{"title":"Still Life","description":"\u003cp\u003e\u003cmeta charset=\"UTF-8\"\u003e\u003cspan class=\"NormalTextRun CommentStart CommentHighlightPipeRest CommentHighlightRest SCXW206312350 BCX4\"\u003eThe\u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003e \u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003ea\u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003ert \u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003eof the \u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003eq\u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003euiet \u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003em\u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003eoment\u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003e and \u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003eb\u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003eeauty found in the\u003c\/span\u003e\u003cspan class=\"NormalTextRun CommentHighlightRest SCXW206312350 BCX4\"\u003e everyday.\u003c\/span\u003e\u003c\/p\u003e","products":[{"product_id":"suspended-2008","title":"Thomas Allen: Suspended, 2005","description":"\u003cp\u003e“This image makes me laugh every time I see it. I found the book with the woman seated at a desk some time ago but didn't have a clue as to what to do with it. I didn’t find a ‘mate’ until I began thinking about the limited-edition print ideas for Aperture. Truth be told, I found two books—but felt the one I used had more of the spark of tension needed for the final print—two coeds schooling us on the primal art of getting noticed.”—Thomas Allen\u003c\/p\u003e\n\u003cp\u003eTo create this image, American artist Thomas Allen selects the pulpiest of pulp paperbacks and lovingly slices out the cover figures, gently folding them into position and constructing witty scenes around them. He then photographs his carefully lit tableau with his four-by-five-inch camera, in shallow focus, using no digital effects whatsoever. This technique imparts a dreamy effect to his prints, reminiscent of the View-Master stereoscopic toy that is amongst his inspirations, delighting photography lovers, graphic designers, and bibliophiles alike.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514053005446,"sku":"L0132","price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0132-1_b4233a17-b223-4580-96f3-a87fcfa557c0.jpg?v=1763775327"},{"product_id":"hideaway-2003","title":"Roger Ballen: Hideaway, 2003","description":"\u003cp\u003e\u003cem\u003eHideaway\u003c\/em\u003e, 2003, is part of a series by Roger Ballen called \u003cem\u003eShadow Chamber\u003c\/em\u003e. The image, like the series, focuses on the interactions between animals, objects, and people arranged in a unique tableau. Ballen’s photographs are situated in the area between fact and fiction; the viewer can sense ambiguity because of the prison-like cell setting paired with the painterly and sculptural qualities of the objects and humans.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514053169286,"sku":"L0090","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0090-1_62343092-9253-49de-9cfa-fadc39c11fc4.jpg?v=1763775339"},{"product_id":"democrat-and-republican-2002","title":"Tim Davis: Democrat and Republican, 2002","description":"\u003cp\u003e“What if campaign signs, badges, bumper stickers, and flags aren't simply the ephemera of Americans' political lives, but their substance as well? That this phenomenon finds resonance in photography's arms-length access to its subjects makes Davis’ work deeply sad and grand at the same time.”—Peter Eeley, \u003cem\u003eFrieze\u003c\/em\u003e magazine\u003cbr\u003e\u003cbr\u003eTim Davis is a photographer who sees unintended derangements of objects in offices, hospitals, strip malls, and the political sphere. \u003cem\u003eDemocrat and Republican\u003c\/em\u003e, 2002, from \u003cem\u003eMy Life in Politics\u003c\/em\u003e (Aperture, 2006) is part of the artist’s dissection of the current disenchantment that has become American politics.\u003cbr\u003e\u003cbr\u003eThis image was taken in a warehouse on the west side of Manhattan, where most of the city's voting booths are stored. Davis went there intending to photograph the clunky Cold War-era machines in their square-block-sized loft but instead became interested in the remnants of past elections lying around.\u003cbr\u003e\u003cbr\u003eHe recalls that “this curious little vanitas was shoved over in a corner.” The stickers were used to designate Democratic or Republican ballots and sat on a pile of yellow voting registration records. “That act of transformative visual registration—taking something from the flux of visual information and cultural meaning—and shepherding it into thorough, self-aware picturehood is what my work is all about.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514054086790,"sku":"L0112","price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0112-1_44425abc-a9e3-4050-a225-71990edae330.jpg?v=1763775394"},{"product_id":"my-sisters-bedroom-2004","title":"Doug Dubois: My Sister’s Bedroom, 2004","description":"\u003cp\u003e“Out of portraits, Doug DuBois makes memoir. Memoir is autobiographical but not to be confused with autobiography—it need not be comprehensive in its telling of a life.”—Donald Antrim\u003cbr\u003e\u003cbr\u003e\u003cem\u003eMy Sister’s Bedroom\u003c\/em\u003e is part of Doug DuBois’ series \u003cem\u003eAll the Days and Nights\u003c\/em\u003e, a collection of sixty-two photographs of his family taken over twenty-five years. DuBois began photographing his family in 1984, prior to his father’s near-fatal fall from a commuter train and his mother's subsequent breakdown and hospitalizations. A palpable tension in the work resonates with emotional immediacy, presenting viewers with a nuanced rumination on family relations and what it means to subject personal relationships to the unblinking eye of the camera.\u003cbr\u003e\u003cbr\u003eIn an interview with Alec Soth, DuBois said, “Individual photographs can be like little plot fragments, yanked out of large, complex stories. We can describe the plot, more or less, by looking at the photograph, but we invent the story out of our own imagination and experience.” A stunning print, \u003cem\u003eMy Sister’s Bedroom\u003c\/em\u003e encourages the viewer to recall the imagination and discovery of childhood.