{"title":"Last Chance","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan data-teams=\"true\"\u003eShop these limited-edition prints now, before they sell out!\u003c\/span\u003e\u003cbr\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":"ten-ten-2010","title":"Jowhara AlSaud: Ten\/Ten, 2010","description":"\u003cp\u003e“I’ve always been interested in how photography functions, and I try to undermine any documentary authority it may possess as a medium. I’ve always felt that a photograph functions more like a memory, in that it’s a singular perspective of a split second in time, entirely subjective and hence impressionable.”\u003cmeta charset=\"UTF-8\"\u003e\u003cspan\u003e—\u003c\/span\u003eJowhara AlSaud\u003cbr\u003e\u003cbr\u003e\u003cem\u003eTen\/Ten,\u003c\/em\u003e by artist Jowhara AlSaud, is from her \u003cem\u003eOut of Line\u003c\/em\u003e series. This body of work began to explore censorship in Saudi Arabia and its effects on visual communication. While there is a lack of consistency from region to region, overall, images are highly scrutinized and controlled. Some superficial examples would be skirts lengthened, sleeves crudely added with black markers in magazines, or blurred faces on billboards. When reduced to sketches, the images achieved enough distance from the original photographs that neither subjects nor censors could find them objectionable; by etching these drawings back into film and printing them in a traditional darkroom, AlSaud points out how malleable it is as a medium, even before digital manipulation became so advanced and accessible. 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This c-print is printed on Kodak Supra. It is estate stamped, numbered, and sold in an archival paper folder.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514053365894,"sku":"L0091","price":600.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/l0019.jpg?v=1772478364"},{"product_id":"ellis-island-1956","title":"Shirley C. Burden: Ellis Island, 1956","description":"\u003cp\u003eShirley Burden’s haunting black-and-white print, \u003cem\u003eEllis Island\u003c\/em\u003e, 1956, is accompanied by a signed, limited-edition volume of his out-of-print masterwork, \u003cem\u003ePresence\u003c\/em\u003e.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514053398662,"sku":"L0107","price":350.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0107-1_4d7a9260-b137-4030-8884-b287987b4d3d.jpg?v=1763775353"},{"product_id":"alicia-in-golden-dress","title":"Michal Chelbin: Alicia in Golden Dress, 2005","description":"\u003cp\u003e“The images in this series are an attempt to capture human stories in everyday life, those that exist in the space between the odd and the ordinary.”—Michal Chelbin\u003cbr\u003e\u003cbr\u003eIn the introduction to the artist’s monograph, \u003cem\u003eStrangely Familiar: Acrobats, Athletes, and Other Traveling Troupes\u003c\/em\u003e (Aperture, 2008), Leah Ollman writes that in \u003cem\u003eAlicia in a Golden Dress\u003c\/em\u003e, “a self-possessed young woman in radiant gold displays her poise in a dancer’s turned-out stance. Like a showpiece or a pet, she performs on command under the watchful eye of her grizzled father, who stands behind their equally battered car.”\u003cbr\u003e\u003cbr\u003eChelbin’s most frequent subjects are children and adolescents. As she states, “My aim is to record a scene where there is a mixture of direct information and enigmas and in which there are visual contrasts between young and old, large and small, normal and abnormal. 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As she states, “My aim is to record a scene where there is a mixture of direct information and enigmas and in which there are visual contrasts between young and old, large and small, normal and abnormal. 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This depiction of young love on the New York City subway platform is a newly included photograph from this seminal series, published for the first time in the third edition of \u003cem\u003eSubway\u003c\/em\u003e.\u003cbr\u003e\u003cbr\u003eIn Davidson's own words, “the people in the subway, their flesh juxtaposed against the graffiti, the penetrating effect of the strobe light itself, and even the hollow darkness of the tunnels, inspired an aesthetic that goes unnoticed by passengers who are trapped underground, hiding behind masks, and closed off from each other.”\u003cbr\u003e\u003cbr\u003eThis specially produced archival pigment ink print was printed under the artist’s supervision at Shoot Digital, New York.