CORY REYNOLDS | DATE 5/31/2015
Greta Stern's "Sueño No. 1: Electrical Appliances for the Home" (1949) is reproduced from MoMA's enlightening From Bauhaus to Buenos Aires: Grete Stern & Horacio Coppola, the catalogue to the first American museum exhibition ever devoted to this pioneering couple, who introduced photomontage and other revolutionary techniques to Latin America. Essayist Roxana Marconi writes, "Investing her work with psychoanalytic feminism, Stern succeeded in representing a new postwar feminine type: a figure struggling to tweak authority and free herself from the ideology of marriage, the dynamics of sexual machismo and the burdens of motherhood. In one forward-thinking photomontage after another, she examines women's dreams with urgency and surreal wit. Her Bauhaus background in typography, design, and advertising culture met the Borgesian sensibility of narrativity and the rupture of her adopted country."
CORY REYNOLDS | DATE 5/29/2015
"There is a regalness to their stance. The chins raised in quiet defiance, in unassuming pride, offering a knowing regard that their self-possession carries its own currency. There is a history to these stances, yes the colonial history Kehinde Wiley used as foundations upon which to usurp and reconfigure Europeanist notions of power. Like the camouflage of Catholicism under which Vodou was surreptitiously practiced in this country so too are these stances of the classic island woman—the busker, market woman with head-tie and ruffle skirt, and the turned back, offering both a 'chups' (sucked teeth) and moment of voyeuristic eyes to regard as might be expected. These are queenly statures, inherited, put on, assumed by a culture whose embrace of womanhood in this arena is not unfamiliar. Wiley has captured this essence of Haitian women in World Stage: Haiti, positioning the women of this black nation in a light few have. This work offers a fresh perspective of the often beleaguered representation of this country of its women who have so regularly taken a backseat to political and natural disaster centralities." Excerpt from M. Cynthia Oliver's text and featured image, "Venus Anadyomene" (2014) are reproduced from World Stage: Haiti, which reproduces many of the most talked-about paintings in Wiley's current show at the Brooklyn Museum, closing Sunday. Read more about our forthcoming title in the series, Kehinde Wiley: The World Stage: France 1880-1960.
CORY REYNOLDS | DATE 5/29/2015
"The moment is everything to me! And it can happen anywhere; when I'm working on the street and there's a flash of instantaneous recognition, or when I'm standing in a physical space while the light is changing. If the moment doesn't enter me, penetrate me, and move me, I can't make a photograph. It has to have a visual component, where I feel the necessity of it. It's like I'm stabbed by the recognition, it is so precise and it enters so deeply, that I am its victim, a willing victim of this moment of transformation. Because what is art really? Art is ordinary life transformed through the medium of a human being, who experiences some momentary connection to it. And it's in that connection that art is formed." New York City (1978) is reproduced from the essential overview, Joel Meyerowitz: Cape Light. For information about Aperture's forthcoming new edition of Cape Light, continue to the book page.
CORY REYNOLDS | DATE 5/28/2015
Noted documentary photographer Mary Ellen Mark passed away Monday, May 25 in New York. "She was a great storyteller," Aperture editor in chief Melissa Harris is quoted in The New York Times. “She got to know the subjects she photographed very well, and she was able to convey who they were and how they lived, as well as a sense of their interior lives. There are not that many photographers who can do that.” We are proud to have represented many of Mark's groundbreaking books over the past decade, and honored to distribute her last and forthcoming book, Tiny, Streetwise Revisited, which expands upon Mark's classic Streetwise with an additional 30 years worth of photographs of the poignant central character, Tiny, photographed here in 1983. This significantly expanded iteration presents the iconic work of the first edition alongside new images which have never been published before, plus texts and captions drawn from conversations between Tiny and Mark as well as Mark's husband, the filmmaker Martin Bell, who made the landmark film, Streetwise.
CORY REYNOLDS | DATE 5/28/2015
Widely considered one of the greatest living American street photographers, Joel Meyerowitz is equally revered for his landscapes and portraits. Featured image, "Sarah, Cape Cod, Massachusetts" (1981) is reproduced from our essential overview, Joel Meyerowitz: Retrospective, in which Ralph Goertz writes, "Meyerowitz is inexhaustible, he is a possessed person, and justifiably belongs to the great exponents of the New Color Photography. His sensitivity, and the questions he asks about photography make him one of the most significant photographers in art history." We are proud to have published this essential overview together with Walther König, and equally pleased to announce Aperture's forthcoming new edition of the classic photobook, Joel Meyerowitz: Cape Light, a key title on our Fall 2015 list.
