Issue: 19850303

Sunday, March 3, 1985
FALL 1985
100
True
1985
Monday, May 25, 2015
8/26/2015 7:13:49 PM

Articles
cover
0_1
0_1
[no value]
[no value]
APERTURE
[no value]
[no value]
[no value]
[no value]
[no value]
Aperture_19850303_1985_100_0001.xml
article
0_2
0_2,1
[no value]
[no value]
Photo
[no value]
[no value]
[no value]
[no value]
[no value]
Aperture_19850303_1985_100_0002.xml
masthead
1
1
[no value]
[no value]
Masthead
[no value]
[no value]
[no value]
[no value]
[no value]
Aperture_19850303_1985_100_0003.xml
tableOfContents
1
1
[no value]
[no value]
APERTURE
[no value]
[no value]
[no value]
[no value]
[no value]
Aperture_19850303_1985_100_0004.xml
article
2
2,3,4,5
Editor's Note
[no value]
The Edge of illusion
[no value]
[no value]
[no value]
THE EDITORS
THE 100TH ISSUE OF APERTURE provides a sense of the future and measures the changes in the practice and understanding of photography. The first issue of Aperture was published by Minor White in San Francisco in 1952. The editorial, signed by the founders, Minor White, Dorothea Lange, Nancy Newhall, Ansel Adams, Beaumont Newhall, Barbara Morgan, Ernest Louis, Melton Ferris, and Dody Warren, offered the periodical as a creative catalyst to photographers everywhere.
Aperture_19850303_1985_100_0005.xml
article
6
6,7,8,9,10,11,12,13
[no value]
[no value]
Richard Prince: An Interview by David Robbins
[no value]
[no value]
[no value]
David Robbins
Richard Prince initiated rephotography in New York in 1977. Simply expressed, rephotography is photographing existing images and it is an activity that since its invention has been frequently cited as among the most compelling evidence of a genuinely postmodern phase of visual art.
Aperture_19850303_1985_100_0006.xml
article
14
14,15,16,17,18,19
[no value]
[no value]
Studio Still Lifes
[no value]
[no value]
[no value]
Robert Cumming
The first photographic images on celluloid film were recorded in the year 1888. Ninety years later, the millions of still photographic images recorded daily and the miles of movie footage are recorded on approximately the same light-sensitive celluloid base: 35mm color.
Aperture_19850303_1985_100_0007.xml
article
20
20,21,22,23
[no value]
[no value]
Lejaren à Hiller
[no value]
[no value]
[no value]
LARRY FRASCELLA
A pioneer in the field of illustrative photography, Lejaren à Hiller (1880-1969) is a relatively obscure presence today. During his most prolific period, in the 30's and 40'S, Hiller was often credited with the first successful photographic illustrations.
Aperture_19850303_1985_100_0008.xml
article
24
24,25,26,27,28,29,30,31
[no value]
[no value]
Black Dice
[no value]
[no value]
[no value]
John Baldessari
This piece is derived from an English gangster film, Black Dice, a movie I've never seen. I remembered that Titian had done sections of landscapes as etchings and then set them on the wall as one continuous landscape. That intrigued me. Since I'm interested in things exploding and imploding, and being disjunctive, that idea seemed natural to try.
Aperture_19850303_1985_100_0009.xml
article
32
32,33
[no value]
[no value]
Brian DePalma's Body Double
[no value]
[no value]
[no value]
Susan Dworkin
Brian DePalma's recent film Body Double contained enough violence and eroticism to sustain his reputation from his previous films Scarface and Dressed to Kill. Body Double developed around the gruesome murder of a beautiful woman, witnessed through a voyeur's telescope.
Aperture_19850303_1985_100_0010.xml
article
34
34,35,36,37,38,39,40,41
[no value]
[no value]
Divine Revolt
[no value]
[no value]
[no value]
Joel-Peter Witkin
No one could explain what life and death were. No teacher, book, radio broadcast, or television program could tell me. I concluded that only the Creator of all things, G—d, maker of death and life, would know. I wanted to know, from him! An opportunity to know came to me when I was seventeen.
Aperture_19850303_1985_100_0011.xml
article
42
42,43,44,45,46,47,48,49,50
[no value]
[no value]
The Future of Photojournalism
[no value]
[no value]
[no value]
Fred Ritchin
Photojournalism has been the beneficiary of the twin notions that "the camera does not lie" and that journalism is impartial, a public misperception that has both awarded the medium a powerful platform and helped to stunt its growth. Now photojournalism is increasingly moribund, being used to a greater extent in artificial and lifeless ways while facing serious editorial and technological challenges to its credibility.