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514053988486,"sku":"L0553","price":2800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0553-1_504667b2-fa58-492e-933d-8d87784b3b4c.jpg?v=1763775384"},{"product_id":"comet-hale-bopp-1997","title":"Neil Folberg: Comet Hale Bopp, 1997","description":"\u003cp\u003e\u003cem\u003eComet Hale Bopp\u003c\/em\u003e is among Neil Folberg’s compelling night images of the land and sky of Israel and the Sinai, offered to the viewer as mystical points of entry and departure. Folberg sets an ancient land resonant with meaning—and the cradle to three major world religions—against the awesome and eternal spectacle of the night sky. Folberg’s night landscapes carry an aura that is both earthly and divine, emphasizing the singular and poignant presence of objects against the backdrop of the infinite. His photographs describe places where the spiritual is at once near, imprinted in the forms of the arid landscapes, and far away in the dark, starlit recesses of space.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514055299206,"sku":"L0224","price":1750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0224-1_78d7bb0f-9518-4e2c-96a8-6d235e2c6d5c.jpg?v=1763775429"},{"product_id":"ruvo-di-puglia-1983","title":"Luigi Ghirri: Ruvo di Puglia, 1983","description":"\u003cp\u003eLuigi Ghirri’s fresh color observations of Italy’s contemporary culture are witty, poetic, and often surreal, as in \u003cem\u003eRuvo di Puglia. A\u003c\/em\u003es William Eggleston notes in the preface to \u003cem\u003eIt’s Beautiful Here, Isn't It...\u003c\/em\u003e (Aperture 2008), “He teases the viewer about what is real and what is not.” Ghirri’s images are visually profound and are about the nature of representation and seeing. 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For four summers, she not only photographed but also participated in battles of the Vietnam War restaged on her adopted American soil. Relating to both documentary and staged photography, the work is aesthetically rigorous and conceptually challenging. Soldiers at rest give themselves up to portraiture, while battle compositions recognizable from classic war photojournalism possess the qualities of a dream. More recently, Lê has photographed exercises performed by the U.S. military in the American desert in preparation for maneuvers in Iraq and Afghanistan.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514064015494,"sku":"L0094","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0094-1_00039a8f-4111-4e7b-9e4b-fe10d6732d56.jpg?v=1763775496"},{"product_id":"escape-2009","title":"Margo Ovcharenko: Escape, 2009","description":"\u003cp\u003e“I want there to be an article in the declaration of children’s rights and human rights in every constitution that gives everyone the right to escape. I would like statistics in a well-known web encyclopedia on how many young people fell head-over-heels in love for the first time this year, not only how many died from unfortunate sexual experiences, bulimia, and homemade LSD. I want to know the average age of people who will write a collected book of verse, not only how many girls get plastic breasts.”—Margo Ovcharenko Margo\u003c\/p\u003e\n\u003cp\u003e Ovcharenko’s \u003cem\u003eUntitled\u003c\/em\u003e from the series Escape, was featured in \u003cem\u003ereGeneration 2: Tomorrow’s Photographers Today\u003c\/em\u003e, the second book in the Aperture’s series shining a spotlight on the next generation’s rising stars. Ovcharenko focuses on Russian youth, with whom she shares early experiences of adult life. She photographs young people with whom she has become friends or with whom she has a close relationship. She also chooses to work under natural light to communicate the affection of the bond that links her to her subjects. She never tries to be too close, too intrusive—or, conversely, too remote. Her images convey a sense of hope that these youth should be able to escape from the restrictive circumstances in their lives, whether it's a city where they feel ill at ease, a job, a school lesson. Passion, energy, and opportunity are her wishes for the world.\u003c\/p\u003e\n\u003cp\u003eProceeds from the sale of this work support the artist and Aperture’s not-for-profit publishing, educational and public programs\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514069586054,"sku":"L0312","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0312-1_fe4e7736-f2f4-43e2-9cb2-19ac5bfc74c6.jpg?v=1763775549"},{"product_id":"khyentse-rinpoche-wearing-robes-of-guru-padmasambhava-nepal","title":"Matthieu Ricard: Khyentse Rinpoche Wearing Robes of Guru Padmasambhava, Nepal","description":"\u003cp\u003eDuring the last years of Khyentse Rinpoche’s life, Ricard traveled with him through India, Bhutan, Tibet, and Nepal, in the process creating a remarkable portrait of a great spiritual leader of our time. These Type-R prints are mounted on hand-molded Tibetan paper with an archival backing board and bear colophon labels stamped with the seal of the Shechen Monasteries. The edition size for this photograph has been amended to the printing of only 24 and 8 artist’s proofs.