{"title":"Abstract","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan data-contrast=\"auto\" lang=\"EN-US\" class=\"TextRun SCXW98224517 BCX4\"\u003e\u003cspan class=\"NormalTextRun CommentStart CommentHighlightPipeHovered CommentHighlightHovered SCXW98224517 BCX4\"\u003eBlurring the lines between reality and \u003c\/span\u003e\u003cspan class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2Themed CommentHighlightHovered SCXW98224517 BCX4\"\u003eima\u003c\/span\u003e\u003cspan class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2Themed CommentHighlightHovered SCXW98224517 BCX4\"\u003egination\u003c\/span\u003e\u003c\/span\u003e\u003cspan class=\"TrackChangeTextInsertion TrackedChange SCXW98224517 BCX4\"\u003e\u003cspan data-contrast=\"auto\" lang=\"EN-US\" class=\"TextRun SCXW98224517 BCX4\"\u003e\u003cspan class=\"NormalTextRun ContextualSpellingAndGrammarErrorV2Themed CommentHighlightHovered SCXW98224517 BCX4\"\u003e,\u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003cspan data-contrast=\"auto\" lang=\"EN-US\" class=\"TextRun SCXW98224517 BCX4\"\u003e\u003cspan class=\"NormalTextRun CommentHighlightHovered SCXW98224517 BCX4\"\u003e th\u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightHovered SCXW98224517 BCX4\"\u003eese\u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightHovered SCXW98224517 BCX4\"\u003e works are a blank canvas for the curious mind.\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"doves-2008","title":"Jowhara AlSaud: Doves, 2008","description":"\u003cp\u003eThis image from Jowhara AlSaud’s series \u003cem\u003eOut of Line\u003c\/em\u003e comments on censorship in Saudi Arabia and its effects on visual communication. There are regions in Saudi Arabia where lines are still drawn across throats in photographs, figuratively cutting the head off. Faces are blurred on billboards. Skirts and sleeves are crudely lengthened with black markers on women’s outfits in magazines. Art, as everything else here, is governed by Islamic law. Figurative work is still considered by many to be sinful. \u003cbr\u003e\u003cbr\u003eAlSaud began applying the language of the censors to personal photographs, making line drawings, omitting faces, and keeping only the essentials. This preserved the anonymity of her subjects, which allowing her more freedom as it is still taboo to have one’s portrait hanging in a gallery or someone else’s home. When reduced to sketches, the images achieved enough distance from the original photographs that neither subjects nor censors could find them objectionable. They became autonomous, minimal narratives. In etching these drawings back into film and printing them in an analogue darkroom, she points to the malleability of the medium before even the advances and accessibility of digital manipulation. It becomes a highly coded and self-reflexive language.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514053038214,"sku":"L0155","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0155-1_0d265ecb-05f4-48fd-8769-fcd401aea0b8.jpg?v=1763775330"},{"product_id":"untitled-from-the-series-darkroom-2005-2006","title":"Michel Campeau: Untitled, from the series Darkroom, 2005-06","description":"\u003cp\u003e“For a photographer like myself, who in fact has not worked in a darkroom for more than twenty years, these images are horribly familiar. Those fix stains in the sink, the eerie red light, reminiscent of a brothel, the wonky enlarger, and a profusion of different tapes holding the whole thing together. . . . I feel lucky to have escaped and yet there is something very alluring about these images..”—Martin Parr\u003cbr\u003e\u003cbr\u003e\u003cem\u003eUntitled\u003c\/em\u003e by the Canadian artist Michel Campeau depicts the topography of the private spaces that comprise his series \u003cem\u003eDarkroom\u003c\/em\u003e, 2005-2006. In \u003cem\u003eDarkroom\u003c\/em\u003e, Campeau photographed over seventy-five darkrooms in his native Canada at close range. Campeau evokes the feeling of intimate nostalgia for the photographic processes and the spaces in which they were practiced. The resulting images are simple yet striking depictions of an increasingly disappearing environment.\u003cbr\u003e\u003cbr\u003eThe artist notes that this series of work shines a spotlight on, “the bric-a-brac of plumbing and electricity, the ventilation-system engines, the posted iconography, the weirdness of ‘planets’ envisioned at the bottom of chemical trays, the splattering of silver salts, the wear of equipment and the countdown of timers that defies the disappearance of the panchromatic spectre.” As these spaces give way to the rise of digital photography, the images of \u003cem\u003eDarkroom\u003c\/em\u003e capture a kind of endangered species. Here, we see a detail from the darkroom of the photographer Michael Flomen.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514053431430,"sku":"L0133","price":840.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0133-1_e53ca2ec-ffcd-4ea9-ad44-b4d4270ab838.jpg?v=1763775356"},{"product_id":"new-born-2010","title":"Michael Flomen: New Born, 2010","description":"\u003cp\u003e“This image was made in the spirit of all my recent work, that is, it was a collaboration with Nature. \u003cem\u003eNew Born\u003c\/em\u003e, 2010, was made in a pond in Northern Vermont at night. The glass-plate negative was dipped into the water’s edge, creating the horizon line, exposing the elements and the water’s secrets, invisible to the naked eye. For me \u003cem\u003eNew Born\u003c\/em\u003e is a photographic document of a fragment of evolution. The image represents the birth of a new beginning.”—Michael Flomen\u003cbr\u003e\u003cbr\u003eWorking without a camera, Michael Flomen places sheets of black-and-white photographic paper in snowfields, streams, and other natural settings to register the activity of light in relation to natural phenomena. This environmental romanticism, so closely akin to Talbot’s intuition that photography allows nature to draw itself, represents a new adaptation of the photogram.\u003cbr\u003e\u003cbr\u003eLyle Rexer, who writes of Flomen’s work in \u003cem\u003eThe Edge of Vision: The Rise of Abstraction in Photography\u003c\/em\u003e, says that the artist “takes photography’s desire for the real to its literal extreme, making photographs that are in direct contact with the natural elements he seeks to capture.\"\u003cbr\u003e\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514055004294,"sku":"L0577","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0577-1_19fa89b8-d426-4300-9835-8cdcadb13d9d.jpg?v=1763775426"},{"product_id":"untitled-from-the-series-in-function-of-the-form-2009","title":"Jacinthe Lessard-L: Untitled, from the series In function of the form, 2009","description":"\u003cp\u003eJacinthe Lessard-L.’s \u003cem\u003eUntitled \u003c\/em\u003ewas featured in \u003cem\u003ereGeneration 2: Tomorrow’s Photographers Today\u003c\/em\u003e, the second book in Aperture’s series shining a spotlight on the next generation’s rising stars, some of whose work will be available for purchase for the very first time. The sale of these prints will help support these emerging artists—and give collectors an opportunity to acquire their work early in their careers.\u003cbr\u003e\u003cbr\u003eThe work of Lessard-L. explores the aesthetics of everyday life, while paying homage to the abstractions of artists such as Piet Mondrian. Directing her lens on colors, textures, and patterns—which she highlights with her expert knowledge of light—she likes to accentuate the abstract shapes of the objects, however mundane they may be. In this game of abstraction, the photographer pushes the limits of her medium—using it purely as a tool for documentation—though she also calls upon our collective memory with images that show she is not devoid of humor.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514064769158,"sku":"L0320","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0320-1_524d579d-7669-4b3f-a3e6-875203d2d8db.jpg?v=1763775502"},{"product_id":"untitled-from-the-series-hidden-2005","title":"Edgar Martins: Untitled, from the series Hidden, 2005","description":"\u003cp\u003e“Hidden is a very simple and attractive set of pictures. One can engage with them only in terms of form and color, but the series came out of my thinking about the paradox of how to represent a specific issue, theme, or idea without physically referencing it. The colored panels are sound barriers intended to muffle the noise of the traffic on the highways. This is all the photographs offer us at first glance. The irony is that these beautifully designed barriers had the effect of dividing the communities through which the roads passed in the south of Portugal.”