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Aperture Ideas

By Peter C. Bunnell. Foreword by Malcolm Daniel.

Now available in paperback! Peter C. Bunnell has been a major force in shaping the discourse about photography. During his 30-some years as an influential professor and curator at Princeton University, he has written extensively. This classic collection of texts, available for the first time in paperback and selected from work published throughout his career, makes a significant contribution to the field that he has helped to establish. In each of the 34 essays, which are devoted to individual (predominantly American) photographers and three galleries that played a key role in the recognition and marketing of Modern photography, Bunnell brings to bear his distinctive sensibility and insight. While encouraging the reader to see previously overlooked aspects of the images he discusses so eloquently, he also provides an invaluable historical context for the photographers and their work. In Inside the Photograph, Bunnell offers a unique personal perspective on the world of art photography as it has morphed from a small group of practitioners to the supercharged international marketplace of today.

Bunnell Peter C.: Inside the Photograph

Inside the Photograph

Writings on Twentieth-Century Photography

"In her collection Strange Hours, the writer Rebecca Bengal considers over a century of photography that has defined our relationship to the medium. Through generous and in-depth essays, profiles, reviews, and interviews, Bengal contemplates photography's narrative power, from the radical intimacy of Nan Goldin's New York demimonde to Justine Kurland's pictures of rebel girls on the open road. Bengal brings us closer to several pioneering artists and the personal, political, and poetic stories that surround their photographs. Throughout Strange Hours, Bengal's prose is attentive to the alchemy of experience, chance, and pioneering vision that has always pushed photography's potential for unforgettable storytelling"--

In her collection&nbsp;Strange Hours,&nbsp;the writer Rebecca Bengal considers over a century of photography that has defined our relationship to the medium. Through generous and in-depth essays, profiles, reviews, and interviews, Bengal contemplates photography’s narrative power, from the radical intimacy of Nan Goldin’s New York demimonde to Justine Kurland’s pictures of rebel girls on the open road. Bengal brings us closer to several pioneering artists and the personal, political, and poetic stories that surround their photographs. She travels with Alec Soth in Minneapolis, searching for the houses where Prince once lived, and revisits Chauncey Hare’s 1979 protest against the Museum of Modern Art. She speaks with Dawoud Bey about his evocative early portraits in Brooklyn and explores Diana Markosian’s cinematic take on her family’s immigration to the US. Throughout&nbsp;Strange Hours, Bengal’s prose is attentive to the alchemy of experience, chance, and pioneering vision that has always pushed photography’s potential for unforgettable storytelling.

Strange Hours: Photography, Memory, and the Lives of Artists

"A collection of essays by Sunil Gupta offers an unparalleled firsthand account of the influential photographer and curator's practice since the 1970s"--

We Were Here: Sexuality, Photography, and Cultural Difference offers an unparalleled firsthand account of the influential photographer and curator Sunil Gupta’s writing and critical inquiry since the 1970s. 

Newspaper articles, speeches, and essays show Gupta’s crucial role at the center of grassroots queer and postcolonial organizing throughout an artistic career lived between Canada, the UK, and India. In his pieces about homosexuality in Indian cities, the AIDS crisis, the Black Arts Movement, or key figures including Joy Gregory and Robert Mapplethorpe, Gupta foregrounds the power of cultural activism in the politically fraught contexts of London and Delhi, and illuminates the essential connections between queer migration and self-discovery. Continually questioning given forms of identity, Gupta offers artists and curators multiple strategies of resistance, carving out space for new ways of imagining what it might mean to live, love, and create.

Selected essays by Sunil Gupta

We Were Here: Sexuality, Photography, and Cultural Difference

This is a collection of essays, reviews, and lectures - some of which have gained a cult following due to online postings by Tod Papageorge, one of the most influential voices in photography today.

"Core Curriculum: Writings on Photography" is the long-awaited collection of essays, reviews and lectures by Tod Papageorge, one of the most influential voices in photography today. As a photographer and the Walker Evans Professor of Photography at the Yale University School of Art, Papageorge has shaped the work and thought of generations of artist-photographers, and, through his critical writings--some of which have gained a cult following through online postings--he has earned a reputation as an unusually eloquent and illuminating guide to the work of many of the most important figures in twentieth-century photography. Among the artists Papageorge discusses in this essential volume are Eugène Atget, Brassaï, Robert Frank (with Walker Evans), Robert Adams and his close friend Garry Winogrand. The book also includes texts that examine the more general questions of photography's relationship to poetry, and how the evolution of the medium's early technologies led to the twentieth- century creation of the artist-photographer. Among the previously unpublished pieces in "Core Curriculum" are an unfinished poem written in response to Susan Sontag's "On Photography," a profile of Josef Koudelka and a commencement speech delivered at the Yale School of Art in 2004. "Core Curriculum" also includes a number of interviews with this esteemed photographer/teacher/ author, ranging in topic from his own photographic work and background in poetry to his energetic observations on the art of photography. Tod Papageorge (born 1940) earned his BA in English literature from the University of New Hampshire in 1962, where he began taking photographs during his last semester. He is the recipient of two Guggenheim Fellowships and two National Endowment for the Arts Fellowships. In 1979, Papageorge was named Yale University's Walker Evans Professor of Photography and director of graduate studies in photography, both positions he continues to hold today.