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514072535174,"sku":"L0222","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0222-1_1002373d-2333-415d-98a7-bbac1b1597c0.jpg?v=1763775577"},{"product_id":"animal-127-2009","title":"Elliot Ross: Animal (127), 2009","description":"\u003cp\u003eIntrigued by a portrait of his late cat, Ross wondered whether or not the cat consciously looked into the camera while the photograph was being taken. Ross then began to ask himself questions such as, “What was the cat thinking?” and “In what ways is the consciousness of an animal different from that of a human being?” As the artist states, “the title indicates this is the 127th in a series of photographs of animals. The animals are depicted without defined context, in a space where the figure has little if any background. I think this allows each image to be seen as an experience, as if we are encountering an individual of another species unexpectedly, coming upon it perhaps even in that most emotionally vulnerable of places: a dream. For similar reasons, I haven’t used species names to identify them. And I haven’t stated the locations at which they were photographed because each ‘photographic record’ is only the beginning of a much longer process, one involving a hands-on, drawing-like use of imaging software to apply ink to paper.”\u003cbr\u003e\u003cbr\u003eGoing on to photograph animals from around the world, Ross creates images laden with emotion. 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Each image in the series features a detailed construction meticulously designed and built by the artist. Some of the characters that inhabit the stage-like settings are toy action figures; others are made from fired clay; all are roughly the same size as Barbie dolls. Each set takes about a week or longer to build and is destroyed after Ventura photographs it.\u003cbr\u003e\u003cbr\u003eWhen Ventura was a boy in Italy, he spent time with his grandmother listening to stories and looking at family photographs from both World Wars. According to Ventura, 90% of the photographs sent home by European soldiers during WWII were taken in photographic studios, as most soldiers were too poor to own their own cameras. Ventura expressed the desire to enter these studio photographs and then exit out into the real context of the soldiers’ lives. 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Here Wolf examines residential housing complexes which are tightly packed together to accommodate the population—nearly seven million people living on 426 square miles.\u003cbr\u003e\u003cbr\u003ePhotographed from opposing buildings with direct vantage points, he removes all reference to sky and horizon line, flattening the space until it becomes, in the words of curator Natasha Egan, “a relentless abstraction of urban expansion, with no escape for the viewer’s eye.”\u003cbr\u003e\u003cbr\u003eWolf juxtaposes the work in \u003cem\u003eArchitecture of Density\u003c\/em\u003e with that of his series 100 x 100—to explore Hong Kong from the inside and the outside, the living spaces of the people in this dense metropolis, and the buildings that house them. 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You’d see these \u003cem\u003eNighthawks\u003c\/em\u003e-like scenes at eleven at night—two people sitting at a table discussing things or a waiter wiping a table—and so Hopper’s paintings were in my mind while taking these.”—Michael Wolf\u003cbr\u003e\u003cbr\u003eChicago, like many urban centers throughout the world, has recently undergone a surge in new construction, grafting a new layer of architectural experimentation onto those of past eras. In early 2007, the Museum of Contemporary Photography, Chicago, with the support of U.S. Equities Realty, invited Michael Wolf to be an artist-in-residence. Bringing his unique perspective on changing urban environments to a city renowned for its architectural legacy, Wolf chose to photograph the central downtown area, focusing specifically on issues of voyeurism and the contemporary urban landscape in flux.\u003cbr\u003e\u003cbr\u003eThis very special limited-edition photograph, \u003cem\u003eTC#39\u003c\/em\u003e, is part of Wolf’s first body of work to address an American city and is included in the book \u003cem\u003eThe Transparent City\u003c\/em\u003e (Museum of Contemporary Photography\/Aperture, 2008). Whereas prior series have juxtaposed humanizing details within the surrounding geometry of the urban landscape, in \u003cem\u003eThe Transparent City\u003c\/em\u003e his details are fragments of life—digitally distorted and hyper-enlarged—snatched surreptitiously via telephoto lenses: Edward Hopper meets \u003cem\u003eBlade Runner\u003c\/em\u003e. The material resonates with all the formalism of the constructed, architectonic work for which Wolf is well-known but also emphasizes the conceptual underpinnings of his ongoing engagement with the idea of how modern life unfolds within the framework of the ever-growing contemporary city.