—Edgar Martins\u003cbr\u003e\u003cbr\u003eWith artful composition and rigorously controlled framing, Edgar Martins creates sublimely beautiful views of often un-beautiful sites. As David Campany writes in the introduction to \u003cem\u003eTopologies\u003c\/em\u003e (Aperture, 2007) about the series: “Like geometric abstract painting or Minimalist sculpture, these photographs are all crisp color and hard edges, setting vertical striations of pavement against horizontal bands of guardrails and sound barriers.”\u003cbr\u003e\u003cbr\u003eIt is in this series \u003cem\u003eHidden\u003c\/em\u003e and particularly this print from the series that he notes Martins “achieves some of his most subtle chromatic effects, as in the image of an orange and lavender wall melting into blue and gray pavement.” Certain themes recur throughout Martins’s work: a sense of place and a sense of alienation from a place, a sense of mystery, and a sense that something unsettling has just happened or is about to happen.\u003cbr\u003e\u003cbr\u003eAs he states, “My work is a journey of recognition: space, as our object of understanding, is changing and because of this one needs to find a new critical language that supports it, and a new system of knowledge from which to derive our glossary of life. In my work there is a permanent ambivalence between poetic failure and the promise of success.” This work represents the ambiguous history of human impact on nature and as the artist states, “this series deals with the impact of modernism on the environment. But it also highlights photography’s inadequacies. Like the barriers, photography is a medium of facades.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514067456134,"sku":"L0146","price":875.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0146-1_b21fbbfa-7c03-4064-8c64-4d5ba93242c0.jpg?v=1763775530"},{"product_id":"beyond-the-view-number-9","title":"Helen Sear: Beyond the View, Number 9, 2011","description":"\u003cp\u003eBritish artist Helen Sear’s series \u003cem\u003eBeyond the View\u003c\/em\u003e was featured in issue 203 of \u003cem\u003eAperture\u003c\/em\u003e magazine, in which Jason Evans notes that often she seems to be “an installation artist who goes as far into a space as you can while remaining two-dimensional.” Her work demands participation by the viewer, as we try to “read” an increasingly ambiguous picture that meshes “visual and cultural theory.” “I like things to be complicated,” she says. “I want to raise questions.”\u003cbr\u003e\u003cbr\u003eThe artist notes: “The pictures are made up of the combination of two photographs, one superimposed over the other in the computer. I erase part of the top image through a process of ‘drawing’ with a pen and tablet across the whole surface of the image. The women turning away and the landscapes were initially referring to the northern romantic tradition of painting, where the figure is often pictured immersed in the landscape. The images are also an attempt to consider a gendered perspective in relation to the history of landscape photography. The lines\/marks of the hand drawing create a visual noise on the surface of the photograph. One half of the image is erased to partially reveal the other; neither are seen in their entirety.\u003cbr\u003e\u003cbr\u003e“The process of enmeshing the two images together with the hand drawing collapses the traditional distance in photography between the viewer and the view, and also extends the photographic moment. It brings the image close to the surface of the eye. I was interested to discover the word for retina in German is \u003cem\u003eNetzhaut\u003c\/em\u003e, which is also a net or a trap. These women are in some way also trapped in the landscape. The marks I am making while erasing are similar to a net, whether lace is associated with a handicraft or a hand-drawn line reminiscent of the screen of the computer or a loom. I am working in a montage tradition, but the intervention, and touch, between images is more of a caress than a cut associated with collage. I want the elements of the image to be inseparable.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514075385990,"sku":"L0547","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0547-1_82f36bc4-dd23-4e21-894c-3ff0c7b1608b.jpg?v=1763775594"},{"product_id":"untitled-explosion-1-cf2-from-the-series-towards-another-big-bang-theory-2007-2009","title":"Geoffrey H. Short: Untitled Explosion #1 CF2 from the series Towards Another Big Bang Theory, 2007–2009","description":"\u003cp\u003eGeoffrey H. Short's \u003cem\u003eUntitled Explosion #1CF2\u003c\/em\u003e was featured in \u003cem\u003ereGeneration 2: Tomorrow's Photographers Today\u003c\/em\u003e, the second book in Aperture’s series shining a spotlight on the next generation’s rising stars. Short subtitles the enigmatic series shown here “The Sublime, the Terror, and the Allusion”—three concepts he questions in his work. Although Short’s photographs document events that actually took place—these particular ones required the collaboration of special-effects technicians—they also refer to other explosions: the big bang, of course, a terrorist bombing, or an atomic explosion.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514077253766,"sku":"L0325","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0325-1_22f9bad2-3d78-4a81-b137-a75cfea8762e.jpg?v=1763775623"},{"product_id":"horizon-03-2003-9","title":"Silvio Wolf: Horizon 03, 2003–9","description":"\u003cp\u003eIn his series of analog c-prints, \u003cem\u003eHorizons\u003c\/em\u003e, Silvio Wolf has used the unexposed ends of film rolls as negatives. The resulting images of dramatic contrasting color are intended to stand alone even as they suggest a range of visual and metaphoric associations.\u003cbr\u003e\u003cbr\u003eAs the artist states, “The \u003cem\u003eHorizons\u003c\/em\u003e series is based on parts of the photographic film leaders, self-exposed by light while loading a camera. Light radiation acts directly onto the photosensitive material before any pictures are taken and without the photographer’s intention. The \u003cem\u003eHorizons\u003c\/em\u003e are created from discarded materials of the photochemical process. They are actual artists’ appropriations. Each Horizon reveals a threshold, the clear limit between light and darkness, between matter and language.”\u003cbr\u003e\u003cbr\u003eAperture is pleased to offer this very special limited-edition photograph to its collecting audience. Each piece is mounted to Dibond and front-mounted to Plexiglass with a cleat system and is ready to hang. This is a unique opportunity to collect the work of this important and innovative artist—one of Italy's entries into the 2009 Venice Biennale.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514081480838,"sku":"L0153","price":2590.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0153-1_3f535cf5-3f9f-4e5e-b861-1833bd6f3dab.jpg?v=1763775745"},{"product_id":"waking-up-transparent-2006","title":"Stacia Yeapanis: Waking Up Transparent, 2006","description":"\u003cp\u003eIn her series, \u003cem\u003eMy Life as a Sim\u003c\/em\u003e, Stacia Yeapanis explores the simulated-reality computer game The Sims 2. Yeapanis is on the cutting edge of new media, innovating new approaches to the creation of art.\u003cbr\u003e\u003cbr\u003eRegarding her project, Yeapanis remarks, “My initial interest stemmed from the nature of the game, in which players pursue their own purposes and perform their own subjectivity by using their avatars [Sims] as extensions of themselves. Gameplay becomes an ongoing negotiation of the self. There’s no way to win the game unless you perceive that you've won.