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514054512774,"sku":"L0163","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0163-1_62149836-e384-4628-9135-2ea238ebbd91.jpg?v=1763775407"},{"product_id":"lenvolee-de-poussins-from-the-gaijin-series","title":"David Favrod: L’envolée de poussins, from the Gaijin series, 2011","description":"\u003cp\u003e“The aim of this work is to create ‘my own Japan’, in Switzerland, from memories of my journeys when I was small, my mother’s stories, popular and traditional culture, and my grandparents’ war narratives.”—David Favrod\u003cbr\u003e\u003cbr\u003eDavid Favrod was born in Japan to a Japanese mother and a Swiss father and raised in Switzerland. Growing up, he became connected to his Japanese roots through his grandparent’s stories about their culture and traditions. Upon turning eighteen, he requested dual citizenship from Japan and was denied. He responded by exploring his identity in a deeper way and became inspired to create the series titled \u003cem\u003eGaijin\u003c\/em\u003e, meaning foreign or alien, from which this photograph \u003cem\u003eL’envolée de poussins\u003c\/em\u003e is selected.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514054676614,"sku":"L0502","price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0502-1_a21ed187-1c2b-4471-9048-0cde09a46b98.jpg?v=1763775419"},{"product_id":"at-a-home-in-spring-lake-n-y-1992","title":"Sally Gall: At a home in Spring Lake, N.Y., 1992","description":"\u003cp\u003eThis photograph by Sally Gall was featured in \u003cem\u003eThe New York Times Magazine Photographs\u003c\/em\u003e (Aperture, 2011), edited by Kathy Ryan, and originally published in the magazine on June 7, 1992, as part of an editorial article entitled “Remembered Rooms.” \u003cbr\u003e\u003cbr\u003eIn this assignment, Gall was asked to work from literary quotes about rooms, quotes that evoke tangible feelings, such as smell and sound. Gall recalls being particularly inspired by a quote from Sue Grafton’s mystery crime novel \u003cem\u003eA is for Alibi\u003c\/em\u003e, about walking into a room and inhaling the familiar scents of Lemon Pledge and bourbon.\u003cbr\u003e\u003cbr\u003eGall created what appears at first glance to be an all-too-familiar image of a nondescript dining room set. But when one looks longer and allows oneself to be seduced by the late afternoon light, the objects are free to transcend their banality. The scene is transformed into a still from a memory, and the lemony fresh scent of a newly polished table creeps into the nostrils of the viewer, leading us to a place that is both comfortable and contains an ominous hint that where there is light there is shadow.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514056708230,"sku":"L0601","price":900.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0601-1_7fd74ab3-4155-46d6-a7dd-c611e78a491b.jpg?v=1763775439"},{"product_id":"bolt-fort-wayne-indiana-2007","title":"Joe Johnson: Bolt, Fort Wayne, Indiana, 2007","description":"\u003cp\u003eJoe Johnson photographs the empty interiors of the vast post-modern industrial spaces across America which have become “mega churches.” Megalithic in size, these converted Hilton hotels and restored theaters are transformed into prayer halls each Sunday through performative rituals and multimedia spectacles, inspiring thousands of Christian worshippers. A minimum of 2,000 worshippers must attend the weekend service for the building to attain the mega church status. Using the descriptive power of photography, Johnson constructs a personal vocabulary to investigate subjects that have some inherent tension and mystery.\u003c\/p\u003e\n\u003cp\u003eThe photographs in his Mega Church project attempt to reveal the mechanics of creating faith by capturing the wires, computers, light bulbs, and cords used to construct mysteries on stage for the faithful. The rawness of the abandoned mega-space and the eerie familiarity of its commercial fixtures question the intention and business of faith in the 21st century.\u003c\/p\u003e\n\u003cp\u003eAperture offers special limited-edition prints by the winner and runners-up of the annual Aperture Portfolio Prize. In choosing the first-prize winner and runners-up, we look for fresh work that hasn’t been widely seen in major publications or exhibition venues. Proceeds from the sales of these prints will benefit both the artists and Aperture Foundation.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514061557894,"sku":"L0167","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0167-1_20890269-acd9-4862-9d21-f001984c4d56.jpg?v=1763775474"},{"product_id":"traveler-63-at-night-2003-from-the-series-traveler","title":"Walter Martin \u0026 Paloma Muñoz: Traveler 63 at Night, from the series Traveler, 2003","description":"\u003cp\u003e\u003cem\u003eTraveler 63 at Night\u003c\/em\u003e is from Walter Martin and Paloma Muñoz’s ongoing series \u003cem\u003eTravelers\u003c\/em\u003e. Utilizing a variety of materials, Martin \u0026amp; Muñoz constructs miniature scenes and insert them into snow globes. Martin works on the sets, painting and positioning the figures in constructed environments. The final compositions are captured in photographs by Muñoz, which are meticulously stitched and adjusted digitally for the final effect. These desolate landscapes become monumental in scale through the prints. As a point of emphasis, the wilderness is the main character. The tress and the rocks bear silent witness and the ever-present drifting snow promises to cover the whole catalogue of miseries in a silent blanket of white. This digital c-print is printed on Fuji Crystal Archive paper is signed and numbered by Walter Martin and Paloma Muñoz and sold in an archival paper folder.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514066669702,"sku":"L0084","price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0084-1_e2f21294-34ec-4caf-8267-2378a7f868c3.jpg?v=1763775521"},{"product_id":"vokovice-december-2001","title":"Matthew Monteith: Vokovice, December 2001","description":"\u003cp\u003eVisiting the Czech Republic in the 1990s, Matthew Monteith was captivated by the details of ordinary life in this country in transition, and made repeated visits from 2001 to 2003, traveling throughout the country photographing with the hope of creating a contemporary reflection on the ideals he found in 1920s Czech photography and postcards.