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514081579142,"sku":"L0184","price":4000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0184-1_dc2464de-6027-47fc-bd53-55f2baddac26.jpg?v=1763775751"},{"product_id":"act-of-flying","title":"Sanna Kannisto: Act of Flying Portfolio","description":"\u003cp\u003eSince 1997, Finnish rising star Sanna Kannisto has spent several months per year living alongside biologists in the rainforests of Latin America. Adopting elements of her companions’ scientific methods, she developed her own form of visual research, extending her depictions of flora and fauna beyond the confines of the natural sciences. Breaking away from the conventions of nature photography, which typically presents specimens in isolation, devoid of context, Kannisto’s work addresses the acts of staging and image-making. With her gentle humor, she recognizes and utilizes the constraints of science and art alike, investigating the concept of truth in photography to challenge how we view and “know” the natural world.\u003cbr\u003e\u003cbr\u003eThis portfolio coincided with her solo exhibition at the Aperture Gallery and the Aperture publication of Kannisto’s first major monograph, \u003cem\u003eFieldwork\u003c\/em\u003e.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514084757638,"sku":"L0499","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0499-1_53b47737-41d2-446d-b778-529a5f34049a.jpg?v=1763775785"},{"product_id":"paul-strand-portfolio-two","title":"Paul Strand: Portfolio Two","description":"\u003cp\u003eAfter a lifetime of working on a series of “collective portraits” in far-flung places such as Mexico; Ghana; Italy; Tir a’Mhurain, Scotland; and his adoptive country, France, an aging Paul Strand decided to concentrate on still lifes and the stony beauty of his own garden at Orgeval, France, as a site in which to distill his discoveries as a photographer. 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Each portfolio is sold in a cloth-covered clamshell case and is accompanied by text written and signed by Paul Strand.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514085150854,"sku":"L0029","price":20000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0029-1_7f765267-7b20-48ca-8df2-93939f27a8d0.jpg?v=1763775852"},{"product_id":"untitled-no-4-equivalents-2011","title":"Mickey Smith: Untitled No. 4 (Equivalents), 2011","description":"\u003cp\u003e“I remember the moment I first saw Alfred Stieglitz's \u003cem\u003eEquivalents\u003c\/em\u003e series. I was a sophomore in college. I had just left my art history class, and I was sitting outside the science hall, skipping ahead to look through the small photography section in the back of the Jansen. I loved the image and was stunned to learn that such a simple concept was revolutionary for photography at that time. When I came upon this stack of periodicals at The New School in New York twenty years later, it was a reprieve for me from the city and the dizzying words, letters, numbers, and decimals I typically decipher.\u003cspan\u003e”\u003c\/span\u003e—Mickey Smith\u003cbr\u003e\u003cbr\u003eAs a cultural archaeologist, Smith has focused her recent work on photographing bound periodicals, viewing them as fossil records of the twentieth century unknowingly left behind. She is fascinated by the idea that while the library was once the source of culture, it is now a cemetery for the written word. This body of work explores themes of association and disassociation, as each set of periodicals represented a tangible common culture, unifying communities of readers with shared interests and identities.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514092949638,"sku":"L0496","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0496-1_a143c157-9773-47ee-a107-55de93f28a40.jpg?v=1763775926"},{"product_id":"out-my-window-chelsea-family-dinner-2011","title":"Gail Albert Halaban: Out My Window, Chelsea Family Dinner, 2011","description":"\u003cdiv class=\"aperture-accordion-item\"\u003e\n\u003cdiv class=\"aperture-accordion-content fl-clearfix\"\u003e“I’ve been spying on my neighbors. It’s gone on for decades. The Manhattan apartment where I grew up faces hundreds of windows, each providing its own show, in a vast array whose delights grew up around me. As a child, in the nights leading up to Christmas, I would spend hours looking into windows, counting how many were decorated with lights. When I got older, I’d scan the same windowscape for distant figures in states of undress. Through the 1970s and 1980s, we marked Passover by gazing out our dining-room window to another family’s Seder, across the way and a few floors down. Year after year, the family was there, its home gleaming with candles and good silver, a constant part of our sacred tradition. We never knew their names or exchanged a word with them. Yet what we surely knew, but never talked about, was that they and our other window-neighbors were watching us, too. However, to acknowledge the gaze would be mortifying. Even now, I have a hard time admitting having watched.\u003cspan\u003e”\u003c\/span\u003e—Gail Albert Halaban\u003cbr\u003e\u003cbr\u003eThis photograph comes from Halaban’s series \u003cem\u003eOut My Window\u003c\/em\u003e, a beautiful collection of photographs acknowledging the unspoken voyeurism by New York City inhabitants.