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514081611910,"sku":"L0154","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0154-1_3120135e-bf08-4384-88a0-3b4be1af3983.jpg?v=1763775754"},{"product_id":"early-recordings-box-set","title":"Marco Breuer: Early Recordings Box Set","description":"\u003cp\u003eThe \u003cem\u003eEarly Recordings\u003c\/em\u003e box set includes a unique-to-each-edition Polaroid photogram that was made using the die-cut cover of \u003cem\u003eEarly Recordings\u003c\/em\u003e. Incorporating “artist interventions,” each cover has been marked up and altered by the artist, as have the pages inside. Presented in a specially designed clamshell box, each edition is truly a one-of-a-kind and unique item. The clamshell is created with paper that has been randomly printed multiple times—“makeready sheets” that are usually discarded during the printing process. Remnants and scraps from the bookmaking process are also included within, further becoming an extension of Marco Breuer’s experimental practice.\u003cbr\u003e\u003cbr\u003eBoldly experimental, Breuer uses an extensive and continually evolving range of processes to extract abstract and visually compelling images from photographic paper. Breuer’s work eviscerates the usual expectations of the cameraless image. The end results are exquisitely gorgeous and minimalist. The images function as “recordings” of the artist’s actions, only the trace of impact and expended energy remains.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514091901062,"sku":"L0003","price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0003-2_3d47609a-eebd-4f62-8a09-41e843c35848.jpg?v=1772384978"},{"product_id":"illuminance-limited-edition-box-set","title":"Rinko Kawauchi: Illuminance Limited-Edition Box Set","description":"\u003cp\u003e“I prefer listening to the small voices in our world, those which whisper. I have a feeling I am always being saved by these whispers, my eyes naturally focus on small things.”—Rinko Kawauchi\u003c\/p\u003e\n\u003cp\u003eThis limited-edition box set includes a specially bound copy of the artist’s monograph, \u003cem\u003eIlluminance\u003c\/em\u003e (2011), and two beautiful photographs of images found in the book, all presented in a cloth-bound case. The celebrated monograph was \u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003ethe first volume of Kawauchi’s work to be published outside of Japan\u003c\/span\u003e. Gorgeously produced as a cloth-bound volume with Japanese binding, this impressive compilation of mostly previously unpublished images is proof of Kawauchi’s unparalleled, unique sensibility and her ongoing appeal to the lovers of photography.\u003c\/p\u003e\n\u003cp\u003eKawauchi’s work has frequently been lauded for its nuanced palette and offhand compositional mastery, as well as its ability to incite wonder via careful attention to tiny gestures and the incidental details of her everyday environment. In \u003cem\u003eIlluminance\u003c\/em\u003e, she continues her exploration of the extraordinary in the mundane, drawn to the fundamental cycles of life and the seemingly inadvertent, fractal-like organization of the natural world into formal patterns, as evidenced by the photographs included in this very special set.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514092032134,"sku":"L0503","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0503-1_73bc93f7-004f-4754-811a-dce6d9132de4.jpg?v=1763775904"},{"product_id":"untitled-ph-1507-2007","title":"Manuel Geerinck: Untitled PH 1507, 2007","description":"\u003cp\u003eAperture is pleased to offer this special limited-edition photograph by Manuel Geerinck. Aperture published the artist’s work in \u003cem\u003eThe Edge of Vision: The Rise of Abstraction in Photography\u003c\/em\u003e by Lyle Rexer in 2009, and his work was included in the subsequent traveling exhibition.\u003c\/p\u003e\n\u003cp\u003eGeerinck was first an established painter before he discovered his approach to photography. He decided that he wanted to take his mixed-media drawings and set them in motion then photograph the result. The relationship between the gesture of the drawing and the surface quality of the photographic print creates a true abstraction. The image is free from the weight of representation and reference allowing the viewer to form infinite associations.\u003cbr\u003e\u003cbr\u003eW.M. Hunt, noted collector, curator, and educator, has written of Geerinck's work that, “These are true abstractions. You may think you see eggs and bugs and aliens and, indeed, clouds, but there is a beautiful vagueness to these. These are not recognizable things. Further, there is a condensed gem-like quality to these disturbances in the center of the frame. Those are, in turn, swallowed up by the vibrant color field backgrounds-yellow, red, white, and even gleaming blacks. These planes of color, sometimes divided in two, suspend these curious squiggles and drips.\u003cspan\u003e”\u003c\/span\u003e\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514096783494,"sku":"L0617","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0617-1_6f1599bd-7fa9-4635-ad4a-35be2a94769d.jpg?v=1763776003"},{"product_id":"fdb9-2009-12","title":"James Welling: FDB9, 2009-12","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\u003eThis James Welling limited-edition photograph, \u003c\/span\u003e\u003cem\u003eFDB9\u003c\/em\u003e\u003cspan\u003e, 2009–12, is from his series \u003c\/span\u003e\u003cem\u003eFluid Dynamics\u003c\/em\u003e\u003cspan\u003e. The image is featured in \u003c\/span\u003e\u003cem\u003eJames Welling: Monograph\u003c\/em\u003e\u003cspan\u003e (Aperture, 2013).\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAs a student, Welling was introduced to American Color-Field painting, which became a source of inspiration for his abstract work. Between 1986 and 2006, Welling worked on a series titled Degradés, in which he exposed different parts of photographic paper to different color filtrations using a color enlarger. This series was a precursor to Fluid Dynamics, for which Welling made photograms of water on chromogenic paper, scanned the images, and altered the colors with Adobe Photoshop. Both bodies of work are evidence of his concern with photography’s materiality—especially in the face of technological change—and with the medium’s relationship to painting and sculpture.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eAlthough Welling’s practice has changed over the decades, he has continued to find new ways to apply materials to a photographic surface. As he has said, “I’m interested in finding new ways of applying materials to a surface. Photography is just a different way of applying material and some of my works draw out this process.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514097209478,"sku":"L0620","price":2500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/l0620.jpg?v=1772335521"},{"product_id":"untitled-film-noir-1434","title":"Bill Armstrong: Untitled (Film Noir #1434)","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003eThis photograph is from \u003c\/span\u003e\u003cem\u003eFilm Noir\u003c\/em\u003e\u003cspan\u003e, the newest iteration of Armstrong’s Infinity series, an ongoing project he has worked on for more than fifteen years. The work revisits the classic film-noir themes of loneliness, alienation, and the existentialist dilemma with the lush, saturated colors the artist is known for. The solitary figures are contemplating the unknown reference the ethical and philosophical dilemmas laid out in the stories and films of the 1940s and 50s.\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eAs Armstrong notes in an interview about this series, “I’m always trying to bite into the big themes: death, love, redemption, freedom, spirituality. I don’t have the exact quote, but artist Jack Pierson once said something like, ‘If it’s not about lonely, it’s not art.’ Even though that’s apocryphal, I think the fact that we are alone is a major theme today, as much as faith and hope were in the Renaissance, or mortality was to the Romans. In a way, I see all these themes as asking the same question. What is the meaning of it all? Does it matter what we do?”\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eTo make these works, Armstrong photographs handmade collages of printed source material with his camera’s focus ring set to infinity. He continues: “In many ways, my work is about perception, how we try to resolve images but can’t, and how in that moment of confusion, when we are unsure of what we are seeing, the rational mind is derailed, and we are freed to respond on a more subconscious level.