\u003cbr\u003e\u003cbr\u003eInspired by a visit to the Ceský Ráj, a national preserve in Northern Bohemia, the artist explains, “\u003cem\u003eRáj\u003c\/em\u003e could have been translated as either ‘Czech paradise,’ ‘eden,’ or ‘heaven.’ I chose to translate ráj as ‘Eden’ to show the ambiguity and impossibility in creating a utopian society.” Monteith’s \u003cem\u003eCzech Eden\u003c\/em\u003e series is not a literal description or documentation, but a parable in which the viewer encounters an environment that is cohesive while contradictory. His work, in the venerable tradition of Joel Sternfeld and Stephen Shore, is pervaded by an energetic optimism and humor.\u003cbr\u003e\u003cbr\u003eThis still life of a Czech kitchen is depicted with restraint, brilliant color, and thoughtful attention to the uncanny within the everyday. “It was made in the apartment of a friend,” says the artist. “She had rented the place with the posters up on the wall and figured it best to leave them there. There was something great and sad about those majestic landscapes taped to the wall with scotch tape, it struck me as something very emblematic of unfulfilled dreams.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514068209798,"sku":"L0127","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0127-1_902977fe-de0a-402e-8b8f-e5e0b22969be.jpg?v=1763775537"},{"product_id":"hiroshima-japan-1985","title":"Graham Nash: Hiroshima, Japan, 1987","description":"\u003cp\u003e“I have been a photographer for most of my life. . . . I have always enjoyed observing the life around me, and I had a camera before I owned a guitar.”—Graham Nash\u003cbr\u003e\u003cbr\u003eFrom a very early age musician Graham Nash was making photographs; when he was ten years old, his father, an amateur photographer, showed him the art of developing negatives in the family kitchen and turned the young Nash’s bedroom into a darkroom. Recently, Nash referred to those early experiences as “[that] piece of magic that would change my life forever.”\u003cbr\u003e\u003cbr\u003e\u003cem\u003eHiroshima, Japan\u003c\/em\u003e, 1987, typifies what Nash describes as his process: “I love not knowing what’s ready to greet me. It’s about the hunt. It’s out there. I just have to find it. At times I put myself in a space to catch images, at others I'm just trying to deal with all the images swirling around me in this chaotic world. Invariably, I find something that I recognize as having value to me, and hopefully for others.” This image of a found object echoes the hopefulness of Nash’s point of view: “There really is a kind of insane beauty around us all the time. It’s just a question of learning to slow down, take a deep breath and meet the moment.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514068832390,"sku":"L0147","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0147-1_ffcfb959-ceb1-434b-9a7c-d3535e387696.jpg?v=1763775540"},{"product_id":"the-bomb-also-is-a-flower-2010","title":"Sarah Palmer: The Bomb (Also) is a Flower, 2010","description":"\u003cp\u003eLaden with partially submerged tripwires, each of Sarah Palmer’s images contains elements, or juxtapositions of elements, that work to trigger an internal pattern-recognition of mental databases in hopes to derive meaning into recognizable form. \u003cem\u003eThe Bomb (Also) is a Flower\u003c\/em\u003e, made during the summer of 2010 in the brightest noon sun, shows the surface of an old outdoor table into which the artist’s cousin had many years prior inserted a mirror. On the table are a piece of seaweed and two melon skins from breakfast, the symmetry of those skins resonant of photographs of bombs dropping from planes in World War II. The artist’s hand literally hovers above the table; we can see it as we see the shadow of a plane as we fly across the earth. The title was adapted from a William Carlos Williams poem, \u003cem\u003eAsphodel\u003c\/em\u003e, \u003cem\u003eThat Greeny Flower\u003c\/em\u003e, which he wrote toward the end of his life. The poem talks of the end of love, and perhaps its rebirth; of regret, and fear, and hell, and flowers amid the ruins nonetheless.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514069749894,"sku":"L0589","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0589-1_f34fae3b-c4fa-400b-b2e4-b4c065a46bee.jpg?v=1763775552"},{"product_id":"dress-by-nicholas-ghesquiere-for-balenciaga-from-hanging-gardens-when-the-bloom-is-on-the-line-2004","title":"Alfred Seiland: Dress by Nicholas Ghesquiere for Balenciaga, from “Hanging Gardens: When the Bloom is on the Line,” 2004","description":"\u003cp\u003eThis image by Austrian photographer Alfred Seiland was first published on May 16, 2004, in the \u003cem\u003eNew York Times Magazine \u003c\/em\u003eand is featured in \u003cem\u003eThe New York Times Magazine Photographs\u003c\/em\u003e (Aperture, 2011), edited by Kathy Ryan. Ryan, longtime director of photography for the magazine, recollects: “My first instinct often is to bring in photographers who might not normally be shooting a particular kind of work. There were a lot of beautiful flowered prints that season, which led me to think of Alfred Seiland, an Austrian landscape photographer. I remembered seeing a picture by him of sheets hanging on clotheslines, years before, and that was a direct inspiration.”\u003cbr\u003e\u003cbr\u003eHere, Seiland plays with the façade of the colorful dress against an equally bright and textured background of orange and red flowers. As is conventional for his works, this image is part of a series, and when seen together the photographs have a pictorial language of their own. Created through the use of color and other contrasting elements, the images suggest a mood and space that seems to exist only in and for that picture.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514075549830,"sku":"L0560","price":650.