\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514093080710,"sku":"L0602","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0602-1_c7249734-e121-46bc-8330-046013039376.jpg?v=1763775932"},{"product_id":"daniel-cortes-cea-televisa-acting-school-2004","title":"Stefan Ruiz: Daniel Cortes, CEA, Televisa Acting School, 2004","description":"\u003cp\u003eFor eight years, Stefan Ruiz gained special access to Mexico’s Televisa studios, known as “The Factory of Dreams,” where nearly fifty thousand hours worth of \u003cem\u003etelenovelas\u003c\/em\u003e (soap operas) are produced and exported annually to more than fifty countries. These intriguing tales of revenge, love, money, and despair are one of Mexico’s largest exports, popular throughout Latin America as well as in Africa, Asia, and Europe. Former Televisa stars turned Hollywood favorites include Salma Hayek, Diego Luna, and Gael García Bernal. Rogelio Guerra, who starred in \u003cem\u003eLos Ricos También Lloran\u003c\/em\u003e (The Rich Also Cry)—a show whose finale was watched by 70 percent of the population of Russia—once delivered the Russian New Year’s presidential address when Boris Yeltsin fell ill. Ruiz’s photographs of the factory and its people offer a behind-the-scenes look at this special place with humor and affection. Ruiz’s photographs uncover a secret world of elaborate and surreal studio sets, and include portraits of the television stars in character and students being groomed for future celebrity at the Televisa “soap school.” This is the world of beautiful women, handsome men, and rags-to-riches Cinderella stories, which reveal the underlying fantasies of social aspiration, as well as entrenched racial hierarchies.\u003cbr\u003e\u003cbr\u003eFor the Aperture edition, Ruiz chose the image used to illustrate the cover of the monograph from Aperture,\u003cem\u003e \u003ca href=\"https:\/\/aperture.org\/books\/the-factory-of-dreams\/\" rel=\"noopener noreferrer\" target=\"_blank\"\u003eStefan Ruiz: The Factory of Dreams\u003c\/a\u003e. \u003c\/em\u003eHere, a young and handsome aspiring \u003cem\u003etelenovela\u003c\/em\u003e star is ready for his close up, as he practices for the camera in the onset classroom at the Televisa Acting School.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514093539462,"sku":"L0614","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/l0614.jpg?v=1772383823"},{"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":"watermelon-and-chair-w-suffield-connecticut-1982","title":"Robert Cumming: Watermelon and Chair, W. Suffield, Connecticut, 1982","description":"\u003cp\u003eIn \u003cem\u003eAperture\u003c\/em\u003e magazine Issue #211: “Curiosity”, Sarah Bay Gachot writes that Robert Cumming’s interest in photography spawned from his interest in perception: “Cumming wanted the viewer to get to know, personally, the process of perception—perhaps to ward off the onset of visual inertia. The pictures unfold slowly over time; the more you look, the more you see.”\u003cbr\u003e\u003cbr\u003ePlaying with props, proportions, unusual angles, light, and mirrors, his images invite viewers to look in—and then to second-guess what they see. \u003cem\u003eThe Difficulties of Nonsense\u003c\/em\u003e (2016) is the first survey of this significant body of work and a touchstone for contemporary artists and those interested in the art that came out of Los Angeles in the 1970s.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514109431942,"sku":"LB027","price":1960.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB027-1_d5fcf81c-f6c6-43cd-a233-0fce907cc710.jpg?v=1763776155"},{"product_id":"selected-works-1973-1981-limited-edition","title":"Stephen Shore: Selected Works, 1973–1981 Limited Edition","description":"\u003cp\u003eThis limited-edition set includes a deluxe clothbound edition of the book \u003cem\u003eStephen Shore: Selected Works, 1973–1981\u003c\/em\u003e, featuring a tipped-on digital c-print of the image\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eCitizens Bank, Main Avenue, Weston, West Virginia, April 30\u003c\/em\u003e, 1974, on the book’s cover. 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In this volume, Aperture has invited an international group of fifteen photographers, curators, authors, and cultural figures to select ten images apiece from this rarely seen cache of images. Each portfolio offers an idiosyncratic and revealing commentary on why this body of work continues to astound; how it has impacted the work of new generations of photography and the medium at large; and proposes new insight on Shore’s unique vision of America as transmuted in this totemic series. 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This chronological presentation traces the evolution of the artist from cheeky provocateur to royal portraitist, as well as the refinement of his unique vision and stylistic panache over the last four decades.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eVlad 01\u003c\/em\u003e is from his earlier series \u003cem\u003eLadies Hats\u003c\/em\u003e, work he made between 1985 and 2019, where he photographed male models wearing ladies’ hats. 