CORY REYNOLDS | DATE 5/27/2015
Tuesday night ARTBOOK | D.A.P. and BOOKFORUM celebrated the launch of the Fall 2015 season with a party at our offsite BEA showroom. Continue to our blog for a selection of snapshots from the evening.
CORY REYNOLDS | DATE 5/27/2015
"Construct XXII" (1983) is reproduced from Barbara Kasten: Stages, the exhibition catalog to ICA Philadelphia's eye-opening career retrospective of this important but previously overlooked artist. In conversation with Liz Deschenes, Kasten comments on the Construct series. "It was a term connected to Bauhaus ideology. The work was a construction that was made on site to be photographed. It also relates to the fact that an object is being photographed and yet part of the idea is to deconstruct that reality and make it an abstraction rather than representing the real thing. What always fascinated me about doing photography in this way is presenting something in three dimensions and yet denying it as well, with a flat surface. I could paint those shapes—and I certainly looked at enough painting, such as Kandinsky, who used similar constructed forms—but I was bringing the contemporary into it by using photography. I was using photography in a way that it was not supposed to be used."
SHARON HELGASON GALLAGHER | DATE 5/26/2015
Before you delve into our catalogue, take another look at Barbara Kasten's "Construct NYC-4" (1983), reproduced on the front cover of our Fall 2015 catalogue. Published by JRP|Ringier, 'Barbara Kasten: Stages' accompanies the artist's current exhibition at ICA Philadelphia.
CORY REYNOLDS | DATE 5/26/2015
"I dream about work. I'm really so obsessed with it, I can't wait to get back in the studio because I think I know what I have to do next. But sometimes I try what I've envisioned is the answer, and it's not it. Sometimes I push and I push and it's like trying to put a round peg in a square hole. But just when you are giving up, there is an answer. It's almost like you need to push yourself to the point of such intensity, and it's when you take that breath afterward that it comes, doesn't it?" Chicago-based Barbara Kasten has been working in photography, sculpture, painting, theater, textile and installation since the 1970s. Always respected, it seems the world has suddenly caught on to how interesting the work really is. In addition to gracing the cover of our Fall 2015 catalog, Kasten's work is the subject of a critically acclaimed career retrospective at the ICA Philadelphia through August 16. "Construct 32" (1986) is reproduced from the exhibition catalog, Barbara Kasten: Stages, one of our favorite books of the coming season.
CORY REYNOLDS | DATE 5/24/2015
From 2011 through 2014, photographer Richard Misrach shot dozens of leisurely swimmers from his balcony in a Honolulu hotel. Collected together in The Mysterious Opacity of Other Beings, Aperture's new, deluxe monograph, these, quiet, color-saturated photographs convey more than any other work we can think of the unique feeling of floating, outside of time, in the water, under the sun, alone, at peace, on vacation. Each spread of this oversized 17x13-inch book presents a full bleed image of the scoped back view, alongside a detail of the human figure or figures. Somehow this unique design conveys even more the "suspension and wonder" described by John Guida and Sara Barrett in The New York Times. To see a selection of images from the book, continue to our blog.
Lisa Pearson of Siglio writes on publishing as "An act of resistance to the literal, the authoritarian and the facile... and as a testament to the 'book' as refuge, dissent, beacon, and nexus."
"Paging through a book is like closing a door behind you that simultaneously opens another onto a new room -- all the while keeping the previous room available, just behind the now-closed door of the turned page. Here I am in the hallway of the introduction..." -- excerpt from Sharon Helgason Gallagher's remarks at the New York Public Library panel discussion The Future of the Art Book
What are the kinds of books we ought to be publishing today as exemplars of the book for the future? What is the enduring legacy of "bookishness" that we want to -- may I say "ought to" -- transmit to the future? What kinds of meaning are and can be transmitted uniquely in the book form? What is the "bookishness" of the book that does not survive conversion, translation, adaptation, or reformatting as a digital publication? And what kinds of books even posses this quality?
Tonight, TamTam Books launches Gilles Verlant's authoritative new biography of the legendary French pop star, Serge Gainsbourg. Below is an excerpt: Verlant's chapter on Gainsbourg's passionate but short-lived love affair with screen legend, Brigitte Bardot.
"ONE DAY Schindler was looking at the floor plan of a house that had just been developed in quarter scale from the rough plan he had made directly on the surveyor’s eight-scale contour map."