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0560-1_de2026e5-e0bf-460a-b627-226bca27a55f.jpg?v=1763775597"},{"product_id":"talking-handkerchief-1987","title":"Laurie Simmons: Talking Handkerchief, 1987","description":"\u003cp\u003eLaurie Simmons is one of the first contemporary American photographers to have created elaborately staged narrative photography. Using dolls to act out piquant scenarios within specially constructed environments, she has slyly commented on contemporary culture while “re-creating a sense of the 1950s that I knew was both beautiful and lethal.” Prodigiously creative, she has produced fourteen fully developed series since the 1970s.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514077417606,"sku":"L0104","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0104-1_48a470d6-256f-49db-b707-df4e2efde3b4.jpg?v=1763775626"},{"product_id":"heavy-roses-voulangis-france-1914","title":"Edward Steichen: Heavy Roses, Voulangis, France, 1914","description":"\u003cp\u003e\u003cem\u003eHeavy Roses, Voulangis, France\u003c\/em\u003e, 1914, is said to be the last photograph Steichen took in France before the Great War. The sensual blooms dying a slow death seem to mirror what was about to happen to the world. The photograph has a rich painterly quality—when it was taken Steichen still had aspirations to be a painter. Following the war, Steichen returned to Voulangis and destroyed all of his paintings.\u003cbr\u003e\u003cbr\u003eThis print was made by master photogravure printer Jon Goodman.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514078826630,"sku":"L0198","price":1000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0198-1_789ba123-775e-42ba-a9c7-0bae7b4c3801.jpg?v=1763775641"},{"product_id":"three-pears-and-an-apple-france-ca-1921","title":"Edward Steichen: Three Pears and an Apple, France, ca. 1921","description":"\u003cp\u003eThe painterly effects of \u003cem\u003eThree Pears and an Apple\u003c\/em\u003e, a selection from \u003cem\u003eEdward Steichen: The Early Years Portfolio, 1900–1927\u003c\/em\u003e, are reflected in this memorable image’s soft focus and elegant composition. Steichen achieved the soft outlines of the fruit with a 36-hour exposure under indirect illumination. During this time, the film’s emulsion expanded and contracted in the changing temperatures, creating the subtle, dreamlike qualities of the image. Steichen’s dedication to achieving an initially conceived image and his expressive use of shape and imagery are testament to why he is credited with the transformation of photography into an art form.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514079547526,"sku":"L0201","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0201-1_4c473b82-fe58-448f-88e0-f3cce1c8e1a3.jpg?v=1763775651"},{"product_id":"iris-1928","title":"Paul Strand: Iris, 1928","description":"This hand-pulled dust-grain photogravure is printed by master photogravure printer Jon Goodman with an overlay signed by Hazel Strand, wife of the late Paul Strand. It is accompanied by a slipcased copy of \u003cem\u003ePaul Strand: Time in New England\u003c\/em\u003e, also signed by Hazel Strand.","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514080465030,"sku":"L0241","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0241-1_69e2814d-90b8-4d06-809e-5a4231f0f861.jpg?v=1763775692"},{"product_id":"new-work-42-2009","title":"Jordan Tate: New Work #42 (2009–)","description":"\u003cp\u003e“\u003cem\u003eNew Work\u003c\/em\u003e is an exploration of visual language and process. In a sense, it is an examination of how we see, what we see, what merits being seen, and how images function in contemporary visual culture.”—Jordan Tate\u003cbr\u003e\u003cbr\u003eAperture is excited to offer to our collecting audience the limited-edition print \u003cem\u003eNew Work #42\u003c\/em\u003e by Aperture Portfolio Prize finalist Jordan Tate. This photograph is included in Tate’s thought-provoking series \u003cem\u003eNew Work\u003c\/em\u003e, which investigates the process of image-making and the role new technology plays in contemporary photography.\u003cbr\u003e\u003cbr\u003eTate belongs to a growing group of photographers indebted to predecessors like Christopher Williams and James Welling. Tate pushes the conversation beyond nostalgia and squarely into the present, however, by indulging in screen-based images and nontraditional output methods like lenticular screens, animated GIFs, and 3-D anaglyphs. His images frequently focus on indicators of an image in the making, such as this photograph of a Polaroid that could easily be an exposure\/lighting test for a studio shoot.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514080891014,"sku":"L0545","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0545-1_60ec88dd-e085-4704-b927-a31603a9b34c.jpg?v=1763775711"},{"product_id":"chicago-illinois-2005","title":"Brian Ulrich: Chicago, Illinois, 2005","description":"\u003cp\u003e“In thrift shops, I can capture lost excitement and overwhelmed, subsumed moments.”—Brian Ulrich\u003c\/p\u003e\n\u003cp\u003e\u003cem\u003eChicago, Illinois\u003c\/em\u003e, 2005, is the very first picture Brian Ulrich made in his \u003cem\u003eThrift\u003c\/em\u003e series. Part of a larger project titled Copia, which examines our consumer-dominated culture, it is a direct response to the 2001 encouragement by the Bush administration to go out and spend to boost the U.S. economy. In \u003cem\u003eThrift\u003c\/em\u003e, the artist has made a series of photographs taken in thrift stores—which have become the depositories of our recycled consumer desires. The work, in the words of the artist, “explores not only the everyday activities of shopping, but the economic, cultural, social, and political implications of commercialism and the roles we play in self-destruction, over-consumption, and as targets of marketing and advertising.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514081218694,"sku":"L0179","price":600.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/l0179.jpg?v=1772387842"},{"product_id":"the-obama-portfolio","title":"Martin Parr: The Obama Portfolio","description":"\u003cp\u003eIn the fall of 2008, Aperture proudly published Martin Parr’s \u003cem\u003ePostcards and Objects\u003c\/em\u003e (Aperture\/Chris Boot, 2009), featuring a selection of the artist’s vast collections of photographic and themed objects. The objects he sees as personality-led were specially showcased: from commemorative Margaret Thatcher plates to wristwatches featuring Saddam Hussein’s face, with everything from Spice Girls chocolate bars and busts of cosmonaut Yuri Gagarin in between. Parr’s latest obsession has been the wide array of Obama ephemera. His growing collection includes the most quotidian—like rhinestone pins and the most absurd, such as cola bottles and underwear. In collaboration with Janet Borden Gallery, Aperture is offering a portfolio of four prints presented in a cloth folio. Each 8 x 10-inch print is signed from the collection of Martin Parr.