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514097700998,"sku":"L0634","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/l0634.jpg?v=1772335073"},{"product_id":"grid-2012","title":"Carlo Van de Roer: Grid, 2012","description":"\u003cp\u003eIn \u003cem\u003eThe Portrait Machine Project\u003c\/em\u003e, Brooklyn-based photographer Carlo Van de Roer explores the idea that a camera can reveal hidden facets of a subject’s character and the relationship between a photographer and a viewer. Van de Roer made portraits of friends and family using a Polaroid Aura Camera, which was developed by American inventor Guy Coggins. To make these photographs, the subject is connected to the camera by sensors measuring electromagnetic biofeedback. The camera generates a printed description of this information as a color Polaroid photograph. The Aura camera has undertones of pseudo-scientific authority and at the same time recalls the “spirit” photography so popular at the turn of the twentieth century.\u003c\/p\u003e\n\u003cp\u003eThis image, titled simply \u003cem\u003eThe Grid\u003c\/em\u003e, 2012, collects 113 of Van de Roer’s photographs to create a psychedelic swirl that itself implies alternate ways of accessing people’s inner selves. The blooms of color contrast the rigidity of the grid and keep this image in a fascinating, if ever-shifting, state of tension.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514098618502,"sku":"L0646","price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0646-1_d878429e-2c44-40b5-8692-d8a817eb51c6.jpg?v=1763776015"},{"product_id":"photograms-portfolio","title":"Eva-Fiore Kovacovsky: Photograms Portfolio","description":"Swiss photographer Eva-Fiore Kovacovsky cites Anna Atkins’s nineteenth-century cyanotypes, Karl Blossfeldt’s 1930s studies of plants, and Max Ernst’s \u003cem\u003eHistoire Naturelle\u003c\/em\u003e (\u003cem\u003eNatural history\u003c\/em\u003e, 1926) as points of inspiration. Her new series of photograms continues the artist’s ongoing investigations into nature, beginning here with perforated leaves selected for their “found compositions”—the result of having been chewed by caterpillars. The leaves are then used as “negatives,” and color is added or subtracted with the aid of filters. To make the images in this limited-edition portfolio, Kovacovsky exposed each print seven times, changing the filters to seven different color settings and moving the paper between each exposure. Each set of prints is therefore unique, though all of the images feature seven exposures in the same set of colors. The resulting images, born out of darkroom chance and experimentation, are abstractions reminiscent of bright pigment on paper, camouflage, and at times a vibrant Rorschach test. In this work, the rigor of taxonomy is sacrificed in favor of elemental darkroom alchemy that transforms the original found compositions into disorienting, beautiful, and at times psychedelic impressions that have their origins in a real-world now far removed.","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514099175558,"sku":"L0644","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0644-1_60f12399-a3d6-4a83-88df-3e0a83559fab.jpg?v=1763776032"},{"product_id":"explosion-aperture-edition","title":"Christopher Russell: Explosion (Aperture Edition), 2014","description":"\u003cp\u003eWhile working on his handcrafted book \u003cem\u003eGRFALWKV\u003c\/em\u003e, Christopher Russell simultaneously created supplementary photographic works exploring the concepts of endings and disasters pulled from art theory, history, and pop culture.\u003cbr\u003e\u003cbr\u003eWorking against traditional photography, Russell uses digital processes and scratching techniques to create scenes of calamity. \u003cem\u003eExplosion\u003c\/em\u003e (Aperture Edition) is an example of this. With a razor blade, Russell etches intricate patterns and figures onto the surface of photographs of lens flare. The images transform into stylized explosions, fragments from scenes of an apocalyptic aftermath. The controlled chaos of his methodical process uses a visual narrative that references death and rebirth, as well as capturing the volatile nature of transience.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514101108870,"sku":"L0666","price":1500.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0666-1_474db057-02cb-4866-b8c4-76d4815c6d5b.jpg?v=1763776071"},{"product_id":"range-of-pages-from-the-book-range-2014","title":"Penelope Umbrico: Range (of pages from the book Range), 2014","description":"This work examines the analog history of photography within the digital torrent that is its current technological manifestation. It is the latest iteration of Umbrico’s larger project \u003cem\u003eMoving Mountains\u003c\/em\u003e, in which the artist rephotographs a selection of canonical masters’ photographs of mountains—the oldest and seemingly most stable of subjects—with a variety of the newest smartphone camera apps.","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514107039878,"sku":"L0708","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0708-1_d4aa11aa-5324-497d-8e73-0a66688efee8.jpg?v=1763776120"},{"product_id":"the-falls-aperture-edition-1","title":"Christopher Russell: The Falls (Aperture Edition #1)","description":"\u003cp\u003eChristopher Russell creates photographic works exploring the concepts of endings and disasters, pulled from art theory, history, and pop culture. Working against traditional photography, Russell uses digital processes and scratching techniques to create scenes. With a razor blade, Russell etches intricate patterns and figures onto the surface of his photographs. Applying various motifs or, in his words, a “romantic overlay,” his physical interventions in the prints are his attempt to “draw something out of the narrative possibility” that he sees, beyond the initial image created. The artist has created these special editions for Aperture.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514109235334,"sku":"L0752","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0752-1_9661040b-cdd7-48b8-a54d-4f1866d6bbc1.jpg?v=1763776149"},{"product_id":"the-falls-aperture-edition-2","title":"Christopher Russell: The Falls (Aperture Edition #2), 2015","description":"\u003cp\u003eChristopher Russell creates photographic works exploring the concepts of endings and disasters, pulled from art theory, history, and pop culture. Working against traditional photography, Russell uses digital processes and scratching techniques to create scenes. With a razor blade, Russell etches intricate patterns and figures onto the surface of his photographs. Applying various motifs or, in his words, a “romantic overlay,” his physical interventions in the prints are his attempt to “draw something out of the narrative possibility” that he sees, beyond the initial image created. The artist has created these special editions for Aperture.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514109300870,"sku":"L0753","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/L0753.jpg?v=1773262747"},{"product_id":"photography-is-magic-commission-thimblerig-2015","title":"Lucas Blalock: Photography Is Magic Commission: Thimblerig, 2015","description":"\u003cp\u003e\u003cstrong\u003eThis work was created as part of the Photography Is Magic Commission project curated by Charlotte Cotton.\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e“The artists who have created bespoke works in response to Photography Is Magic reconsider photographic traditions and implement new skills to create their versions of photographic sleight of hand. Their photographic magic derives from the span of the medium’s rich history, from analog through to the newest imaging technologies, and is set within the framework of the present moment of visual culture.”—Charlotte Cotton Lucas\u003cbr\u003e\u003cbr\u003eBlalock’s \u003cem\u003eThimblerig\u003c\/em\u003e uses software as its material, declaring “painterly” operations to be capable of distinctly authored aesthetics. Such an approach brings the material possibilities of software into focus, essentially calling out Photoshop as a medium in its own right, with inherent possibilities for creative subjectivity and defining the character of contemporary picture-making.\u003cbr\u003e\u003cbr\u003e“When I started making the work shown here, in 2006, I was channeling a then-newfound interest in the nineteenth century— photography’s role in it, and figures from Courbet to P. T. Barnum. The Metropolitan Museum of Art had just done a survey of Spiritualist photography titled The Perfect Medium, which had an important impact on me. The conjuring of the trope of confidence—and its alternate, humbug—was a beginning for me, and a mirror for \u003cspan class=\"Yjhzub\"\u003e‘\u003c\/span\u003ethe digital.