigerian Akintunde Akinleye’s Quiet Lagos series from 2013, the usually frenetic and crowded city is dramatically empty of people and traffic, functioning for a moment as ruin or mausoleum.

Cyrus Kabiru, Mask, from the series C-Stunners, 2012

Cristina de Middel, Untitled, from the series The Afronauts, 2012

Supplementary shows lent depth and interest to the main exhibitions of the festival. Témoin/Witness included potent works by Sammy Baloji (Democratic Republic of Congo), Calvin Dondo (Zimbabwe), Sabelo Mlangeni (South Africa), Abraham Oghobase (Nigeria), Monique Pelser (South Africa), and Michael Tsegaye (Ethiopia), all participants in the 2008–10 Photographers’ Portfolio Meetings with Chris Dercon, Simon Njami, and other curators. Works by the winners of Piclet.org’s POPCAP prize—Anhua Collective (Spain), Dillon Marsh (South Africa), Cristina de Middel (Spain), Alexia Webster (South Africa), and Graeme Williams (South Africa)—were imaginatively printed on parachute cloth and displayed outdoors on bamboo scaffolding.

The 2013 World Press Photo exhibition included representations of the human capacity for cruelty that felt, at least for this viewer, uncomfortably at odds with the opulence of the hotel that hosted the exhibition. Nonetheless, LagosPhoto’s program of master classes, discussions, and film screenings—marred only by the failure to start any single event on time—made this a rich and varied festival, one that now has an important place on the international photographic calendar.

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Bronwyn Law-Viljoen is a senior lecturer in creative writing at the University of the Witwatersrand, Johannesburg, and editor of the arts publisher Fourthwall Books.

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John Berger: Understanding a Photograph (Video)

In conjunction with the release of John Berger’s collected writings on photography, Understanding a Photograph (Aperture, 2013), Aperture hosted a panel discussion on November 13 on the subject of Berger’s work and influence. Edited and with an introduction by Geoff Dyer, Understanding a Photograph assembles previously uncollected pieces written for exhibitions or catalogs, discussing a wide range of artists—from Henri Cartier-Bresson to Jitka Hanzlová.

Geoff Dyer was joined in conversation by acclaimed photographer Christophe Agou; Wendy Lesser, critic, novelist, and founding editor of The Threepenny Review; and Lawrence Weschler, artistic director emeritus of the Chicago Humanities Festival and curator of the annual Live Ideas Festival at Bill T. Jones’s New York Live Arts.

Following brief introductions, the group discussed Berger’s influence on their own work and the landscape of photography writing at large. Berger’s explorations of the relationships between the individual and society, culture and politics, and experience and expression through the written word and photographic collaborations are unmatched in their diversity, ambition, and reach. Reflecting on personal experiences, the speakers offered their views on Berger’s ideas and his character as both a colleague and a friend. Inviting the audience to join the discussion, the evening concluded with a brief Q&A session.

View “John Berger: Understanding a Photograph,” Part 2, Part 3, and Part 4 on Vimeo.

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Understanding a Photograph is now available as part of the Aperture Ideas series.

Understanding a Photograph




$24.95

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Holiday Book Bazaar Recap

 

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Cookies courtesy of baking company The Good Batch. Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Music from guest DJ Stefan Ruiz. Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

Image courtesy Allison Kruger Pierce.

On December 14, Aperture held its Holiday Book Bazaar in the Aperture Gallery and Bookstore. This year’s Bazaar was attended by distinguished photobook publishers and distributors such as Artbook/D.A.P., bookdummypress, Conveyor Arts, Coral Press Arts, Empty Stretch, Kurt Boone Books, MACK, Magnum Foundation, Oranbeg Press, Pau Wau Publications, and Spaces Corners. Everyone enjoyed winter festivities throughout the afternoon, including music from guest DJ Stefan Ruiz and delicious cookies donated by Brooklyn baking company The Good Batch.



The occasion also marked the opening of the 2013 Paris Photo–Aperture Foundation PhotoBook Awards Short List exhibition. All thirty of the short-listed books were on display, including the two winning volumes by Rosângela Rennó and Óscar Monzón.



The 2013 Paris Photo–Aperture Foundation PhotoBook Awards Short List will be on view at Aperture Gallery until January 30, 2014.

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Aperture Matters: Diana Panora

Members of the photography community and beyond reflect on the role that Aperture’s magazine, books, and educational programs have played in their lives.



Before I started as a finance and administration work scholar at Aperture, I struggled to figure out what I wanted to pursue in my professional life. I graduated from the City College of New York with a BA in International Studies, and I was not sure if I wanted to pursue accounting or something else.



At first, the internship was very challenging—I had no experience with photography. My duties and responsibilities involved working not only with the finance department, but with Aperture as a whole. Since Aperture is not only a multiplatform publisher but also runs a gallery, bookstore, educational programs, and more, the finance department has to interact with several other departments, all of which are interconnected in one way or another. I have learned so much about photography and publishing: from the genesis of a book idea with an artist, to printing and production, right up until the book makes it into stores. This has made me appreciate the arts so much more.

Former Aperture work scholar Diana Panora at Aperture Gallery in October, 2013

As I reached the end of my term as a work scholar, I applied for a program administrator–payment processing position at the Institute of International Education in New York. My interview at IIE, a non-profit organization, revolved around the skills I had developed at Aperture. I was able to provide the interviewers with detailed answers to their questions and give them solutions to their hypothetical finance scenarios. I was able to answer their questions with confidence. I believe that this was the best I have ever performed in a job interview. After finding out I was the final candidate, I felt I had redeemed myself; last year, I had applied for a similar position at IIE, but did not get the job. I know it was because I did not have sufficient professional experience.



I joined Aperture in search of professional enrichment, and it did not disappoint. I can now move forward with my academic and professional life; I plan to work and take accounting courses on the side to become more prepared and knowledgeable. I was sad to leave Aperture, but I am happy I started my post-graduation career there. I grew not only professionally, but as a person. I want to thank the finance and administration department particularly for their support, friendship, and genuine interest in my professional growth. Even though I kept a low profile, I hope I made a difference to every person at Aperture.



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Diana Panora was the finance and administration work scholar at Aperture for two terms in 2013. She now works at the Institute of International Education.



Learn more about the Stevan A. Baron Work-Scholar Program.

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