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514084921478,"sku":"L0022","price":1250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0022-1_5058ae9b-03dd-4915-872b-42d7a25dd202.jpg?v=1763775806"},{"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":"ram-under-plexiglas-milltown-montana-2012","title":"Bryan Schutmaat: Ram Under Plexiglas, Milltown, Montana, 2012","description":"This limited-edition photograph by 2013 Aperture Portfolio Prize winner Bryan Schutmaat is from his series, \u003cem\u003eGrays the Mountain Sends\u003c\/em\u003e. The series describes mining sites and small mountain towns, as well as the people who built them, work in them, and sometimes seek to escape them. \u003cem\u003eRam Under Plexiglas\u003c\/em\u003e, Milltown, Montana (2012) symbolizes the complex relationships between nature and culture, man and beast, and wild and tame that are fostered in such western American landscapes. In this image, as with the series as a whole, Schutmaat’s carefully controlled palette and rigorous composition speak to the tensions the photographs represent.","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514099142790,"sku":"L0653","price":2000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0653-1_bd703fbe-66a2-495e-811f-c9e0b886356e.jpg?v=1763776027"},{"product_id":"this-equals-that-pair-1","title":"Jason Fulford: This equals That pair 1","description":"\u003cp\u003eThe clever and delightful \u003cem\u003eThis Equals That\u003c\/em\u003e, by Jason Fulford and Tamara Shopsin, take viewers, young and old, on a whimsical journey through visual language, using color, shape, number, and pattern in surprising ways. Aperture is pleased to release a series of limited-edition prints featuring Fulford’s photographs from the book \u003cem\u003eThis Equals That \u003c\/em\u003e(2014). Presented in paired sets, each explores the relationship between the images through playful and inspired sequencing, revealing how meaning can shift when images are placed next to each other. Everyday scenes are transformed into a game of pairs, enjoyable for adults and children alike. Collect them all.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514104877190,"sku":"L0713","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0713-1_0e36512c-56bb-45d9-ac5e-7f32e2d1ac41.jpg?v=1763776086"},{"product_id":"this-equals-that-pair-2","title":"Jason Fulford: This equals That pair 2","description":"\u003cp\u003eThe clever and delightful \u003cem\u003eThis Equals That\u003c\/em\u003e, by Jason Fulford and Tamara Shopsin, take viewers, young and old, on a whimsical journey through visual language, using color, shape, number, and pattern in surprising ways. Aperture is pleased to release a series of limited-edition prints featuring Fulford’s photographs from the book \u003cem\u003eThis Equals That \u003c\/em\u003e(2014). Presented in paired sets, each explores the relationship between the images through playful and inspired sequencing, revealing how meaning can shift when images are placed next to each other. Everyday scenes are transformed into a game of pairs, enjoyable for adults and children alike. Collect them all.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514104909958,"sku":"L0714","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0714-1_75ca6423-060c-492c-bd1f-4e1ad0a93f46.jpg?v=1763776089"},{"product_id":"this-equals-that-pair-3","title":"Jason Fulford: This equals That pair 3","description":"\u003cp\u003eThe clever and delightful \u003cem\u003eThis Equals That\u003c\/em\u003e, by Jason Fulford and Tamara Shopsin, take viewers, young and old, on a whimsical journey through visual language, using color, shape, number, and pattern in surprising ways. Aperture is pleased to release a series of limited-edition prints featuring Fulford’s photographs from the book \u003cem\u003eThis Equals That\u003c\/em\u003e (2014). Presented in paired sets, each explores the relationship between the images through playful and inspired sequencing, revealing how meaning can shift when images are placed next to each other. Everyday scenes are transformed into a game of pairs, enjoyable for adults and children alike. Collect them all.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514104942726,"sku":"L0715","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0715-1_93fb7a6b-8d65-48b9-8f5f-c3403849d73f.jpg?v=1763776093"},{"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":"one-white-persian-kitten-three-pillows-1962","title":"Walter Chandoha: One White Persian Kitten, Three Pillows, 1962","description":"\u003cp\u003e\u003cspan\u003eAperture is pleased to present a series of limited-edition photographs by the cat photographer, Walter Chandoha, in celebration of the publication \u003c\/span\u003e\u003ci\u003eWalter Chandoha: The Cat Photographer\u003c\/i\u003e\u003cspan\u003e (Aperture, 2015).\u003cbr\u003e\u003cbr\u003e\u003c\/span\u003e\u003cspan\u003eWithin the genre of commercial animal photography, Walter Chandoha is a master. His photographs of cats, in particular, have appeared in the pages of \u003c\/span\u003e\u003ci\u003eNational Geographic \u003c\/i\u003e\u003cspan\u003eand \u003c\/span\u003e\u003ci\u003eLife \u003c\/i\u003e\u003cspan\u003emagazine and been absorbed into the public subconscious via posters, pet-food packaging, T-shirts, and other uses. The Internet is awash with cat pictures, and Chandoha’s cat pictures might be seen as the forefather of them all. They bear examination not only for their singular charm but also for having established a vocabulary of the animal studio portrait, with Chandoha’s signature look: clean, brightly colored backdrops and high-key “glamour” backlighting of his tiny, fuzzy subjects.\u003cbr\u003e\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514110054534,"sku":"LB012","price":250.