Writings on Photography

Core Curriculum

Vicki Goldberg, one of the leading voices in the field of photography criticism, is well known for her cogent and perceptive writing, which is regularly featured in such national publications as "The New York Times." First published in 2005, "Light Matters" gathers a selection of this remarkable author's essays and criticism, culled from her writings published over the previous 25 years. Goldberg's take on photography is both insightful and encompassing: her subjects range from pop imagery to war journalism, from photo-booth portraits to manipulated digital imagery, from the boredom of voyeurism to the great preponderance of tragic photographs in the news. She brings new light to the work of the medium's "old masters," among them Walker Evans, Lotte Jacobi and Lartigue, writing with equal acuity about contemporary trailblazers such as Bill Viola, Daido Moriyama and Bastienne Schmidt. Goldberg also tackles provocative larger issues facing the medium, such as the potentially transgressive nature of photographs, and the camera's powerful role in a culture of commodification. Dismissing clichés and deftly negotiating the many diverging paths photography now follows, Goldberg demonstrates how to consider not just photographic images themselves, but their impact, and the meaning of that impact. "Light Matters" showcases a writer of great intelligence, wit and insight, whose understanding of this multifarious and evolving medium is unsurpassed. Vicki Goldberg is the author of numerous books, including "The Power of Photography: How Photographs Changed Our Lives" (1991). In 1997, she received the International Center of Photography's prestigious Infinity Award.

Vicki Goldberg, one of the leading voices in the field of photography criticism, is well known for her cogent and perceptive writing, which is regularly featured in such national publications as "The New York Times." First published in 2005, "Light Matters" gathers a selection of this remarkable author's essays and criticism, culled from her writings published over the previous 25 years. Goldberg's take on photography is both insightful and encompassing: her subjects range from pop imagery to war journalism, from photo-booth portraits to manipulated digital imagery, from the boredom of voyeurism to the great preponderance of tragic photographs in the news. She brings new light to the work of the medium's "old masters," among them Walker Evans, Lotte Jacobi and Lartigue, writing with equal acuity about contemporary trailblazers such as Bill Viola, Daido Moriyama and Bastienne Schmidt. Goldberg also tackles provocative larger issues facing the medium, such as the potentially transgressive nature of photographs, and the camera's powerful role in a culture of commodification. Dismissing clichés and deftly negotiating the many diverging paths photography now follows, Goldberg demonstrates how to consider not just photographic images themselves, but their impact, and the meaning of that impact. "Light Matters" showcases a writer of great intelligence, wit and insight, whose understanding of this multifarious and evolving medium is unsurpassed. Vicki Goldberg is the author of numerous books, including "The Power of Photography: How Photographs Changed Our Lives" (1991). In 1997, she received the International Center of Photography's prestigious Infinity Award.

Light Matters

Twenty years ago, before the era of digital cameras, cell phones and the internet, Fred Ritchin outlined many of the ways in which the digital age would transform society. "In Our Own Image "was the first book to address the coming revolution in photography, and asked pointed questions that are increasingly relevant today, including whether democracy can survive the media's facile use of digital means. By the time a second edition was published in 1999, many of Ritchin's predictions had come true. Computer embellishment of imagery had become a staple in the media and had significantly diminished photography's role as a credible witness: "Newsday" had published the first "future" news photograph of two feuding ice skaters as they would meet the next day, and on its cover, "Time "magazine darkened and blurred an image of O.J. Simpson in order to lift "a common police mug shot to the level of art, with no sacrifice to truth." Now Aperture reissues this seminal text, which has continued to shape the debate about digital imaging since its initial publication. This twentieth-anniversary edition features a preface by the author that contextualizes the book for a contemporary audience. Fred Ritchin is Professor of Photography and Imaging at New York University's Tisch School of the Arts. He was picture editor of "The New York Times Magazine "(1978-82) and the founding director of the Photojournalism and Documentary Photography Program at the International Center of Photography (1983-86). Ritchin is the author of "After Photography "(2009), as well as numerous essays and the blog afterphotography.org.