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In it, the artist grapples with the reality that her mother, seeking a better life for herself and her two young children, came to America as a mail-order bride. Markosian’s mother chose her future husband because he lived in Santa Barbara, a city made famous in Russia when the 1980s soap opera of that name became the first American television show broadcast there.\u003cbr\u003e\u003cbr\u003eWeaving together reenactments by actors, archival images, stills from the original \u003cem\u003eSanta Barbara\u003c\/em\u003e TV show, Markosian reconsiders her family’s story from her mother’s perspective, relating to her for the first time as a woman, and coming to terms with the profound sacrifices she made to become an American.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514139644038,"sku":"LB104","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB104-1_9f39b4e7-2ab7-4cd5-afc0-0acd87bb8257.jpg?v=1763776515"},{"product_id":"grandma-grabbing-grandpas-tush-2000","title":"Gillian Laub: Grandma grabbing Grandpa’s tush, 2000","description":"\u003cp\u003e“My grandfather would regularly grab my grandma’s breasts and yell, ‘The family jewels!’ Here she is having her turn—with his behind in the bathing suit she picked out for him. 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As Laub explains, “I began to unpack my relationship to my relatives—which turned out to be much more indicative of my relationship to the outside world than I had ever thought, and the key to exploring questions I had about the effects of wealth, vanity, childhood, aging, fragility, political conflict, religious traditions, and mortality.”\u003cbr\u003e\u003cbr\u003e\u003cem\u003eFamily Matters\u003c\/em\u003e reveals Laub’s willingness to confront ideas of privilege and unity, and to expose the fault lines and vulnerabilities of her relatives and herself. Ultimately, \u003cem\u003eFamily Matters\u003c\/em\u003e celebrates the resiliency and power of family—including the family we choose—in the face of divisive rhetoric. In doing so, it holds up a highly personalized mirror to the social and political divides in the United States today.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514142134406,"sku":"LB151","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/lb151.jpg?v=1772302323"},{"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":"crying-for-the-world-from-the-project-fathers-jewels-2022","title":"John Edmonds: Crying for the World, from the project Father’s Jewels, 2022","description":"\u003cp\u003eIn the fall of 1990, as the “culture wars” reverberated throughout the art world, \u003cem\u003eAperture\u003c\/em\u003e published an issue titled “The Body in Question.” Reproductive rights, the AIDS crisis, shifting notions of gender, and the attack on the National Endowment for the Arts by conservative politicians were among the roll call of urgent concerns (many eerily echoed today) tackled across its pages. For the photographer John Edmonds, who is celebrated for his emotive, intimate studies of Black masculinity, this issue still resonates. “I thought a lot about ‘The Body in Question,’” Edmonds says, “and had the idea of a group of individuals performing grief.”\u003cbr\u003e\u003cbr\u003eDuring the production in New York, in an old building selected by Edmonds for its quality of feeling out of place and time, he cast a group of men he pictured as forming a family unit. Organizing them into a range of tableaux to explore how their bodies could be oriented within the camera’s frame, he was curious as to what stories would emerge and what emotions might be conveyed. Edmonds’s references run the gamut. He views the television series \u003cem\u003eThe Sopranos\u003c\/em\u003e as critical to debates around violence in entertainment and pop culture of the 1990s. Connecting to his ongoing interest in African art, the photographs also feature an Igbo sculpture, 3-D printed for this project, that represents parental spirits; the men gather around totemic objects as if partaking in improvised religious rituals. While considering the matrix of censorship, art, and religion in the ’90s, Edmonds recalled his own religious upbringing: “I was interested in art that was censored because it used religion as a framework to talk about the politics of the time. I was raised very religious, during the years when that censorship was happening. Religion is something many of us are traumatized by. I think it is a human right to use the things that have traumatized you to search for healing.”\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":42514157699206,"sku":"LM057","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LM057-1_ca4443d7-d828-4099-95cb-2daea1c9c8c9.jpg?v=1763776587"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/collections\/tunbjork_42nd-street.jpg?v=1758863672","url":"https:\/\/store.aperture.org\/collections\/last-chance-prints.oembed","provider":"Aperture","version":"1.0","type":"link"}