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB018-1_b822479b-3c70-47c8-9556-76805578744b.jpg?v=1763776179"},{"product_id":"tabby-kitten-checking-the-dictionary-1980","title":"Walter Chandoha: Tabby Kitten Checking the Dictionary, 1980","description":"\u003cp class=\"MsoNormal\"\u003eAperture is pleased to present a series of limited-edition photographs by the cat photographer, Walter Chandoha, in celebration of the publication \u003ci\u003eWalter Chandoha: The Cat Photographer\u003c\/i\u003e (Aperture, 2015).\u003cbr\u003e\u003cbr\u003eWithin the genre of commercial animal photography, Walter Chandoha is a master. His photographs of cats, in particular, have appeared in the pages of \u003ci\u003eNational Geographic \u003c\/i\u003eand \u003ci\u003eLife \u003c\/i\u003emagazine and been absorbed into the public subconscious via posters, pet-food packaging, T-shirts, and other uses. The Internet is awash with cat pictures, and Chandoha’s cat pictures might be seen as the forefather of them all. They bear examination not only for their singular charm but also for having established a vocabulary of the animal studio portrait, with Chandoha’s signature look: clean, brightly colored backdrops and high-key “glamour” backlighting of his tiny, fuzzy subjects.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514110087302,"sku":"LB016","price":275.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/lb016.jpg?v=1772327343"},{"product_id":"playspace-commission-july-september-august-2014","title":"Ed Panar: Playspace Commission: July, September, \u0026amp; August, 2014","description":"\u003cp\u003eTo celebrate the publication of \u003ci\u003eThe Photographer’s Playbook: 307 Assignments and Ideas\u003c\/i\u003e, Aperture commissioned twenty-two photographers to create new works in response to assignments from the book. Curated by Christopher McCall of Pier 24 Photography, the project sparked a fascinating dialogue between some of the world’s leading photographers and educators working today. What follows is an insight into the possibilities of looking at photography through someone else’s eyes.\u003cbr\u003e\u003cbr\u003e“I tried to look for the mundane, but I couldn’t find it, so I just kept taking pictures. Sometimes we say something is mundane because we hardly notice or pay attention to it. But would that mean that the silent operation of our lungs and our circulatory system right now is mundane? Is the fact that we are spinning around in circles while also hurling around the sun once a year at 67,000 miles per hour mundane? With those incredible things happening now, I can’t help but believe that nothing is inherently mundane. We are simply more or less aware of what is going on all around us at any given moment.”–Ed Panar\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eThe artist responded to David Hurn’s assignment, \u003cem\u003eGiving the Mundane Its Beautiful Due\u003c\/em\u003e, on page 154 of \u003cem\u003eThe Photographer's Playbook\u003c\/em\u003e:\u003c\/strong\u003e “I started a ten-year project about my village sparked by a John Updike quote: “Giving the mundane its beautiful due.”. . . . Though “mundane” means “run-of-the-mill,” for me, the uninteresting sometimes becomes interesting when closely investigated. Investigation starts with research, knowledge, involvement. It’s then a matter of utilizing the only two real controls we have in photography: where you stand and when you press the shutter.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514110775430,"sku":"L0699","price":1200.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0699-1_b8a722be-e102-4c58-9913-7dc7b2f60575.jpg?v=1763776182"},{"product_id":"untitled-from-the-series-forbidden-pleasures-1994","title":"Jo Ann Callis: Untitled, from the series Forbidden Pleasures, 1994","description":"\u003cp\u003eIn the late 1970s, the George Eastman Museum asked a group of photographers for their favorite recipes and food-related photographs to go with them, in pursuit of publishing a cookbook. Playing off George Eastman’s famous recipe for lemon meringue pie and former director Beaumont Newhall’s love of food, the cookbook grew from the idea that talent in the darkroom must also translate to the kitchen. Published now, nearly forty years later, \u003cem\u003eThe Photographer’s Cookbook\u003c\/em\u003e is a time capsule of the 1970s, and includes recipes and photographs from Robert Adams, Richard Avedon, Imogen Cunningham, William Eggleston, among others.\u003cbr\u003e\u003cbr\u003eIn this spirit, Aperture commissioned contemporary photographers to submit a recipe and food-related picture. The resulting works reveal a fascinating look at how today’s photographers depict food, home, and ritual, raising questions about consumption, desire, pleasure, and, in the broadest sense, taste itself.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514114543750,"sku":"LB130","price":3500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB130-1_cc32a6cd-dc07-4a88-a420-399f144f19d3.jpg?v=1763776248"},{"product_id":"the-egton-show-north-yorkshire-england-2006","title":"Martin Parr: The Egton Show, North Yorkshire, England, 2006","description":"\u003cdiv class=\"fl-col fl-node-io4skaqmtevg column-left-advertisement\" data-node=\"io4skaqmtevg\"\u003e\n\u003cdiv class=\"fl-col-content fl-node-content\"\u003e\n\u003cdiv class=\"fl-module fl-module-html fl-node-hsea320qjxoi\" data-node=\"hsea320qjxoi\"\u003e\n\u003cdiv class=\"fl-module-content fl-node-content\"\u003e\n\u003cdiv class=\"fl-html\"\u003e\n\u003cdiv class=\"aperture-accordion aperture-accordion-collapse aperture-accordion-initialized\"\u003e\n\u003cdiv class=\"aperture-accordion-item\"\u003e\n\u003cdiv class=\"aperture-accordion-content fl-clearfix\"\u003eIn the late 1970s, the George Eastman Museum asked a group of photographers for their favorite recipes and food-related photographs to go with them, in pursuit of publishing a cookbook. Playing off George Eastman’s famous recipe for lemon meringue pie and former director Beaumont Newhall’s love of food, the cookbook grew from the idea that talent in the darkroom must also translate to the kitchen. Published nearly forty years later,\u003ci\u003e\u003cspan\u003e \u003c\/span\u003eThe Photographer’s Cookbook\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003eis a time capsule of the 1970s and includes recipes and photographs from Robert Adams, Richard Avedon, Imogen Cunningham, William Eggleston, among others.