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.
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.
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.
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.
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.
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.
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.
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.
Fidel Castro: Colloquium on Latin American Photography, Havana, 1984
Movie—Television—News—History, June 21, 1979
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.
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.
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.
AN EXPERIMENT WITH CONSTANTS: A Review of "Unknown Territory: Photographs by Ray K. Metzker"
A Review of Unknown Territory
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.
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.
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.
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.