Twenty years ago, before the era of digital cameras, cell phones and the internet, Fred Ritchin outlined many of the ways in which the digital age would transform society. "In Our Own Image "was the first book to address the coming revolution in photography, and asked pointed questions that are increasingly relevant today, including whether democracy can survive the media's facile use of digital means. By the time a second edition was published in 1999, many of Ritchin's predictions had come true. Computer embellishment of imagery had become a staple in the media and had significantly diminished photography's role as a credible witness: "Newsday" had published the first "future" news photograph of two feuding ice skaters as they would meet the next day, and on its cover, "Time "magazine darkened and blurred an image of O.J. Simpson in order to lift "a common police mug shot to the level of art, with no sacrifice to truth." Now Aperture reissues this seminal text, which has continued to shape the debate about digital imaging since its initial publication. This twentieth-anniversary edition features a preface by the author that contextualizes the book for a contemporary audience. Fred Ritchin is Professor of Photography and Imaging at New York University's Tisch School of the Arts. He was picture editor of "The New York Times Magazine "(1978-82) and the founding director of the Photojournalism and Documentary Photography Program at the International Center of Photography (1983-86). Ritchin is the author of "After Photography "(2009), as well as numerous essays and the blog afterphotography.org.

In Our Own Image

If looking at photographs is a pleasurable activity, it is pleasurable in a complex, transformative, frequently unsettling sense. It is not pleasure unalloyed, for no profound pleasure is pure…Like many truly enriching pleasures…photography has its dark, troubling, even dangerous aspects. –Gerry Badger The Pleasures of Good Photographs is an intellectual and aesthetic excursion led by Gerry Badger, one of the field's eminent critics and popular writers and the author of more than a dozen books including both volumes of The Photobook: A History. In this new volume of essays, Badger offers insight into some of his favorite images, artists and themes, drawing upon nearly three decades of experience writing and thinking about photography. With deep discernment and a readable blend of scholarly finesse and wit, Badger elucidates works by dozens of photographers, from Dorothea Lange and Eugène Atget to Martin Parr, Luc Delahaye, Susan Lipper and Paul Graham. Among the broader topics discussed are the photobook, where Badger believes photography sings its loudest and most complex song, and Photoshop's role in art-making. An interlude at the heart of the book pairs the author's evocative meditations with nearly a dozen particular images. Alongside some of Badger's classics, The Pleasures of Good Photographs showcases primarily new essays, making it an important addition to the canon of photographic writing.

Offers insight into some of his favorite images, artists, and themes, drawing upon nearly three decades of experience writing and thinking about photography. This book describes the meanings of work by dozens of photographers, from Dorothea Lange and Eugene Atget to Martin Parr, Luc Delahaye, Susan Lipper, and Paul Graham.

The Pleasures of Good Photographs

We are pleased to announce Aperture's reissue of "Crisis of the Real," Andy Grundberg's classic collection of writings on photography-an essential work for anyone seeking clarity and insight into photography's place in today's world. Known internationally for his articles in "The New York Times" and other publications, Andy Grundberg has been one of the most respected and widely read voices in photography and the visual arts for nearly 30 years. His interpretations and critical opinions have helped shape the broad understanding of photography's complex roles in art and the media. Over the course of the 50 essays and articles in this authoritative collection, Grundberg questions the nature of photography and how we perceive it, reevaluates some of the great photographers of our time and brings into focus the major debates in photography at the end of the twentieth century. Although some essays were originally written more than 30 years ago, the issues and concerns addressed by Grundberg remain relevant today.

Includes fifty essays and articles that question the nature of photography and how we perceive it, reevaluates some of the great photographer, and focus the major debates in photography at the end of the twentieth century.

Crisis of the Real

In Photography After Frank, former New York Times writer and picture editor Philip Gefter narrates the tale of contemporary photography, beginning at the pivotal moment when Robert Frank commenced his seminal works of the 1950s. Along the way, he connects the dots of photography's evolution into what it is today, forging links between its episodes to reveal unsuspected leaps. Gefter takes Frank's The Americans as a decisive challenge to photographic objectivity, with its grainy, off-hand-seeming spontaneity and its documentation of life beyond the picket fence. Thus viewed, The Americans provides Gefter with a bridge to the phenomenon of the staged document and Postmodernism's further challenge to image fidelity. Other areas of discussion include photojournalism, the recent diversity of portraiture styles, the influence of private and corporate collections on curatorial decisions and how the market shapes art making. Throughout Photography After Frank, Gefter deftly demonstrates Frank's legacy in the work of dozens of important individual artists who followed in his wake, from Lee Friedlander and Nan Goldin to Stephen Shore and Ryan McGinley. The book includes texts written exclusively for this publication as well as essays drawn from Gefter's critical writings, reviews and even obituaries. Photography After Frank offers a page-turning approach to a subject that will appeal to students and art world aficionados alike.

Presents the tale of contemporary photography, starting with a pivotal moment: Robert Franks seminal work in the 1950s. This book begins with Franks challenge to the notion of photography's objectivity with the grainy, off-handed spontaneity of "The Americans".

