WITH THIS FIRST ISSUE of 2002, Aperture kicks off its fiftieth-anniversary celebrations. The magazine was founded in 1952 during a period fueled by a frenzy of thought and talent, a time of monumental change. It was the era when the voices of the Beat writers and James Baldwin and J. D. Salinger were reshaping America's culture; Albert Einstein and Max Born were among those galvanizing our understanding of science; Frank Sinatra, Lucille Ball, and Elvis Presley ruled popular culture; and Jackson Pollock, John Cage, Merce Cunningham, and others were revolutionizing ideas in the arts.
Through his career, David Hockney's work has been driven by a vigorous desire to record the experience of seeing. He is an insatiable image-maker, with an interest in utilizing any artistic means possible: from pencils and pens and paintbrushes to cameras, computers, digital scans, fax machines, and copiers back to such centuries-old optical devices as the camera lucida.
The synchronies of nature, such as the way a bestiary of clouds will seem to stream overhead like a narrative across the expanse of the sky, while a rock face almost bubbles on a mountainside in compressed geologic time, are all around us if we choose to make the mental leap.
Where simulation is concerned, every age and every culture has its ideal, but waxworks have always held a special place in the public's willing suspension of disbelief. The tradition goes back to well before Madame Tussaud first began to promote her collection of gruesome wax figures in the eighteenth century.
The fact that in an exact science like physics there are found mutually exclusive and complementary situations which cannot be described by the same concepts but need two kinds of expressions, can be applied to other fields of human activity and thought.
The recent death of Eudora Welty at the age of ninetytwo has retired from our living midst a great American writer and a photographer of striking originality and acuity. In the ensuing outpour of obituaries and memories—and no writer since Hemingway in 1961 has evoked such a farewell—there have been, of course, the inevitable tributes to the wit and depth of her fiction and the pervasive sympathy of her photographs; but there’ve been regrettably few mentions of the same qualities in her personal relations.
During the summer of 1998, while at work on a memoir, I discovered I'd become stuck in the past. I couldn't see my immediate surroundings, at least not with any acuity. That August I was in Mexico, spending a week in an especially beautiful mountain town.
Adrian Piper's work will not let you alone. Over the course of more than three decades, she has regularly fired out questions through her work that her audience must in good conscience address. Her subthemes are racism, sexism, and xenophobia; but her larger subject—the one that subsumes all others—is nothing less than identity, the structure of the very self.
When I began the research for my biography of Robert Capa, in 1980, one problem I encountered was the allegation of fakery regarding Capa's 1936 photograph of a Spanish Republican (Loyalist) militiaman collapsing into death, titled The Falling Soldier.
If you care to listen, I'll tell you just a few words about angels. I mean angels. Not painted cherubs who live in supermarket aisles and on Christmas cards. Forget the curly-haired and rosy-cheeked creatures with tiny wings who smile and look wistful.
NEW STYLE SACRED ALLEGORY THE VIDEO ART OF SHIRIN NESHAT
Photography's power lies in suggestion. Call it provocative restraint. What the photograph doesn't show is everything that might be. Even something as elusive as time past can be represented by absence in a photograph—which is why Roland Barthes linked the silver image so tightly to nostalgia.
In 1995, after looking around a [Martin] Parr exhibition in Paris, Henri Cartier-Bresson— a key inspiration for Parr in his teens—informed the latest Magnum recruit that, "You are from another planet to me."... Certainly, Parr's excursions rarely make for comfortable viewing.
Although one cannot compare Penn's magazine still lifes with those that had come before, one can say that their character was parallel to the character of his portraits and his fashion pictures, which is to say that they were very surprising, and produced a pleasurable frisson—an awareness that we were suddenly in unfamiliar territory.
Eadweard Muybridge The Father of the Motion Picture
One of Muybridge's student assistants, Edward R. Grier, thought he was "a peculiar man....I have seen him with only shirt, pants, and shoes on and pants so decrepit that it was not safe for him to go outside of the studio." A conversation about Muybridge's clothing with Provost Pepper is also recorded.
EDWARD HOAGLAND has published seventeen books. Two have recently been reissued in paperback: Compass Points (Vintage) and Notes from the Century Before (Modern Library). FREDERICK KAUFMAN's most recent book, Manuel Alvarez Bravo: Photographs and Memories, was published by Aperture in 1997.
Ansel Adams, Machiel Botman, Brassaï, Frederick Brenner, Henri Cartier-Bresson, René Burri, Robert Capa, Elliott Erwitt, Robert Flynt, Burt Glinn, David Hockney, David Hurn, Pirkle Jones, Clemens Kalischer, Robert Klemm, Guy Le Querrec, Tracey Moffatt, Shirin Neshat, Barnett Newman, Rondal Partridge, Jack Pierson, Adrian Piper, Sylvia Plachy, Reynolds Price, F. W. Quandt, Bastienne Schmidt, Cindy Sherman, Janet Sternburg, Hiroshi Sugimoto, Maggie Taylor, Eudora Welty, Minor White, Joel-Peter Witkin Robert Capa: Heart of Spain and Pirkle Jones: California Photographs are published by and available through Aperture.
USA CHICAGO, IL The Art Institute of Chicago Ansel Adams at 100 February 23June 2, 2002 The Museum of Contemporary Photography Vera Lutter, Barbara Crane, Ellen Carey, and "The Great Fire of 1871" March 22June 15, 2002 CLEVELAND, OH Cleveland Museum of Art Gordon Parks: