Issue: 19880101

Friday, January 1, 1988
SPRING 1988
110
True
1988
Thursday, January 29, 2015
8/26/2015 7:33:51 PM

Articles
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APERTURE
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masthead
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Masthead
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Editor's Note
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The Return of the Hero
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THE EDITORS
"The hero is the true subject of modernism," said Walter Benjamin, and the modern hero/warrior/survivor has proliferated in our cultural proscenium. In incarnations from the Oliver North hearings of last summer to the uneasy, celebratory struggles in cinema to define a new, reconstituted, post-Vietnam notion of heroics, the hero’s cyclic resurgence—born of necessity, called by destiny—might be read as the harbinger of an apocalyptic future, or as reassurance that intervention will continually triumph.
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tableOfContents
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APERTURE
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article
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2,3,4,5,6,7
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Peter Morello: Remembrance Day
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8,9,10,11,12,13,14,15
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Heroes
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Glenn O’Brien
The Hero can be Poet, Prophet, King, Priest or what you will, according to the kind of world he finds himself born into. —Thomas Carlyle One murder made a villain, millions a hero. —Beilby Porteus None but the brave deserves the fair. —John Dryden In short, he was a perfect cavaliero, And to his very valet seem'd a hero.
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Tseng Kwong Chi: Monuments and Natural Wonders
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article
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17,18,19,20,21,22,23,24,25,26,27,28,29,30,31
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Bill Burke: I Want to Take Picture
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Willis Hartshorn
Willis Hartshorn: What were your expectations in going to Southeast Asia? Bill Burke: It was to see what I hadn’t seen and to take pictures, to go someplace that was unfamiliar, where I didn’t know what I was looking at, where everything was new.
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32,33,34,35,36,37,38,39,40
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Property, Patriotism and National Defense
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Wendell Berry
The present situation with regard to “national defense,” as I believe that we citizens are now bidden to understand it, is that we, our country, and our governing principles of religion and politics are so threatened by a foreign enemy that we must prepare for a sacrifice that makes child’s play of the “supreme sacrifices” of previous conflicts.
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41,42,43
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Mark Chambers: The Armed Forces
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ERIKA BECKMAN
Here are the boys who join the ARMED FORCES-the re cruits. It's the middle of the day and we are on base with them. Air Force planes fly overhead in uniform patterns. Guys run to get into uniform lines. We are in the middle of a commercial for the ARMED FORCES.
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44,45
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Stephen Frailey: Frontier Simulacra
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46,47
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Larry Johnson: Stars
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David Robbins
Stars and stardom were at one time a source of energy in the culture. After all, America invented the modern idea of the star; it is no coincidence that the closing of the American frontier at the end of the nineteenth century opens onto the modern conception of stardom.
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48,49,50,51,52,53,54,55,56,57
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The Labors of Psyche
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Lee Edwards
Dreaming, we are heroes. Waking, we invent them. Conscious, unable to recreate the universe according to the patterns of desire, we require heroes to redeem a fallen world. Seductive figures, bold and daring, heroes promise power to the weak, glamour to the dull, and liberty to the oppressed.
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58,59
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The Starn Twins: Christ (Stretched)
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BRUCE CHATWIN
Every mythology has its version of the “Hero and his Road of Trials,” in which a young man, too, receives a “call.” He travels to a distant country where some giant or monster threatens to destroy the population. In a superhuman battle, he overcomes the Power of Darkness, proves his manhood, and receives his reward: a wife, treasure, land, fame.
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60,61
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Richard Baim: Olympus
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62,63
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Clegg & Guttman: Sumptuary Powers
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64,65,66,67,68,69
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The Fascist Guns in the West
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J. Hoberman
If the decline of the Western deprived American movies of what was once their preeminent ideological mode, ideology itself has scarcely vanished. Not since the Nixon-era cop-and-vigilante cycle has the action film become so blatant an arena for political wish fulfillment.
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70,71,72
People and Ideas
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THE PHOTOGRAPHS OF JOSEF ALBERS: A Selection from the Josef Albers Foundation
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Esther Samra
Published in conjunction with the exhibition “The Photographs of Josef Albers,” curated by John Szarkowski and organized by the American Federation of Arts, it was made possible by a generous grant from the National Endowment for the Arts.