\u003cspan class=\"Yjhzub\"\u003e’ \u003c\/span\u003eAs my work took shape, it ended up being a performance of magic; its staging, its relationship to spectacle and commodity, became central. I came to think about the studio as a theater space and discovered in the ideas of Bertolt Brecht a way to put pressure on this and to picture it. I started to consider how much labor was hidden in the making of a photograph and began making the evidence of these things part of my picture-making. In the way I was working, this was not only with the physical\/optical apparatus of the studio but also the computer’s tools.\u003cbr\u003e\u003cbr\u003eIn the past few years, with increasing intensity, I have come full circle to thinking about picture-making as a way around the narrow, spectacular magic of the commodity and as having a much deeper relationship to genuine possibility.” —Lucas Blalock\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514109464710,"sku":"L0730","price":5000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0730-1_8cfc6e6c-52ce-46d9-a354-8139b98fe214.jpg?v=1763776159"},{"product_id":"photography-is-magic-commission-hands-2015","title":"Matt Lipps: Photography Is Magic Commission: Hands, 2015","description":"\u003cp\u003e\u003cstrong\u003eThis work was created as part of the Photography Is Magic Commission project curated by Charlotte Cotton.\u003c\/strong\u003e \u003cmeta charset=\"utf-8\"\u003e\u003c\/p\u003e\n\u003cp\u003eMatt Lipps reanimates historical photography into sculptural forms to create imaginative constellations of photographic references. Relying on our collective image memory banks of popular and iconic photographs, Lipps’s practice mimics the way the Web releases photographic images from their original contexts, meanings, and cultural statuses, instead showing photography to be a fluid material. Lipps created this work in response to the idea of “sleight of hand,” both referring to the dexterity of the magician and the absence of the artist’s hand in the process of combining existing photographic images.\u003cbr\u003e\u003cbr\u003e“My practice begins with the construction of three-dimensional tableaux of imagery appropriated from popular and high culture, alongside vernacular photographs and my personal collection of negatives. Using collage strategies, I cut out fragments from this idiosyncratic archive and make freestanding paper dolls, which are displayed according to sculptural tropes and theater staging, as well as intuitive organization. These redeployed elements act as visual prompts, playing on viewers’ visual literacy; they point to various moments from our history with the past 170 years of the disseminated image. The resulting constructions are rephotographed and printed at a much larger size than the originals, thereby creating scale shifts that inspire reflection about the operation of the photographic objects on the embodied surface.”—Matt Lipps\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514109497478,"sku":"L0731","price":5500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/l0731.jpg?v=1772328450"},{"product_id":"photography-is-magic-commission-composition-521-073a-2015","title":"Kate Steciw: Photography Is Magic Commission: Composition 521\/073a, 2015","description":"\u003cp\u003e\u003cstrong\u003eThis work was created as part of the Photography Is Magic Commission project curated by Charlotte Cotton.\u003cbr\u003e\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“\u003c\/span\u003eThe artists who have created bespoke works in response to Photography Is Magic reconsider photographic traditions and implement new skills to create their versions of photographic sleight of hand. Their photographic magic derives from the span of the medium’s rich history, from analog through to the newest imaging technologies, and is set within the framework of the present moment of visual culture.\u003cspan\u003e”\u003c\/span\u003e\u003cspan style=\"font-size: 12.0pt; line-height: 115%; font-family: 'Aptos',sans-serif; mso-ascii-theme-font: minor-latin; mso-fareast-font-family: Aptos; mso-fareast-theme-font: minor-latin; mso-hansi-theme-font: minor-latin; mso-bidi-font-family: 'Times New Roman'; mso-bidi-theme-font: minor-bidi; mso-ansi-language: EN-US; mso-fareast-language: EN-US; mso-bidi-language: AR-SA;\"\u003e\u003c\/span\u003e—Charlotte Cotton\u003cbr\u003e\u003cbr\u003eKate Steciw has been a leading new voice in the investigation of the actual and symbolic impact of digital hardware and software—the tools that create the preponderance of today’s images—within the sphere of contemporary art photography. Working with photographic imagery found online, Steciw’s sculptures and objects explore relationships between contemporary ideas, collective desires, and the vast circulation of images. For this commission, Steciw has translated her concept for the gatefold cover of the Photography Is Magic book into a physical object.\u003cbr\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e“\u003c\/span\u003eIn a social system in which so much culturally relevant information is transmitted via images, it is in the form of images that we most often encounter the objects of our desire. The image is representational of both the desire and the desired, and if\/when the object does materialize, it is often represented and disseminated again as an image (documentation). Not only that, but due to the object’s origins in mechanical reproduction it too behaves as an image . . . an image both of its representational intention (a mold-injected decorative sconce as an image of a hand-hewn wooden sconce) and its ideological function (a chair acts as an image of or stand-in for romantic love, casual whimsy, or intellectual integrity). Images and objects function as delivery systems for commerce-driven ideologies. That said, such systems are entirely reliant on context and composition, and are fatally disrupted by even minor interventions.\u003cspan\u003e”\u003c\/span\u003e—Kate Steciw\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514109530246,"sku":"L0728","price":4500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0728-1_9c8651bd-199d-4591-8cd7-d845f7fac0a0.jpg?v=1763776162"},{"product_id":"photography-is-magic-commission-solar-panel-barn-paper","title":"Hannah Whitaker: Photography Is Magic Commission: Solar Panel\/Barn\/Paper","description":"\u003cp\u003e\u003cstrong\u003eThis work was created as part of the Photography Is Magic Commission project curated by Charlotte Cotton.\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan\u003e“\u003c\/span\u003eThe artists who have created bespoke works in response to Photography Is Magic reconsider photographic traditions and implement new skills to create their versions of photographic sleight of hand. Their photographic magic derives from the span of the medium’s rich history, from analog through to the newest imaging technologies, and is set within the framework of the present moment of visual culture.\u003cspan\u003e”\u003c\/span\u003e—Charlotte Cotton\u003cbr\u003e\u003cbr\u003eHannah Whitaker’s \u003cem\u003eSolar Panel\/Barn\/Paper\u003c\/em\u003e speaks to the crucial act of misdirection in close-up magic tricks: the capacity of a magician to move our attention away from the sleight of hand taking place in front of us. The forms in Whitaker’s photograph seem to present themselves as being literally arranged on the paper but, simultaneously, offer abundant clues about the falsity of this initial assumption, found especially in the discernable photographic subjects that Whitaker combines. The physical photograph is formally definite, while the juxtapositions of real-world subjects are magically illogical.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“\u003c\/span\u003eMy works are shot on 4-by-5 film through hand-cut paper screens. I use film in order to limit the field of possibilities. You can think of film as allowing for an infinite set of possibilities, and of digital processes as allowing for even more infinite possibilities. I find limitations to be generative, so I prefer the smaller field.