Issue: 20060404

Tuesday, April 4, 2006
Winter 2006
183
True
2006
Monday, August 24, 2015
8/26/2015 7:19:27 PM

Articles
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Canon: EOS 30D
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Canon
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tableOfContents
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ILFORD PHOTO HARMAN technology Ltd
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ILFORD PHOTO HARMAN technology Ltd
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NOTES
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NOTES
From the Editor
From the Executive Director
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Rather than introducing the content of this issue, as we usually do on our “Notes" page, I would like instead to tell you about our printing process, as I was recently “on press” for our issue 184, which you received in August. This part of publishing is mysterious to many people, and while I can’t entirely demystify it—after all, alchemy is alchemy—I’ll do my best to take you through it step by step.
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masthead
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Masthead
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Lexar
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Lexar
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CONTRIBUTORS
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CONTRIBUTORS
CONTRIBUTOR’S BIOS
TO SUBSCRIBE
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GAIL ALBERT HALABAN is based in New York and Los Angeles. An exhibition of her photographs will be on view at Robert Mann Gallery, New York, November 29, 2006-January 6, 2007. DALIA AZIM is an independent writer and curator.
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Advertisements
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UNIVERSITY OF TEXAS PRESS
Eyes to Fly With
UNIVERSITY OF TEXAS PRESS
Weeping Mary
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Aperture_20060404_2006_185_0009.xml
article
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REVIEWS
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SNAP JUDGMENTS: NEW POSITIONS IN CONTEMPORARY AFRICAN PHOTOGRAPHY
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Isolde Brielmaier
It is a precarious balancing act: a man sits on a bike, juggling half a dozen large plastic oil cans; his body is contorted to adjust to the load. His back is toward us and, though we cannot see his face, he seems somehow to know exactly where he is headed.
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REVIEWS
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WOLFGANG TILLMANS
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James Yood
Culture has no more attentive poets than very smart men or women with a camera. And Wolfgang Tillmans is very smart indeed, with his camera seemingly always at the ready, endlessly shooting the world around him with an eye engaged with discovering the evocative in the midst of the mundane, finding visual interest in just about everything he encounters.
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2006 Tierney Grant Recipients
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2006 Tierney Grant Recipients
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Aperture_20060404_2006_185_0012.xml
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Advertisement
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REVIEWS
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LORNA SIMPSON
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Susan Morgan
Twenty years ago, Lorna Simpson began to exhibit a series of refined and surprisingly bracing works—large-format photographs that were staged and edited with dramatic confidence. By pairing handsomely composed and somewhat timeless images with fragmented texts, her work delivered a sharp commentary on sexist and racist attitudes.
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ROBERT MILLER GALLERY
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ROBERT MILLER GALLERY
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REVIEWS
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AGITATED IMAGES: JOHN HEARTFIELD AND GERMAN PHOTOMONTAGE, 1920-1938
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George Baker
One of the strangest moves of the current touring exhibition Dada, organized by the National Gallery of Art, is its delimitation of Dada to a strict chronological life: 1915-1923. While potentially clarifying, the curatorial gambit also spawned some serious historical mutilations, none of which was more painful than the exclusion of John Heartfield’s political montages.
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HASTED HUNT
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HASTED HUNT
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Sierra Club Books: GALEN ROWELL
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Sierra Club Books
GALEN ROWELL
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Aperture_20060404_2006_185_0018.xml
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REVIEWS
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CINDY SHERMAN
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Lauren Sedofsky
As conducive to analysis as it is refractory, the art of Cindy Sherman has ensnared and ultimately eluded even some of the most able art historians, not to mention an unusually long line of intrepid or just trendy curators. The whole story about Sherman’s tenth full-scale retrospective (and, strange to say, her first consequential exposure in Paris) boils down, then, to the relative ease with which this still amazing body of work escapes and flies high above the drearily academic approach the Jeu de Paume brings to bear on it.
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REVIEWS
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THOMAS DEMAND
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Aaron Schuman
In his Introduction to William Eggleston's Guide, John Szarkowski notes that photography is an infinite process of "visual editing," and because of this, "even the most servile of photographers has not yet managed to duplicate exactly an earlier work by a great and revered master."
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Aperture
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Aperture
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20,21,22,23,24,25,26,27
ARTIST'S PROJECT
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PATTI SMITH LAND 250
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Patti Smitzh
My camera is the Polaroid Land 250. Though sometimes idio syncratic, it is a good camera for me in my travels. I like the immediacy and the technical simplicity. Near/far. Dark/light. I take my camera with me from city to city. As I am a singer, I tour quite a bit and am fortunate to visit many interesting places.
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28,29,30,31,32,33,34,35
WORK AND PROCESS
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THE RED HOUSE
ADAM BROOMBERG AND OLIVER CHANARIN IN SULAYMANIYAH, IRAQ
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DAVID CAMPANY
Adam Broomberg and Oliver Chanarin have photographed marks and drawings made on the walls of a fading pink building now known as the Red House. Situated on the slope of a hill in the town of Sulaymaniyah in Kurdish northern Iraq, it was originally the headquarters of Saddam Hussein’s Ba’athist party.
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36,37,38,39,40,41,42,43,44,45,46,47,48,49
WITNESS
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SILHOUETTES
MUSLIM WOMEN OF THE MIDDLE EAST AND AFGHANISTAN
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CAROLINE MANGEZ
In the sterile hallway, we are asked to remove our shoes. At the end of the corridor, the elderly woman known as “Big Sister” among the students at the school of theology in Machhad, in northeastern Iran, rests her chin upon the handle of her cane.
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50,51,52,53,54,55
ESSAY
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PHOTOGRAPHIC ICONS
FACT, FICTION, OR METAPHOR?