Photography After Frank

Penguin International Writers

Backlight

Bloomsbury Adaptation Histories

Noted scholar Imelda Whelehan looks at key adaptations released during this period and considers the impact of social change, film consumption and film tastes, as well as noting the most popular genres at this time. The latter part of the 20th century saw cinema becoming increasingly significant as an art-form, even while its status as 'art' was still openly contested. This installment in the Bloomsbury Adaptation Histories series discusses a rich and exciting period of cinema history: Hollywood in the latter stages of its golden age, releasing masterpiece adaptations such as It's A Wonderful Life (1946), The Treasure of the Sierra Madre (1948), The Third Man (1949), All About Eve (1950), Rear Window (1954), The Night of the Hunter (1955) and Vertigo (1958).

The latter part of the 20th century saw cinema becoming increasingly significant as an art-form, even while its status as 'art' was still openly contested. This installment in the Bloomsbury Adaptation Histories series discusses a rich and exciting period of cinema history: Hollywood in the latter stages of its golden age, releasing masterpiece adaptations such as It's A Wonderful Life (1946), The Treasure of the Sierra Madre (1948), The Third Man (1949), All About Eve (1950), Rear Window (1954), The Night of the Hunter (1955) and Vertigo (1958). Noted scholar Imelda Whelehan looks at key adaptations released during this period and considers the impact of social change, film consumption and film tastes, as well as noting the most popular genres at this time.

1946-59

Post-war Adaptations

Lindsay Gordon Crime Series

Booked for Murder

Noted scholar Imelda Whelehan looks at key adaptations released during this period and considers the impact of social change, film consumption and film tastes, as well as noting the most popular genres at this time. The latter part of the 20th century saw cinema becoming increasingly significant as an art-form, even while its status as 'art' was still openly contested. This installment in the Bloomsbury Adaptation Histories series discusses a rich and exciting period of cinema history: Hollywood in the latter stages of its golden age, releasing masterpiece adaptations such as It's A Wonderful Life (1946), The Treasure of the Sierra Madre (1948), The Third Man (1949), All About Eve (1950), Rear Window (1954), The Night of the Hunter (1955) and Vertigo (1958).

Rethinking Art's Histories

Psychoanalysis, Politics and the Art of French Feminism

Counterpractice

Christopher Isherwood Inside Out

The Bloomsbury History of Modern Germany Series

Dictatorships and Authoritarianism in Modern German History provides readers with a comprehensive overview of the history of dictatorships in Germany since the French Revolution. Dictatorships have been a defining feature of modern German history. The Nazi dictatorship between 1933 and 1945, which brought about the Second World War and the Holocaust, is still taught in schools and universities as the prime example of the destructiveness of ideologically driven regimes in the 20th century; the state-socialist regime in the German Democratic Republic that lasted for over 40 years bore many of the same dictatorial features. Understanding the factors that made these two regimes possible, their inner workings, but also their impact on the lives of many people, is key to understanding the course of modern German history as a whole and this is discussed at length in this absorbing volume. The book moves beyond the familiar historical narratives to incorporate analysis of key political thinkers and their interpretations of the problem of authoritarian and totalitarian rule. The discussion of these political dimensions is given further depth with the examination of the impact of dictatorship on German society as well as key figures of the 20th century.

Dictatorships and Authoritarianism in Modern German History

From the Free Speech Movement to the Factory Floor&nbsp;documents&nbsp;the overlooked history and lasting influence of the International Socialists through the words of its members.

Founded at UC Berkeley in 1964 as a radical civil rights group, the International Socialist Club sparked the Free Speech Movement that same year, and its members and successor organizations would go on to help shape the course of both the Black freedom struggle and the rank-and-file labor insurgency of the 1970s. From its inception, the organization adhered to the tenets of "socialism from below"-the belief that revolutionary Marxism meant an expansion of democracy, not its curtailment at the hands of bureaucratic dictatorships that claimed to be building socialist societies.&nbsp;

Following their success in the Bay Area, the ISC launched chapters across the country, forging an alliance with the Black Panthers to promote Huey P. Newton's candidacy on the Peace and Freedom Party ticket. In 1969, the ISC became the International Socialists, and much of its growing membership relocated to the Midwest to take industrial jobs. In their final years, among other important efforts, the IS created a majority-Black youth group known as the Red Tide, founded the seminal publication&nbsp;Labor Notes, and helped create Teamsters for a Democratic Union.&nbsp;

From the Free Speech Movement to the Factory Floor&nbsp;includes twenty-six original reflections by leading members-including renowned scholar-activists Nelson Lichtenstein and Nancy Holmstrom-offering invaluable insights into this influential but little-known organization.&nbsp;

Inside the Photograph

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