\u003cspan\u003e”\u003c\/span\u003e—Hannah Whitaker\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514109563014,"sku":"L0726","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0726-1_3c1b6300-2a05-4928-b93a-3fa9f593bb81.jpg?v=1763776165"},{"product_id":"photography-is-magic-commission-picture-088-pomegranate-bird-feathers-collection-toast-strawberry-2-0","title":"Asha Schechter: Photography Is Magic Commission: Picture 088 (Pomegranate, Bird Feathers Collection, Toast, Strawberry 2.0...)","description":"\u003cp\u003e\u003cstrong\u003eThis work was created as part of the Photography Is Magic Commission project curated by Charlotte Cotton.\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan\u003e“\u003c\/span\u003eThe artists who have created bespoke works in response to Photography Is Magic reconsider photographic traditions and implement new skills to create their versions of photographic sleight of hand. Their photographic magic derives from the span of the medium’s rich history, from analog through to the newest imaging technologies, and is set within the framework of the present moment of visual culture.”—Charlotte Cotton\u003cbr\u003e\u003cbr\u003eAsha Schechter’s artistic practice is set within the context of a networked, commodity-centric culture—where a wholesale movement away from privileging the “source” or \u003cspan\u003e“\u003c\/span\u003eoriginal” is coded into every creative photographic gesture. In his brilliantly disorienting works, photographic motifs and 3-D renderings appear to hover and scatter across the picture plane, indicative of Schechter’s questioning of our contemporary image world from a position consciously within its default dynamics and aesthetics.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“\u003c\/span\u003eI am interested in the lifespan of images. I am interested in how an image comes into being, what kind of work it does, how it ages, and when it stops being useful. I think of certain kinds of 3-D models as underemployed—the kinds of models that on first blush make sense, but after further scrutiny look off in one way or another. These images have made their way into the pictures, stickers, and videos I have been making—sometimes being put to sensible use, and sometimes floating in an indeterminate space, hoping that someday they might have something better to do.”—Asha Schechter\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514109628550,"sku":"L0725","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0725-1_78746f36-b834-458d-b750-37d30c4fbda7.jpg?v=1763776168"},{"product_id":"photography-is-magic-commission-half-2015","title":"Sara VanDerBeek: Photography Is Magic Commission: Half, 2015","description":"\u003cp\u003e\u003cstrong\u003eThis work was created as part of the Photography Is Magic Commission project curated by Charlotte Cotton.\u003cbr\u003e\u003cbr\u003e\u003c\/strong\u003e\u003cspan\u003e“\u003c\/span\u003eThe artists who have created bespoke works in response to Photography Is Magic reconsider photographic traditions and implement new skills to create their versions of photographic sleight of hand. Their photographic magic derives from the span of the medium’s rich history, from analog through to the newest imaging technologies, and is set within the framework of the present moment of visual culture.\u003cspan\u003e”\u003c\/span\u003e—Charlotte Cotton\u003cbr\u003e\u003cbr\u003eSara VanDerBeek’s \u003cem\u003eHalf\u003c\/em\u003e is a new work created exclusively for this Aperture commission, representing her current explorations of the material and imaginative properties of the photographic form. VanDerBeek aligns \u003cem\u003eHalf \u003c\/em\u003eto one of the central tenets of Photography Is Magic: that photographs can act as prompts for the creation of magic in the viewer’s imagination, by confusing and misdirecting his or her attention. This work is intentionally created to act as a constant illusion that confounds us by beautifully conflating the physical and imaginary effects of a photograph into a single image.\u003cbr\u003e\u003cbr\u003e\u003cspan\u003e“\u003c\/span\u003eI am constantly striving for my images to rest somewhere between the actual and the imagined. Many of the formal decisions I make during their capture, and their eventual conclusion through digital and chromogenic printing processes, are attempts to reach a dynamic balance of observation and abstraction. My hope is that the images give the sense that they are of something that can be recognized as belonging to the real world, but also perhaps to the world of dreams, of memory, and of the imagination.\u003cspan\u003e”\u003c\/span\u003e—Sara VanDerBeek\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514109661318,"sku":"L0733","price":12000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0733-1_ad260728-15dd-4842-83c2-41b1c469721b.jpg?v=1763776171"},{"product_id":"film-noir-1438","title":"Bill Armstrong: Film Noir #1438","description":"\u003cp\u003e\u003cem\u003eFilm Noir\u003c\/em\u003e revisits the themes of the classic black-and-white films of the 40s and 50s, but with the lush, saturated colors for which Bill Armstrong is known. Armstrong’s mysterious images remain unresolved, yet hinting at the increased uncertainties of the contemporary viewpoint.\u003cbr\u003e\u003cbr\u003eLike his other portfolios, in his \u003cem\u003eInfinity\u003c\/em\u003e series, the photographs are made from appropriated images taken from a variety of sources—advertising, stock photographs, and landscape painting—which are then collaged and rephotographed out of focus as Armstrong subverts the photographic process, setting his lens at infinity (normally used for distance) and then shooting close up.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514113396870,"sku":"L0769","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0769-1_a0c247ba-11aa-4f87-b700-08a7d24cf46b.jpg?v=1763776241"},{"product_id":"horizon-x","title":"Silvio Wolf: Horizon X","description":"\u003cp\u003eIn his series of analog c-prints, \u003cem\u003eHorizons\u003c\/em\u003e, Silvio Wolf has used the unexposed ends of film rolls as negatives. The resulting images of dramatic contrasting color are intended to stand alone even as they suggest a range of visual and metaphoric associations.\u003cbr\u003e\u003cbr\u003eAs the artist states, “The Horizons series is based on parts of the photographic film leaders, self-exposed by light while loading a camera. Light radiation acts directly onto the photosensitive material before any pictures are taken and without the photographer’s intention. The \u003cem\u003eHorizons\u003c\/em\u003e are created from discarded materials of the photochemical process. They are actual artists' appropriations. Each Horizon reveals a threshold, the clear limit between light and darkness, between matter and language.”\u003cbr\u003e\u003cbr\u003eAperture is pleased to offer this very special limited-edition photograph to its collecting audience. Each piece is framed as pictured with a cleat system for hanging. \u003cstrong\u003eThis limited-edition is framed to order. Please allow up to 10 days for your order to ship.\u003c\/strong\u003e\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514115035270,"sku":"LC103","price":4000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LC103-1_87192d72-9fd5-4f10-a29b-c8ff8439be8e.jpg?v=1763776277"},{"product_id":"untitled-4","title":"Gregory Halpern: Untitled","description":"\u003cp\u003e“Buffalo’s economic slump defines the city in the popular imagination. That understanding is rooted in fact: Buffalo is one of the poorest large cities in America. And you can find that in Halpern’s photographs, which feature unkempt places and people with ragged edges. . . . Halpern recognizes through these pictures that, amid Buffalo’s difficulties, ‘babies are born there. People fall in love there. Certain people would say the city is dying, but it’s also continually being born.’”\u003ci\u003e—\u003c\/i\u003e\u003cspan\u003eBrian Sholis\u003c\/span\u003e\u003cspan\u003e in \u003c\/span\u003e\u003cem\u003eAperture\u003c\/em\u003e\u003cspan\u003e Issue #226: “American Destiny.”