Aperture_19850303_1985_100_0012.xml
article
51
51,52,53,54,55,56,57,58,59
[no value]
[no value]
Fidel Castro: Colloquium on Latin American Photography, Havana, 1984
Movie—Television—News—History, June 21, 1979
[no value]
[no value]
FRED RITCHIN
Sarah Charlesworth
Colloquium on Latin American Photography, Havana, 1984 It was my sixth day in Cuba, and midweek of the colloquium on Latin American photography I was there to attend. Joined in informal conversation with delegates from Cuba and the United States in a hallway near the conference room, I looked up to see two men in khaki uniforms going by, one short and clean-shaven, the other tall and bearded.
Aperture_19850303_1985_100_0013.xml
article
60
60,61,62,63,64,65,66,67,68
[no value]
[no value]
Dream Portraits
[no value]
[no value]
[no value]
DENISE DIXON
These photographs are by children from remote Appalachian communities in Kentucky. They are the result of the guidance of Wendy Ewald, a young teacher who lived at Ingrams Creek, Kentucky, from 1975 until 1981, while teaching photography classes in three elementary schools.
Aperture_19850303_1985_100_0014.xml
article
69
69
People and Ideas
[no value]
CLARENCE JOHN LAUGHLIN (1905-1985)
[no value]
[no value]
[no value]
[no value]
Influenced by Baudelaire and the French symbolists, Clarence John Laughlin challenged purist conceptions of photography. He evoked a Romantic, almost supernatural Southern world through double exposures, multiple printing, constructed stage sets, and collage.
Aperture_19850303_1985_100_0015.xml
article
69
69,70,71
People and Ideas
[no value]
AN EXPERIMENT WITH CONSTANTS: A Review of "Unknown Territory: Photographs by Ray K. Metzker"
A Review of Unknown Territory
[no value]
[no value]
Michael Berryhill
In a letter to one of his students about looking at photographs, Ray Metzker advised: "Look for the constants. Often you will see that they are obvious and simple. Then look for the way these constants have been worked, combined, added, and subtracted. Finally, consider the different meanings that result.
Aperture_19850303_1985_100_0016.xml
article
71
71,72,73
People and Ideas
[no value]
IN PRAISE OF AGEE: A Review of James Agee; A Life
A Review of James Agee: A Life
[no value]
[no value]
Danny Lyon
There are few figures as important to American photography as James Agee, which is saying a lot because while Agee was a poet, writer, movie critic, dramatist, and at least once—with Helen Levitt—a filmmaker, he was not a photographer.
Aperture_19850303_1985_100_0017.xml
article
73
73,74,75
People and Ideas
[no value]
Agee and the Photographer's Art
[no value]
[no value]
[no value]
Andrew Mossin
In the photograph taken of James Agee in 1945, his face has acquired a sunken softness, a gentleness about the mouth and eyes. His high forehead tilts down; his eyes have sunk back into the shadows of his brow and gaze downward with a quiet, impenetrable regard.
Aperture_19850303_1985_100_0018.xml
article
76
76
CONTRIBUTORS
[no value]
CONTRIBUTORS
[no value]
[no value]
[no value]
[no value]
[no value]
Aperture_19850303_1985_100_0019.xml
article
76
76
[no value]
[no value]
CREDITS
[no value]
[no value]
[no value]
[no value]
Inside front cover, pp. 2, 55—59, 67 photopieces by Sarah Charlesworth, courtesy of the artist. Pp. 3—5 photographs by Laurie Simmons, courtesy of the artist. Pp. 6—8, 11 photopieces by Richard Prince, courtesy of Baskerville and Watson, New York.
Aperture_19850303_1985_100_0020.xml
advertisement
77
77
[no value]
[no value]
RICHARD PRINCE
[no value]
RICHARD PRINCE
[no value]
[no value]
[no value]
Aperture_19850303_1985_100_0021.xml
advertisement
77
77
[no value]
[no value]
Advertisements
[no value]
Pace/macgil gallery
[no value]
[no value]
[no value]
Aperture_19850303_1985_100_0022.xml
advertisement
78
78
[no value]
[no value]
SILVER MOUNTAIN FOUNDATION INCLUDING APERTURE/BURDEN GALLERY/PAUL STRAND ARCHIVE
[no value]
SILVER MOUNTAIN FOUNDATION
[no value]
[no value]
[no value]
Aperture_19850303_1985_100_0023.xml
advertisement
79
79
[no value]
[no value]
Silver Mountain Foundation
[no value]
Silver Mountain Foundation
[no value]
[no value]
[no value]
Aperture_19850303_1985_100_0024.xml
advertisement
80
80
[no value]
[no value]
Let Truth Be The Prejudice: W. Eugene Smith, His Life and Photographs
[no value]
APERTURE
LET TRUTH BE THE PREJUDICE
[no value]
[no value]
Aperture_19850303_1985_100_0025.xml
advertisement
81
81
[no value]
[no value]
Advertisement
[no value]
[no value]
[no value]
[no value]
[no value]
Aperture_19850303_1985_100_0026.xml
article
82
82
Back Cover
[no value]
Back Cover
[no value]
[no value]
[no value]
[no value]
[no value]
Aperture_19850303_1985_100_0027.xml