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Shore S: Steel Town

Steel Town

The Photography Workshop Series

In the seventh installment of The Photography Workshop Series, Catherine Opie--well known for dynamic portraits and landscapes that speak to identity and community--offers insight into creating photographs that navigate the contemporary landscape, as well as the landscape of the body and constructed identity. Aperture Foundation works with the world's top photographers to distill their creative approaches to, teachings on, and insights into photography--offering the workshop experience in a book. Our goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Through images and words, in this volume Catherine Opie shares her creative process and discusses a wide range of issues, from representing subcultures and marginalized communities, to making confrontational work that reimagines and subverts expectations.

Catherine Opie: The Photography Workshop Series

The Life of Louise Bourgeois

Knife-Woman

Small garages and service stations are a vital - but fast disappearing - part of Britain's automotive landscape. Often independently owned and sited in idiosyncratic buildings, they are rightfully celebrated and sensitively documented in this essential book. You might use a local garage to change a tyre or replace your exhaust, but when was the last time you pulled over and took a good look at the building itself? In the spirit of Ed Ruscha's Twentysix Gasoline Stations (1963), photographer Philip Butler has done just that. Over six years, he's travelled the length and breadth of Britain photographing these diverse, eccentric and idiosyncratic buildings. As motoring became popular in the early 1900s, the need for mechanical expertise to service, repair, refuel, and sell vehicles soared - and the 'garage' was born. From the Mock-Tudor fad of the 1920s via the Streamline Moderne of the 1930s, to the simple Modernist rationalism of postwar Britain, each era has produced a distinct automotive architecture. With the introduction of the Ministry of Transport (MOT) vehicle test in the 1960s, demand accelerated still further. A diverse array of structures was utilised - churches, cinemas, railway arches, fire stations, shops, factories - all proved versatile enough to find second lives as garages. As the era of the combustion engine draws to a close, Butler's enchanting photographs of 226 Garages and Service Stations document the charm and personality of these survivors of the petrol age.

226 Garages and Service Stations

The first English-language volume of Takuma Nakahira's influential writings on photography. Takuma Nakahira was a crucial figure within the history of Japanese photography, best known outside of Japan as a founding member of Provoke, the experimental magazine of photographs, essays, and poetry, first published in Tokyo in 1968. Through Provoke, Nakahira deepened his artistic and personal connection to Daido Moriyama, with whom he developed a signature style of harsh and grainy black-and-white photography. He would eventually break with this style, and over the course of his decades-long career, maintain an experimental approach to photography. And yet, beyond his photographic practice, Nakahira was also a committed critic, writing on a range of topics hardly limited to photography: art, film, journalism, radical politics, television, and jazz. As a whole, the essays offer insight into the evolution of Nakahira's thinking. As the curator Matthew S. Witkovsky notes, "Nakahira's incisive writing cut apart standing views in literature, film, politics, and especially photography, and he published both articles and photographs at a feverish rate."

Selected writings by Takuma Nakahira

Takuma Nakahira: At the Limits of the Gaze

Walk With Me: New York 2026 Wall Calendar

"A richly illustrated history of the glittering world of queer artistic life in the 1920s and '30sIn Queer Modernism, Alice Friedman tells the fascinating story of the queer avant-garde of the 1920s and '30s in New York, Paris, and Venice, as seen through the eyes of Max Ewing (1903-1934), a young musician, photographer, and man-about-town who, although virtually unknown today, moved in extraordinary circles. In his photographs and letters, we meet the rising stars of modern art, music, dance, and literature and enter a world of interracial friendship, "queer space," and experimentation that shone brightly before being swept away by the Depression. It is a remarkable story that reveals that the history of modernism is more queer and more Black than previously recognized.In the 1920s, Ewing became part of an international coterie of artists led by Carl Van Vechten and Muriel Draper. In Europe, he was entertained by Gertrude Stein, met Stravinsky, and took a road trip with Romaine Brooks and Natalie Barney. In 1928, in a closet in his apartment, Ewing created the Gallery of Extraordinary Portraits, an installation of photos of his favorite celebrities-Black and white, clothed and nude. For his Carnival of Venice, he took portraits of more than a hundred friends-including Paul Robeson, Berenice Abbott, Isamu Noguchi, Agnes de Mille, and E. E. Cummings-posed in front of a backdrop of Saint Mark's Square.Like a character from a story by F. Scott Fitzgerald, Ewing joined the party and then died tragically, unable to accept the end of his era or the lost dream of a new way of living. His story sheds new light on modernism and an artistic milieu that was ahead of its time"--

Max Ewing's Jazz Age New York

Queer Moderns

Preserving the decorative richness and symbolism of a rare example of Hispano-Muslim sculptureThe Courtyard of the Lions in the Alhambra, built by order of Muhammad V between 1362 and 1391, is the culmination of Nasrid architecture. Adrian Tyler's black-and-white photographs depict the lions before and after their 2020 restoration, providing a cache of archaeological images reminiscent of 19th century photography.