\u003c\/span\u003e\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514120016006,"sku":"LM039","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LM039-1_32bf0d51-042b-4ebc-b9ca-fc3ab67525dd.jpg?v=1763776379"},{"product_id":"untitled-2017-20-from-the-series-the-roses-3","title":"Adam Pape: Untitled, from the series The Roses, 2017-20","description":"\u003cp\u003e“In physics, redshift occurs when a heavenly body is rapidly rushing away. Adam Pape’s recent photographs, which view New York through a scrim of red and pink roses, convey a similar sensation of life receding at the very moment it is being experienced. This series, from 2017 through summer 2020, took off from a group of pictures that Pape made of rosebushes growing by a police station in the Bushwick section of Brooklyn, where he was living at the time. From there, the project evolved into a kind of scavenger hunt, with Pape roaming the city on a horticultural search for flowers that could occupy the foreground while, like a mannerist painter, he zeroed his camera in on what was occurring in the middle distance. Lurid and moody, exaggerated yet naturalistic, these photographs, which Pape often shot at twilight, evoke a cityscape that is both fantastic and recognizable. It is as if the artist had stared hard at what was around him, shut his eyes, and allowed the afterimage, distilled and heightened, to register on his consciousness and then, as if in a darkroom, develop slowly and inexorably into being.”\u003cbr\u003e\u003cbr\u003e—Arthur Lubow, from \u003ca href=\"https:\/\/aperture.org\/magazines\/aperture-242\/\"\u003e\u003ci\u003eAperture\u003c\/i\u003e Issue #242: “New York”\u003c\/a\u003e\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514141413510,"sku":"LC107","price":3000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LC107-1_4aef05f5-40d6-4ac4-961a-2b1a410a0bed.jpg?v=1763776557"},{"product_id":"untitled-2017-20-from-the-series-the-roses-2","title":"Adam Pape: Untitled, from the series The Roses, 2017-20","description":"\u003cp\u003e“In physics, redshift occurs when a heavenly body is rapidly rushing away. Adam Pape’s recent photographs, which view New York through a scrim of red and pink roses, convey a similar sensation of life receding at the very moment it is being experienced. This series, from 2017 through summer 2020, took off from a group of pictures that Pape made of rosebushes growing by a police station in the Bushwick section of Brooklyn, where he was living at the time. From there, the project evolved into a kind of scavenger hunt, with Pape roaming the city on a horticultural search for flowers that could occupy the foreground while, like a mannerist painter, he zeroed his camera in on what was occurring in the middle distance. Lurid and moody, exaggerated yet naturalistic, these photographs, which Pape often shot at twilight, evoke a cityscape that is both fantastic and recognizable. It is as if the artist had stared hard at what was around him, shut his eyes, and allowed the afterimage, distilled and heightened, to register on his consciousness and then, as if in a darkroom, develop slowly and inexorably into being.”\u003cbr\u003e\u003cbr\u003e—Arthur Lubow, from \u003ca href=\"https:\/\/aperture.org\/magazines\/aperture-242\/\"\u003e\u003ci\u003eAperture\u003c\/i\u003e Issue #242: “New York”\u003c\/a\u003e\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514141446278,"sku":"LC108","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LC108-1_b0776689-54e0-4b78-9767-07beaad4e587.jpg?v=1763776560"},{"product_id":"death-valley-california-2012","title":"David Benjamin Sherry: Death Valley, California, 2012","description":"\u003cp\u003eAperture is pleased to release this limited-edition print by David Benjamin Sherry. \u003cem\u003eDeath Valley, California\u003c\/em\u003e, 2012, is part of a more extensive series, \u003cem\u003ePink Genesis\u003c\/em\u003e, comprised of photograms. Without the use of a camera, throughout this captivating suite of images, Sherry ventures closer to photography’s earliest history.\u003cbr\u003e\u003cbr\u003e“My photograms can be divided into two basic types: precise geometric abstractions and freer, improvisational compositions in which my body appears as subject.”—David Benjamin Sherry\u003cbr\u003e\u003cbr\u003eSherry is a magician of the darkroom. Celebrated for his use of vivid color and his skill with traditional analog photographic techniques, he has established himself as a leading voice in contemporary photography. His work has often examined the monumental landscapes of the American West and the environmental challenges the region faces.\u003cbr\u003e\u003cbr\u003e\u003cem\u003ePink Genesis\u003c\/em\u003e introduces Sherry’s equally intriguing but lesser-known series of striking, large-scale, cameraless color photograms, laboriously made by hand in the darkroom. Using cardboard masks to create mesmerizing geometric forms and incorporating his own body into the images, Sherry actively references histories of photography, as well as artists such as Josef Albers and Robert Rauschenberg, captivating viewers with a fresh way of seeing.\u003cbr\u003e\u003cbr\u003eThe series, inspired by James Bidgood’s 1971 cult film \u003cem\u003ePink Narcissus\u003c\/em\u003e, almost entirely shot within Bidgood’s New York apartment, explores how “a small interior space—specifically, a space of queer imagination—can be a site of fantasy and possibility,” as Lucy Gallun, associate curator of photography at the Museum of Modern Art, New York, states in her essay for the book. For Sherry, the private, contemplative space of the darkroom serves as a space to think through the intersections of identity, abstraction, and the meditative possibilities of monochrome.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514142658694,"sku":"LB152","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB152-1_1a9bcf6d-a824-4c66-87c5-97ec39a8cf49.jpg?v=1763776567"},{"product_id":"ovidius-2021","title":"Viviane Sassen: Ovidius, 2021","description":"\u003cp\u003eAperture is pleased to collaborate with the artist Viviane Sassen on a series of unique limited-edition prints on the occasion of the publication of her limited-edition artist book \u003cem\u003eVenus \u0026amp; Mercury \u003c\/em\u003e(2022). The acclaimed Dutch photographer collaborated with legendary book designer Irma Boom to offer a fresh and radical vision of the Palace of Versailles. A storied site of history, opulence, and political power, Versailles has long captured the imagination of both the public and many acclaimed photographers. In 2018, Sassen was invited by Versailles to make a series of photographs throughout its vast grounds. For six months, she was given free rein—often after official hours, when the buildings were empty—to wander and photograph the palace’s extravagant gardens, gilded Baroque interiors, and even Marie Antoinette’s private correspondence. Drawn to the bodies represented in the palace’s many marble statues, Sassen creates hybrid forms that play with notions of sexuality and gender and call to mind traditions of Surrealist art.\u003cbr\u003e\u003cbr\u003eFor this special limited-edition offering, the artist works with one of the photographs she made during her time at Versailles and intervenes with each print—painting each in vivid color and abstract form, rendering it a unique object.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514142920838,"sku":"LB153","price":6500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/lb153.jpg?v=1772302068"},{"product_id":"kwame-brathwaite-black-is-beautiful-2022","title":"Hank Willis Thomas: Kwame Brathwaite: Black Is Beautiful, 2022","description":"\u003cdiv class=\"aperture-accordion-item\"\u003e\n\u003cdiv class=\"aperture-accordion-content fl-clearfix\"\u003e\n\u003cp\u003eKwame Brathwaite, the Harlem photographer who helped popularize the clarion slogan “Black is beautiful,” was known as the “Keeper of the Images.” His pictures of Black models and musicians from the 1960s are essential documents that radiated from New York during an era of Black and African independence campaigns. Although known to scholars and archivists, Brathwaite’s work didn’t reach a wider audience until\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAperture\u003c\/em\u003e’s 2017 “Elements of Style” issue. As an elder statesman of the Black freedom movement, Brathwaite became the “keeper of the stories, too,” Tanisha C. Ford wrote. “If he didn’t share this history, it would be lost to time.”