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PHILIP GEFTER
Truth-telling is the promise of a photograph—as if fact itself resides in the optical precision with which the medium reflects our native perception. A photograph comes as close as we get to witnessing an authentic moment with our own eyes while not actually being there.
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56,57,58,59,60,61,62,63
WORK IN PROGRESS
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FRIENDS with MONEY
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JORI FINKEL
By its very nature, fashion photography tends to hide all the hard work that women put into their appearances. Whether it’s the elegance of Irving Penn or the edginess of Guy Bourdin, this genre tends to dissemble, wiping away the sweat and tears that go into that careless flash of a half-smile, that casual draping of a sweater, that twenty-six-inch waist.
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DIALOGUE
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MARILYN BRIDGES FLIGHTS OVER ANCIENT ANATOLIA
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GAIL BUCKLAND
GAIL BUCKLAND: You have photographed all over the world from the air. You have produced a number of definitive books of aerial photographs, including Peruvian and Egyptian ancient sites. What is it about Turkey that has drawn you there? MARILYN BRIDGES: Ancient Anatolia—modern Turkey—lies at the historic crossroads of Asia and Europe.
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72,73,74,75,76,77
ON LOCATION
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EIRIK JOHNSON WEST OAKLAND WALK
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Dalia Azim
When Gertrude Stein failed to locate her childhood home in Oakland, California, during a visit in the 1930s, she coined her famous line “There is no there there.” While these words have often been understood as a denunciation of the city, they were likely intended more as a lament for how unrecognizable the place had become.
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ROADS LESS TRAVELED
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THE NINTH FLOOR
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JOSHUA MACK
Over the course of the past two years, Jessica Dimmock has photographed a group of die-hard heroin users, and has created a searing portrait of addiction and physical distress, as well as a deeply personal record of emotional isolation and rejection.
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BOOKS
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IN ALMOST EVERY PICTURE
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Lesley A. Martin
I bought my first “In Almost Every Picture” book as a joke gift of sorts: an enigmatic volume full of snapshots of deer caught in the headlights (literally), their eyes aglow with the kickback of an intense flash. It is a quirky and compelling little publication, featuring—along with the deer—occasional other small animals (foxes, rabbits, raccoons) scuffling along a forest floor, recorded unawares by a motion-sensitive camera.
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EXCERPTS
SELECTED BOOKS
Donald Albrecht THE MYTHIC CITY: PHOTOGRAPHS OF NEW YORK BY SAMUEL H. GOTTSCHO, 1925-1940
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Gottscho's portraits of New York captured the city in a variety of moods. He usually created crisp, objective photographs—whether of individual buildings, aerial views of midtown Manhattan at midday, or dramatic nighttime shots in which the skyscrapers' abstract geometric patterns of lights obscured all human activity.... [But] Gottscho's flirtations with truly modernist aesthetics were rare.
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EXCERPTS
SELECTED BOOKS
DAN HOLDSWORTH A Photoworks Monograph
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Dan Holdsworth emerged as an artist in the mid-1990s, at a time when the epic and the spectacular had become common characteristics in that genre of photography ever more loosely defined as "landscape."... By 1998, Dan Holdsworth had found his own distinctive voice in this context, sharing an affinity with work that, despite its emphasis on detached observation, nevertheless embraced a new kind of wonder at the complexities of late twentieth-century civilization;
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EXCERPTS
SELECTED BOOKS
Elizabeth Otto TEMPO, TEMPO!: THE BAUHAUS PHOTOMONTAGES OF MARIANNE BRANDT
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Brandt entered the Bauhaus in Weimar in 1924, having already completed studies in more traditional schools for painting and sculpture. After finishing her Grundstudium at the Bauhaus, she chose to apprentice in the metal workshop at the encouragement of the Hungarian Constructivist and Bauhaus teacher László Moholy-Nagy, with whom she maintained a strong and collegial friendship until his untimely death in 1946.
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EXCERPTS
SELECTED BOOKS
David Friend WATCHING THE WORLD CHANGE: THE STORIES BEHIND THE IMAGES OF 9/11
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September 11, simply put, was the most widely observed and photographed breaking news event in human history. And it occurred, aptly enough, at a time when image reigned supreme in world culture due to a number of factors: the primacy of marketing in a global economy;
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FESTIVALS
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PHOTOESPAÑA 2006 NATURALEZA
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Susan Bright
Madrid's PhotoEspaña 2006 took the theme of "Naturaleza" (Nature) for this year's festival, the third and final show under the curatorial tenure of artistic director Horacio Fernández. The event was as ambitious and as varied as ever, with sixty-two exhibitions, portfolio reviews, a film program, and master classes with such photographic dignitaries such as Guy Tillim, Paolo Roversi, and Axel Hütte.
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FESTIVALS
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2006 RENCONTRES D'ARLES
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Hiuwai Chu
Under the guest curatorship of Raymond Depardon, the filter of this year’s Rencontres d’Arles was decidedly French, and the overall tone largely photojournalistic and socially conscientious. Included under the umbrella title Traveling Companions were exhibitions of Depardon’s fellow countrymen Daniel Angeli, Guy Le Querrec, Jean Gaumy, Jean-Marc Durou, and Claudine Doury.
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MIND'S EYE
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MIKHAIL BARYSHNIKOV ON RICHARD AVEDON’S PORTRAIT OF IGOR STRAVINSKY
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This portrait is a single image that could compete with any in-depth biography. Stravinsky isn’t at ease with Avedon’s lens. His white shirt blends with the background, so what stands out is a face full of life marks. He’s a little confrontational.
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Leica
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Leica
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