\u003cbr\u003e\u003cbr\u003eIn this spirit, Aperture commissioned contemporary photographers to submit a recipe and food-related picture. The resulting works reveal a fascinating look at how today’s photographers depict food, home, and ritual, raising questions about consumption, desire, pleasure, and, in the broadest sense, the taste itself.\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514114576518,"sku":"L0761","price":6000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/l0761.jpg?v=1772314673"},{"product_id":"fishcake-mexico-2016","title":"Cristina de Middel: Fishcake, Mexico, 2016","description":"\u003cp\u003eIn the late 1970s, the George Eastman Museum asked a group of photographers for their favorite recipes and food-related photographs to go with them, in pursuit of publishing a cookbook. Playing off George Eastman’s famous recipe for lemon meringue pie and former director Beaumont Newhall’s love of food, the cookbook grew from the idea that talent in the darkroom must also translate to the kitchen. Published now, nearly forty years later,\u003ci\u003e The Photographer’s Cookbook\u003c\/i\u003e is a time capsule of the 1970s and includes recipes and photographs from Robert Adams, Richard Avedon, Imogen Cunningham, William Eggleston, among others.\u003cbr\u003e\u003cbr\u003eIn this spirit, Aperture commissioned contemporary photographers to submit a recipe and food-related picture. The resulting works reveal a fascinating look at how today’s photographers depict food, home, and ritual, raising questions about consumption, desire, pleasure, and, in the broadest sense, the taste itself.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514114609286,"sku":"LB059","price":2500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB059-1_85be61da-693e-4b50-a37e-56972a837d59.jpg?v=1763776251"},{"product_id":"iced-pear-dessert-liquid-nitrogen","title":"Martin Klimas: Iced Pear Dessert (Liquid Nitrogen), 2016","description":"\u003cp\u003eIn the late 1970s, the George Eastman Museum asked a group of photographers for their favorite recipes and food-related photographs to go with them, in pursuit of publishing a cookbook. Playing off George Eastman’s famous recipe for lemon meringue pie and former director Beaumont Newhall’s love of food, the cookbook grew from the idea that talent in the darkroom must also translate to the kitchen. Published now, nearly forty years later,\u003ci\u003e The Photographer’s Cookbook\u003c\/i\u003e is a time capsule of the 1970s and includes recipes and photographs from Robert Adams, Richard Avedon, Imogen Cunningham, William Eggleston, among others.\u003cbr\u003e\u003cbr\u003eIn this spirit, Aperture commissioned contemporary photographers to submit a recipe and food-related picture. The resulting works reveal a fascinating look at how today’s photographers depict food, home, and ritual, raising questions about consumption, desire, pleasure, and, in the broadest sense, taste itself.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514114642054,"sku":"L0768","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0768-1_132c8b4e-e5e9-4d4f-9135-aa753fe498ed.jpg?v=1763776254"},{"product_id":"edible-plants-growing-outside-my-studio-2016","title":"Nico Krijno: Edible plants growing outside my studio, 2016","description":"\u003cp\u003e“Nico Krijno’s subjects—whether physical objects or digital constructions—appear precarious and fleeting, almost tragically insufficient, changing shape as elements shift and settle, or even fall apart altogether, only to be rebuilt anew as mash-ups of themselves. And, as images amass, their component parts—material, formal, graphic—reappear, recycled and repurposed in new combinations.”—Sara Knelman, in \u003ci\u003eAperture\u003c\/i\u003e Issue #227: “Platform Africa”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514116149382,"sku":"LM020","price":3000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LM020-1_c1355d10-2acd-4516-a7f8-83efa81e16a1.jpg?v=1763776326"},{"product_id":"ahmets-bird-quartiers-nord-marseille-2016","title":"Alessandra Sanguinetti: Ahmet’s Bird, Quartiers Nord, Marseille, 2016","description":"\u003cp\u003eIn the compelling \u003cem\u003eLe Gendarme Sur La Colline,\u003c\/em\u003e photographer Alessandra Sanguinetti explores her vision of France, in which old traditions persist even while they fray and shift in relation to contemporary stresses, including multiculturalism. The work presents an intuitive, often lyrical journey that is undercut with a sense of tension about what it means to be French—and to photograph the French—today.\u003cbr\u003e\u003cbr\u003eThis photograph, taken in 2016 as part of a commission by Fondation d’entreprise Hermès and Aperture Foundation, introduces Ahmet, a kurdish refugee from Turkey living in the projects of north Marseille with his family. Called “Immersion,” the commission program seeks to expand artistic dialogue between France and the US, while investing in creativity, and providing a platform for an important emerging artist to create a major new body of work.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514119164038,"sku":"L0TBD2","price":750.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-L0TBD2-1_eb773221-79dc-4d62-87c1-f5ef4e41bd85.jpg?v=1763776361"},{"product_id":"untitled-7-from-the-series-albeit-2010","title":"Laura Letinsky: Untitled #7, from the series Albeit, 2010","description":"\u003cp\u003eFor over 25 years, Laura Letinsky has made photographs that investigate the still-life genre. For this series, Letinsky carefully arranged tablecloths, napkins, cutlery, and plates with flat images taken from decor and cooking magazines and scanned art reproductions (of her own and others’ work). The composite images are then put together into new formal arrangements with various perspectives. Placing everyday foods—from lollypops to peeled fruit—against a backdrop of near-blinding white, she creates tableaux that bring our attention to the moment after: the overripe melon, the leftover, the morning-after-the-party tabletop, all metaphors for what remains, what stains, what cannot be avoided.\u003cbr\u003e\u003cbr\u003eThe artist has said of the work in this series, “my pictures’ mash-up, high to low, domestic to the public, personal to social, is, when photographed, rendered as . . . photograph, no more, no less than object and image, a still life.