\u003cbr\u003e\u003cbr\u003eThe artist Hank Willis Thomas is also a keeper of the images. “Sometimes I see myself as a visual-culture archaeologist or DJ,” he explains. “All of my work is about framing and context.” In this series of collages, which reference traditional quilt patterning, Thomas draws on stories from\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eAperture\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ein the 2010s, a decade during which looking back was as vital as looking forward. He sets in kaleidoscopic motion an energetic range of associations and styles: Joel Meyerowitz’s stately portraits from Provincetown in the era before AIDS and Nick Sethi’s dizzying chronicle of a festival for a transgender community in India; Renée Cox’s self-portraits about power and Dave Swindells’s endless nights on London’s dance floors. Revivifying history, remixing the present. Thomas sees these collages as a collaboration with peers and mentors he’s long admired. “The process of weaving these images has been revelatory,” he says. “Through this blending, I was able to engage more intimately with the images, the subject matter, and the journey of the image maker.”\u003cbr\u003e\u003cbr\u003eThis special limited-edition print is from a series of works commissioned for \u003cem\u003eAperture\u003c\/em\u003e magazine #248: “The 70th Anniversary Issue.”\u003c\/p\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"aperture-accordion-item\"\u003e\n\u003cdiv class=\"aperture-accordion-button\"\u003e\u003cbr\u003e\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514157666438,"sku":"LM058","price":10500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LM058-1_4f427fe5-6e77-484c-953f-6d168ec44cd6.jpg?v=1763776584"},{"product_id":"pairs-from-the-series-millennium-pictures-2022","title":"Hannah Whitaker: Pairs, from the series Millennium Pictures, 2022","description":"\u003cp\u003eThe language of technological innovation is tinged with anxiety and awe. Its vision recasts us as beneficiaries of a more connected humanity—somehow both more human and more than human—yet its promise often feels suspect. In a review of William A. Ewing’s 2004 exhibition \u003cem\u003eAbout Face\u003c\/em\u003e, which proclaimed the death of the photographic portrait, Vince Aletti writes in the pages of \u003cem\u003eAperture\u003c\/em\u003e’s Winter 2004 issue: “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.”\u003cbr\u003e\u003cbr\u003eThis skepticism frames Hannah Whitaker’s silhouetted portraits and still lifes, which address an unease, pervasive in the twenty-first century, about how technology relates to our humanity. Seemingly familiar human figures are obscured and manipulated into dark, synthetic forms. “I wanted to make photographs that center around a particular face, without actually depicting it,” Whitaker states. Using mirrors, long exposures, reflective materials, special lighting, and anthropomorphized arrangements, her work treats technology as a medium as well as an aesthetic position. Many images employ digital interventions to conceal, dislocate, or duplicate human appendages, a response to technology’s tendency to fragment our everyday experiences and evacuate meaning in the service of data. In their stark contrasts, these “portraits” carry a menacing subtext within their outlines and an all-too-human trepidation in the face of disorienting change—a feeling as relevant today as it was decades ago.\u003cbr\u003e\u003cbr\u003eThis special limited-edition print is from a series of works commissioned for \u003cem\u003eAperture\u003c\/em\u003e magazine #248: “The 70th Anniversary Issue.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514157731974,"sku":"LM059","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/LM059.jpg?v=1772229103"},{"product_id":"re-assemblies-2023","title":"Tommy Kha: (Re) Assemblies, 2023","description":"\u003cp\u003eAperture is pleased to release this special limited-edition puzzle by the artist Tommy Kha on the occasion of the publication \u003ca href=\"https:\/\/aperture.org\/books\/tommy-kha-half-full-quarter\/\"\u003e\u003cem\u003eTommy Kha: Half, Full, Quarter\u003c\/em\u003e\u003c\/a\u003e (2023).\u003c\/p\u003e\n\u003cp\u003eIn his first monograph, the result of the Next Step Award, a collaboration between Aperture and Baxter St at the Camera Club of New York, in partnership with 7|G Foundation, the artist explores the personal psycho-geography of his hometown and weaves together self-portraits and classically bucolic landscapes punctuated by the traces of East Asian stories embedded in the topography of the American South. In assembling a visual record of the struggle to find his own voice and to create a fragmented portrait of his family, Kha challenges the cultural amnesia around Asian lives and experiences in recent American histories. \u003cem\u003e(Re) Assemblies\u003c\/em\u003e, 2023 brings together a limited-edition puzzle of one of Kha's idiosyncratic self-portraits.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514158289030,"sku":"LB161","price":150.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB161-1_4f27913f-b16c-44c7-a7c6-97edb6e8b84f.jpg?v=1763776595"},{"product_id":"excavating-the-future-city-portfolio","title":"Naoya Hatakeyama: Excavating the Future City Portfolio","description":"\u003cp\u003eAperture is pleased to release this limited edition portfolio on the occasion of the publication, \u003cem\u003eExcavating the Future City \u003c\/em\u003e(Aperture, 2018).\u003cbr\u003e\u003cbr\u003eFor the past thirty years, Japanese photographer Naoya Hatakeyama has undertaken a photographic examination of the life of cities and the built environment. Each of his series focuses on a different facet of the growth and transformation of the urban landscape—from studies of architectural maquettes to the extraction and use of natural materials such as limestone, as it is quarried via explosive blasts and subsequently incorporated into the construction of new buildings.\u003cbr\u003e\u003cbr\u003eHatakeyama began work on the \u003cem\u003eBlast \u003c\/em\u003eseries in 1995. The series was shown in the exhibition “Aspects of Contemporary Photography – another reality,” held during the same year at the Kawasaki City Museum. Hatakeyama has continued to work on the series and it has been presented in numerous exhibitions in Japan and abroad. His gallery, Taka Ishii, states “for Hatakeyama, who has created works that carefully and poetically examine nature, the cities that we have built, and the philosophies that give them form, the photographing of \u003cem\u003eBlast\u003c\/em\u003e, which is coordinated with an explosives expert who accurately predicts where the shrapnel from the blasted boulders will fly, has been an invaluable experience that has allowed him to reexamine photography’s appeal and the foundations of its technology.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":43491620159622,"sku":"LB030","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/L0981-1.jpg?v=1773264174"},{"product_id":"dionne-lee","title":"Dionne Lee: Currents ll (still), 2024","description":"\u003cp data-path-to-node=\"0\"\u003eAperture is pleased to present an exclusive limited-edition print by Dionne Lee, which is featured in the artist’s first Aperture monograph, \u003ca rel=\"noopener\" href=\"https:\/\/store.aperture.org\/products\/dionne-lee-currents\" target=\"_blank\"\u003e\u003cem\u003eDionne Lee: Currents\u003c\/em\u003e\u003c\/a\u003e (2026). This striking gelatin-silver print of a singular, meditative moment from her video \u003cem\u003eCurrents II \u003c\/em\u003e(2024) was meticulously printed by the artist herself—ensuring that the limited edition carries the direct touch and intentionality of her physical process. A Guggenheim Fellow whose work is held in the collections of the Whitney Museum of American Art and Museum of Modern Art, New York, among others, Lee works across photography, video, and collage to examine histories of land, power, survival, and Black identity in the American landscape. This specific video still depicts a spiral holding its form as it floats downstream, a poignant metaphor for resilience and the persistence of shape amid the rush of the elements.\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003eDon’t miss this opportunity to add the work of a rising force in contemporary photography to your collection. Proceeds directly support the artist and Aperture’s nonprofit publishing, educational, and public programs\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":43940952834182,"sku":"LB193","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/2026_Lee_CurrentsII_set.jpg?v=1778177952"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/collections\/blalock.jpg?v=1758870956","url":"https:\/\/store.aperture.org\/collections\/abstract-prints.oembed?page=2","provider":"Aperture","version":"1.0","type":"link"}