Issue: 20040404

Sunday, April 4, 2004
Winter 2004
177
True
2004
Wednesday, May 27, 2015
8/26/2015 6:58:56 PM

Articles
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APERTURE
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Canon: EOS-1 D Mark II
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Canon
EOS-1 D Mark II
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ROSE gallery
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ROSE gallery
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tableOfContents
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APERTURE
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Advertisements
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ART PUBLISHERS
STICKS & STONES
ART PUBLISHERS
THE CEMENT WAR
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masthead
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Masthead
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NOTES
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NOTES
From the Editor
From the Executive Director
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Melissa Harris
We have truly exciting news to share with you: thanks to the generosity of the not-for-profit organization Joy of Giving Something, Inc. (JGS), Aperture is able, for the very first time, to commission a large-scale photographic story.
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Freestyle Photographic Supplies
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Freestyle Photographic Supplies
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REVIEWS
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FOTOFEST 2004, "WATER"
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Vicki Goldberg
Shows and festivals often take on large, socially important themes—such as the formation of identity, the exploration of the genome, globalization— to give them unity and heft. Water was the theme of this year’s FotoFest, and of fortysome-odd (out of well over a hundred) shows at Houston’s biennial photography festival.
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COHAN AND LESLIE
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COHAN AND LESLIE
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JACKSON FINE ART
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JACKSON FINE ART
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REVIEWS
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BETWEEN PAST AND FUTURE NEW PHOTOGRAPHY AND VIDEO FROM CHINA
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Andy Grundberg
It’s comforting to know that our ideas about art—and specifically lens-based contemporary art—are shared by cultures far removed from our own. Knowing that the Chinese, for example, are capable of producing photographs and videos that look a lot like American and European photographs and videos helps validate the aesthetic and marketplace values we in the West hold dear.
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YALE UNIVERSITY PRESS
SHOMEI TOMATSU
YALE UNIVERSITY PRESS
MANY ARE CALLED
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LODIMA PRESS: LIFE WORK
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LODIMA PRESS
LIFE WORK
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UNIVERSITY OF TEXAS PRESS: ANIMALERIE
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UNIVERSITY OF TEXAS PRESS
ANIMALERIE
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REVIEWS
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ABOUT FACE
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Vince Aletti
Curator William A. Ewing is hardly the first to suggest that the notion of the photographic portrait as a window on the soul is passé. Even before photography's documentary credibility was deliberately and irrevocably eroded from within, pictures of our fellow humans had been stripped of virtually all pretense to revelation, insight, or any but the most superficial emotional content.
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SWANN
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SWANN
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UNIVERSITY OF TEXAS PRESS
Rio Grande
UNIVERSITY OF TEXAS PRESS
Vaquero
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THE CAMARGO FOUNDATION
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THE CAMARGO FOUNDATION
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UNIVERSITY OF CALIFORNIA PRESS: Sahel
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UNIVERSITY OF CALIFORNIA PRESS
Sahel
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ON ASSIGNMENT
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THIS IS LIBYA
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JASON FLORIO
For Aperture's first commissioned photographic project, realized through the generosity of Joy of Giving Something, Inc., British photographer Jason Florio traveled to Libya this past spring. Over the course of three weeks, Florio chronicled what he discovered there: a place and a people attempting, with both eagerness and apprehension, to redefine themselves.
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WORK AND PROCESS
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David Hilliard Wide-Screen Tableaux
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Bill Arning
In his multipanel photographs, David Hilliard constructs cinematic narratives that, although they may derive from his particular social relations, speak of the larger experience of trying to understand how one may belong in the world.
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ARCHIVE
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DOISNEAU NOIR
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CAROLE NAGGAR
On a beautiful spring day in 1983, although it was almost noon, Robert Doisneau and I were walking in darkness. We were on a narrow walkway under the dank, salt-petered vaults of Paris's Canal Saint Martin. At the end of the tunnel we could see the Japanese-style drawbridge immortalized by Marcel Carné in his film Hôtel du Nord.
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WITNESS
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EYES ON A FAST WORLD The World Press Photo Contest 2004
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ELISABETH BIONDI
Early this year, I traveled to Amsterdam and, along with other members of an international jury, looked at the 63,093 images that were entered in the World Press Photo Contest. Over a two-week period of concentrated sessions, we awarded prizes for most outstanding stories and individual pictures in ten categories, from Spot News to Daily Life to Nature.
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PHOTOGRAPHER'S PROJECT
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RINKO KAWAUCHI UTATANE
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CHARLOTTE COTTON
One of the great effects of the West's burgeoning cultural interest in contemporary art photography has been a reappraisal of photography's histories, including those generated from non-Western centers. Until recently (and still, among many people), the great majority of non-Western photography has been considered solely in its capacity as precursor, correspondent, or result of Western photographic practice.
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BOOKS
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DISPATCHES FROM THE IMAGE WARS
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Abigail Solomon-Godeau
It surprises many people to be told that in the late nineteenth and early twentieth centuries, deathbed portraits of expired notables (Victor Hugo, Marcel Proust, Kaiser Wilhelm, etc.) were reproduced in the press. This was merely the public extension of the common practice of commissioning postmortem portraits within families, a practice linked to the much older one of making death masks.
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Book Excerpts
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Alec Soth: SLEEPING BY THE MISSISSIPPI
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Anne Wilkes Tucker
Alec Soth
Göttingen, Germany: Steidl, 2004 A photographer’s challenge is to develop an “eye” or point of view so personal that it becomes his recognizable style. All decisions of craft (camera, film, and photographic paper) are made to enhance that point of view. It is one step harder to sustain that “eye” throughout a project, so that the pictures are related one to the other, and again, a step harder for the picture to be sequenced in an order that further shapes and enriches the whole.
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Book Excerpts
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Geoffrey Batchen: FORGET ME NOT: Photography & Remembrance
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Geoffrey Batchen
New York: Princeton Architectural Press, 2004 But is photography indeed a good way to remember things? The question demands that we define what we mean by “memory,” for there are many types of memory we call “photographic,” meaning an exact and self-conscious recall of past events, scenes, or texts.
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Book Excerpts
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Bruno Stevens: BAGHDAD: TRUTH LIES WITHIN
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Jon Lee Anderson
Amsterdam: Ludion, 2004 In the closing scenes of Truth Lies Within, Bruno Stevens gives us images of an Iraq emerging stumbling blindly into an uncertain future. We can see that people are out on the streets, trying to get on with their daily lives, but we also see that they have not survived unscathed.
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CONTRIBUTORS
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CONTRIBUTORS’ BIOS
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VINCE ALETTI is the art editor and photography critic for the Village Voice and writes the regular "Photobooks" column for Photograph. He was a major contributor to Andrew Roth's Book of 101 Books: Seminal Photographic Books of the Twentieth Century (2000).
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PHOTO ECHO
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TO SUBSCRIBE
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Aperture (ISSN 0003-6420) is published quarterly, in spring, summer, fall, and winter, at 20 East 23rd Street, New York, NY 10010. A one-year subscription (four issues) is $40 and a two-year subscription (eight issues) is $66. A subscription for four issues outside the United States is $60.
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APERTURE FOUNDATION
REFLEX: A VIK MUNIZ PRIMER
APERTURE FOUNDATION
PAUL STRAND SOUTHWEST
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OLYMPUS
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OLYMPUS
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