The Alhambra Lions

Cara Romero's first monograph, Panûpünüwügai (Living Light) explores the artistic practice of the celebrated Chemehuevi photographer and features written contribution from 23rd U.S. Poet Laureate Joy Harjo.Throughout her renowned creative practice, Romero has brilliantly challenged dominant narratives of Indigenous decline and erasure, disrupting preconceived notions about what it means to be a Native American. Her sophisticated images simultaneously acknowledge the injustices of colonialism while centering the humanity and vitality of her Indigenous collaborators, inviting audiences to engage in transformative dialogues. Personal, handwritten notes and drawings by the artist reveal process and concept development, helping readers connect with her creativity and studio practice.This book will accompany Romero's first solo exhibition of the same name, on view at the Hood Museum at Dartmouth College in 2025 and traveling to additional venues. Romero's award-winning work is included in numerous public and private collections such as the Metropolitan Museum of Art, MoMA, Whitney Museum of American Art, Guggenheim Museum, Amon Carter Museum, Peabody Essex Museum, and Forge Project Collections.&nbsp;

Cara Romero: Panûpünüwügai (Living Light)

The twentieth anniversary edition of An-My Lê's acclaimed first book Small Wars, reissued with five new images and an afterword by Ocean Vuong.	For the past three decades, An-My Lê has used photography to examine her personal history and the legacies of US military power, probing the tension between experience and storytelling. 	First published in 2005, Small Wars brings together three interconnected series. In Viêt Nam, Lê returns to the country she left in her teens and attempts to reconcile memories of her childhood home with the contemporary landscape; in Small Wars, she engages a small community of Vietnam War reenactors; and in 29 Palms, she documents the preparations of marines in the California desert as they undergo training for conflict in Iraq and Afghanistan. Taken together, this trilogy brilliantly presents a complexly layered exploration of the issues surrounding landscape, memory, and the representation of violence and war. 	With great precision and clarity, Lê is able to evoke the work of nineteenth-century landscapes as well as that of the New Topographics--but by weaving in her own personal narrative of refuge and return, she pushes beyond both to produce a uniquely revelatory body of work. The twentieth anniversary edition of Small Wars is a lush reissue of the original, with five additional images and a new afterword by Ocean Vuong, who discusses how these bodies of work resonate twenty years later.

Twentieth Anniversary Edition

An-My Le: Small Wars

A lavishly illustrated volume is the authoritative biography of a consummate self-portraitist and a riveting depiction of a paradoxical personality.

The Life and Times of Lucas Samaras

River of Becoming

Family Amnesia honors the current and past stories of immigrant workers in the U.S. and examines the impact that the 1882 Chinese Exclusion Act continues to have on the Chinese immigrant experience. This is a painful part of our American history. Betty Yu reclaims that narrative through her own personal family's story.

Family Amnesia

THE VISUALIST is an entertaining memoir, an experiential narrative, and tale that allows the pop culture fan, filmmaker to be, or budding academic a world view into a mind engaged, an unfiltered dive into image making and narrative for multiple mediums across multiple platforms. The Visualist: Storytelling, Process and Image Making from 1983-2020: MTV to Hollywood, Madison Avenue to the New Digital Era - A visual memoir by Mark Pellington A personal history and first-hand account of image making with amazing pop-culture icons, The Visualist offers a rare narrative of Pellington's creative process, cultural memory, and unique aesthetic experience to inspire creativity across all visual media. The Visualist is a survival guide for image making and storytelling for screen--from iPhone image blasts to IMAX size 360-degree tour visuals--images tell stories, evoke feelings, and leave lasting impressions. And only in The Visualist does Pellington share this hard-earned knowledge. Mark Pellington opens the curtain in this one-of-a-kind art book, photo book, director's memoir, and scrapbook to reveal his Master Videographer's unique and creative prowess in the world of image making, starting with his achievements in the realm of music videos from the birth of the genre in 1983 through the new technologies of 2017. Pellington shares his insights into what makes visual storytelling work: uncanny narrative instincts, revealing personal anecdotes, the structure of powerful images, first-hand telling of countless A-list collaborations, the toll and goal of making an emotional impact, successes and failures in conflict resolution, how and why to access the subconscious, and his unique perspective on balancing the clarity and ambiguity of visual meaning. Obsessed with the role of images and how they mesmerize, entertain, and entice--self-taught and untrained, filmmaker Mark Pellington has navigated the changing landscapes and fickle tastes of multi-media over his 36 years in the entertainment arts industry having directed an impressive 70 music videos, 9 movies, 20 TV episodes, and 6 documentaries among other productions. Through it all Pellington has matured, survived, sometimes thrived, sometimes struggled but always created as an image maker, image sharer...years before those terms existed. As a director, producer, writer, artist, and experimenter Pellington has shifted and adjusted the expectations and appetites of audiences across media platforms.

Storytelling and Image Making From MTV to Movies, Madison Avenue to the New Digital Explosion

The Visualist

Steel Town

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