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72,73,74,75,76
People and Ideas
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AN ENDURING GRACE: THE PHOTOGRAPHS OF LAURA GILPIN
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Robert Adams
"An Enduring Grace: The Photographs of Laura Gilpin," an exhibition organized by the Amon Carter Museum in 1986, travels in 1987 to the Saint Louis Art Museum and the Museum of Fine Arts in Santa Fe, and in 1988 to the Center for Creative Photography in Tucson.
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76,77
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PHOTOGRAPHS WHICH FALSIFY HISTORY
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Nan Richardson
Photographs Which Falsify History by Alain Jaubert, Dedeaux Publishing, New Orleans, forthcoming in 1988. First published in France in 1986 under the title Le Commissariat aux Archives, Photographs Which Falsify History was a succès-scandale when exhibited at the Museum of Modern Art, Paris last year.
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APERTURE
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APERTURE
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79,80
CONTRIBUTORS
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CONTRIBUTORS
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ROBERT ADAMS is a photographer living in Colorado, whose books include From the Missouri West, Summer Nights, Our Lives and Our Children and Los Angeles Spring, all published by Aperture. JULIE AULT lives and works in New York City. She is co-founder of The Artists Collective Group Material.
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CREDITS
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Cover photograph by Robert Mapplethorpe, courtesy of Robert Miller Gallery, New York; P.1 photograph by James Nubile, courtesy of the artist; Pp. 2—7 photographs by Peter Morello, courtesy of the artist; Pp. 9—15 photographs by John Baldessari, courtesy of the artist; P. 10 text by Edward Limonov, reprinted by permission of the author; P. 16 photographs by Tseng Kwong Chi, courtesy of the artist (All original prints are 36 X 36 inches); Pp. 18—31 photographs by Bill Burke, courtesy of the artist, excerpted from his book I Want to Take Picture, Nexus Press, 1987, and published with permission of Nexus Press; Pp. 32—40 text by Wendell Berry, excerpted from Home Economics, copyright © 1987 by Wendell Berry, published by North Point Press and reprinted with permission; Pp. 3 3—39 photographs by David Levinthal, courtesy of the artist; P. 41 text by Erika Beckman from a Treatment for an Untitled Film (After The Brig), Scene 1, published in Picture This (Hallwalls, 1987) and reprinted with permission; Pp. 41—43 photographs by Mark Chambers, courtesy of the artist; Pp. 44—46 photographs by Stephen Frailey, courtesy of the artist; P. 47 text by David Robbins from Picture This (Hallwalls, 1987) and reprinted with permission; Pp. 48—55 text by Lee R. Edwards, copyright © 1984 by Lee R. Edwards, reprinted from Psyche As Hero and reprinted with permission of Wesleyan University Press; Pp. 49—51 photographs by Minnette Lehmann, courtesy of the artist; P. 52 photograph by Barbara Kruger, courtesy of Mary Boone Gallery, New York; P. 53 photograph by Annette Lemieux, courtesy of Josh Baer Gallery, New York; P. 54 photograph by Julie Ault, courtesy of the artist; Pp. 55—57 photographs by Jeff Weiss, courtesy of the artist; Pp. 58—59 photograph by The Starn Twins, courtesy of the Stux Gallery, New York; Pp. 58-59 text from Songlines by Bruce Chatwin. Copyright © 1987 by Bruce Chatwin. All rights reserved. Reprinted with permission of Viking Penguin, Inc; Pp. 60—61 photographs by Richard Bairn are excerpted from a slide projection piece, “Rise &C Fall” and are courtesy of the artist; Pp. 62—63 photographs by Clegg & Guttmann, courtesy of the Jay Gorney Modern Art, New York; P. 64 text by J. Hoberman, © J. Hoberman, reprinted with permission by the author from American Film, March 1986; Pp. 65—67 photographs by Krzysztof Wodiczko, courtesy of the artist and Hal Bromm Gallery, New York; Pp. 70—71 photographs by Josef Albers, from The Photographs of Josef Albers: A Selection from Josef Albers Foundation, courtesy of the American Federation of the Arts; Pp. 72—75 photographs by Laura Gilpin, from Laura Gilpin: An Enduring Grace, courtesy of Amon Carter Museum. Copyright © 1981, Laura Gilpin Collection, Amon Carter Museum, Fort Worth, Texas.
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advertisement
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Anderson Ranch Arts Center
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Anderson Ranch Arts Center
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advertisement
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Advertisement
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Back Cover
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Back Cover
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