Issue: 20010404

Wednesday, April 4, 2001
Winter 2001
165
True
2001
Friday, May 29, 2015
8/26/2015 7:50:55 PM

Articles
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APETUARE
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tableOfContents
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Aperture
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1,2,3,4,5,6,7,8,9,10,11,12,13,14,15,16,17,18,19,64
PROFILE
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SIGHT UNSEEN IN PLAIN SIGHT
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JOHN HOWELL
The first time I saw William Eggleston, he didn't see me. It was the mid sixties, in Memphis, his hometown, where I was a college student. The places were the Beatnik Manor and the Bitter Lemon, the midcity ground zero of bohemian Memphis. The Manor, a run-down old house, was a crash pad and after-hours party spot, and the nearby Bitter Lemon (opened and run by Manor dwellers) was first a folk, then a psychedelic ice-cream parlor, coffeehouse, and art gallery.
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20,21,22,23,24,25,26,27,28,29,30,31
WITNESS
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TRACES OF WAR
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Paolo Pellegrin
I first went to Kosovo on March 25, 1999. The NATO bombing campaign was not yet one day old, but the shocking image of the refugees' mass exodus across the Macedonian border had already come to dominate the world's TV screens. As I photographed the displaced, with their intense pain, I started to form a clearer idea of my work.
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32,33,34,35,36,37,38,39
WORK IN PROGRESS
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BOXING KIM
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ATTA KIM
The Museum Project is the series I have been working on since 1994, and a continuation of the deconstruction work in which I've been engaged since 1988. All the works start with finding a location and take the form of installation and performance.
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ROADS LESS TRAVELED
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ABANDONED, NAMIB DESERT
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Elaine Ling
along the road, signs announcing WIND ... SAND ... 500 miles of silence, in the unrelenting sun through the surreal waves of the heat, wander the feral desert horses bony and bedraggled in their arid adaptation an occasional lone sand dune swirls across the road
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46,47,48,49,50,51,52,53
ON LOCATION
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Small Miracles
Christmas Pageantry in Southern Italy
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Lyle Rexer
"Welcome to Africa." When I heard this greeting in southern Puglia a dozen years ago, I realized I was nearer to the desert crescent of the Mediterranean than to Horence or Milan. Nearer, also, to the Middle Ages, with its vengeance and piety, than to the Renaissance, which never happened in the south.
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54,55,56,57,58,59,60,61,62,63,64
PHOTOGRAPHER'S PROJECT
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THE COSTUME OF THE SOUL
Eikoh Hosoe's Photographs of Butoh Dancer Kazuo Ohno
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Carole Naggar
In his fifty-year-long career, Eikoh Hosoe has almost never photographed strangers— except at the very beginning, right after his father Yonejiro had given him a camera. Five years after Hiroshima and Nagasaki, in a Tokyo that was still a wasteland, the youth with a camera followed a woman one day after school, into the labyrinth of Mukojima, the "red light" district.
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Masthead
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Editor's Note
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EDITORS' NOTE
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John Howell's recent visit with the elusive William Eggleston, orchestrated by Eggleston's affable son Winston, opens this issue. A bit of a Memphis boy himself with a flair for performance and a grand appreciation of the offbeat, Howell revels in and reveals Eggleston's droll, sometimes disconcerting, yet acutely attentive way of looking at the world—his "democratic forest."
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66,67,68,69,70,71
MIXING THE MEDIA
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PHOTOS ON THE GRASS (AT LAST)
THE CHLOROPHYLL APPARITIONS OF ACKROYD AND HARVEY
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British artists Heather Ackroyd and Dan Harvey have been working together to make their haunting photosynthesis images in grass for ten years. Ackroyd, with a background in performance art, and Harvey, a sculptor, had both used grass in their work before they met.
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REVIEWS
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ANDREAS GURSKY
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Lynda Hammes
Andreas Gursky's giant photographs, many of which stretch more than ten feet across, are meant for exhibition, not publication. The recent retrospective organized by Peter Galassi at New York's Museum of Modem Art has finally exposed the American public to the bold presence of this German photographer's work, compounded by rich colors, allover sharp focus, and large format.
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REVIEWS
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SOPHIE CALLE: PUBLIC PLACES-PRIVATE SPACES
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Berin Golonu
Boundaries are established to delineate different populations. By nature, they act as barriers to keep people separate from one another; they can be as personal as the confines of one's home, or as global as the borders of nations. Conceptual artist Sophie Calle investigates a boundary called the eruv in her latest installation at the Jewish Museum San Francisco.
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EXCERPTS
SELECTED BOOKS
AS EVE SAID TO THE SERPENT: ON LANDSCAPE, GENDER, AND ART
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I have often wondered whether the real organic world is, as real women's bodies are said to be for boys raised on the textureless beauties of girlie magazines, disappointing after all those calendars and postcards. Yosemite Valley, in its most usual conditions, is a green-and-brown place with indifferent air quality, a lot of roads, signs, buildings, and fellow visitors, a crime rate, and a lot of falling, drowning, and unfortunate wildlife encounters, as well as sublime cliffs and waterfalls and groyes.
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EXCERPTS
SELECTED BOOKS
HARMONY OF RELFECTED LIGHT: THE PHOTOGRAPHS OF ARTHUR WESLEY DOW
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Dow's photography had perhaps a greater impact on American modernism than his painting, but his is only apparent through historical perspective. Dow would have hidden his substantial interest in photography from his contemporaries because of the intense interest in the medium as an art form by others who had made it their primary focus.
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EXCERPTS
SELECTED BOOKS
JOHN RAWLINGS: 30 YEARS IN VOGUE
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John Rawlings's career, beginning in the mid-1930s, coincided with a period of highly impacting technological advances and, as a result of World War II's material effect on fashion, a period of unforeseen aesthetic flux— the combined forces of which brought about a gradual but definitive changing of the guard in photographic style.
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Advertisement
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CONTRIBUTORS
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CONTRIBUTORS
WRITERS' BIOS
ARTISTS IN THIS ISSUE INCLUDE:
CREDITS
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HEATHER ACKROYD AND DAN HARVEY have worked collaboratively since 1990. Their art embraces site-specific installation, sculpture, photography, and performance, and frequently reflects both architectural and scientific concerns.
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LISTINGS
SELECTED EXHIBITIONS
UPCOMING
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USA ALBANY, GA Albany Museum of Art *Charles Lindsay: Upstream January 14-March 10, 2002 BERKELEY, CA Berkeley Art Museum, University of California *Migrations—Sebastião Salgado January 16-March 24, 2002 CHICAGO, IL Art Institute of Chicago Taken by Design: Photographs from the Institute of Design March 2-May 12, 2002
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PHOTO ECHO
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GRANTA
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GRANTA
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APERTURE
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APERTURE
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Nikon
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Nikon
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