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514119655558,"sku":"LB029","price":2000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB029-1_64ddf66f-66c4-46e3-85f9-97d560afa621.jpg?v=1763776370"},{"product_id":"fake-flowers-in-full-color-2009","title":"Jaap Scheeren \u0026 Hans Gremmen: Fake Flowers in Full Color, 2009","description":"\u003cp\u003eSomewhat capriciously, Dutch photographer Jaap Scheeren and graphic designer Hans Gremmen set out to see if they could create a three-dimensional color separation (the four parts of the printing process that add up to a full-color image). Using artificial flowers painted cyan, magenta, yellow, and black, they composed almost identical physical arrangements that they then documented with a digital camera. Toying with ideas of reproduction and representation, the experiment references the earliest color processes, such as the Lumière Brothers’ patented ALL Chroma, which required the physical layering of separate color gels on a glass plate to achieve a full-color spectrum, as well as more advanced technologies used to create the printed photographic reproductions that are central to Gremmen’s work as a photobook designer. Scheeren ultimately merged the four separate color photographs into one, resulting not in a perfectly registered full-color image but a charming aberration.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514120278150,"sku":"LB052","price":950.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB052-1_1946f969-9c65-40ec-85f3-d79c37ae1ad5.jpg?v=1763776389"},{"product_id":"picnic-table-with-hail-stones-colorado-springs-co-1980","title":"Sam Abell: Picnic Table, with Hail Stones, Colorado Springs, CO, 1980","description":"\u003cp\u003e“I’m not a gardener or even a garden photographer. I’m a traveler who visits gardens for solace and visual inspiration. That means I seek from gardens what I seek from life itself—visually layered scenes that hold the possibility for meaningful photographic moments.”—Sam Abell\u003cbr\u003e\u003cbr\u003eFrom famous locations to the simplest home vegetable garden, from worlds imagined by artists to vintage family snapshots, \u003cem\u003eThe Photographer in the Garden\u003c\/em\u003e traces the garden’s rich history in photography and delights readers with spectacular images. Picture commentaries by Sarah Anne McNear and an informative essay from curator Jamie M. Allen broaden our understanding of photography and how it has been used to record the glory of the garden. The book features photographers from all eras, including Anna Atkins, Karl Blossfeldt, Eugène Atget, Edward Steichen, Imogen Cunningham, Stephen Shore, Robert Mapplethorpe, Nobuyoshi Araki, and Collier Schorr. This sublime and beautiful book brings together some of the most stunning photography in the history of the medium.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514120573062,"sku":"LB056","price":850.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB056-1_582ac65e-fa8d-4441-b8aa-7224e0fde57f.jpg?v=1763776403"},{"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":"garden-with-fruit-after-charles-ethan-porter-2020","title":"Zora Murff: Garden with fruit (after Charles Ethan Porter), 2020","description":"\u003cp\u003eAperture is pleased to present this special limited-edition risograph. This unique edition of \u003cem\u003eGarden with fruit\u003c\/em\u003e (after Charles Ethan Porter) was risograph printed under the supervision of the artist and WORK\/PLAY in February 2022. The edition was created on the occasion of the publication of the artist's monograph \u003cem\u003eTrue Colors (or, Affirmations in a Crisis)\u003c\/em\u003e published by Aperture in 2022 as part of the Aperture–Baxter St Next Step Award, in partnership with the 7|G Foundation.\u003cbr\u003e\u003cbr\u003eLimited to seventy-five copies and ten artist’s proofs, each print is presented in a Sour Apple–colored envelope, and includes a colophon with text by Terence Washington, which is signed and numbered by the artist.\u003cbr\u003e\u003cbr\u003ePrinted using multiple passes on a Riso MF9450U in Fluorescent Orange, Fluorescent Pink, Lake, Light Teal, Sunflower, Ivy, and White inks on 80C French Paper Speckletone Kraft, this print was made using custom ICC profiles built specifically for the image and was printed at theretherenow, Columbia, Missouri, an independent risograph atelier founded in 2016.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514143445126,"sku":"LB155","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB155-1_3027b48a-35a3-407b-955a-8294038ed0dc.jpg?v=1763776574"},{"product_id":"kiku-1-2021","title":"Will Matsuda: Kiku #1, 2021","description":"\u003cp\u003eTaking inspiration from a Japanese card game and his own family history, Will Matsuda’s photographs of the Pacific Northwest imagine the complexity—and possibility—of American landscapes. This image is from his series \u003cem\u003eHanafuda\u003c\/em\u003e (2020-21), which is featured in the \u003ca href=\"https:\/\/aperture.org\/magazines\/aperture-246\/\"\u003e\u003cem\u003eAperture\u003c\/em\u003e issue #246, “Celebrations.”\u003c\/a\u003e\u003cbr\u003e\u003cbr\u003eLucy Ives writes of this body of work, “\u003cem\u003eHanafuda\u003c\/em\u003e, or ‘flower cards,’ are a Japanese style of playing card developed from Portuguese decks that entered the Asian nation in the seventeenth century. Matsuda's work in this series is, in part, derived from \u003cem\u003ehanafuda\u003c\/em\u003e illustrations. He sometimes titles the photographs after the plants that correspond to the suits—\u003cem\u003esusuki\u003c\/em\u003e (grass), \u003cem\u003ekiku\u003c\/em\u003e (chrysanthemum), \u003cem\u003eume\u003c\/em\u003e (plum blossom)—or after special cards that bear figures, such as the phoenix.” The cards are organized into twelve suits corresponding to the twelve months of the year, with images related to landscapes, flora, and fauna printed primarily in black, red, and white. Ives continues, “Yet the cards’ calendrical structure does not absolutely determine the content of Matsuda’s images, which are rather loosely inspired by memories of time spent with family and questions related to place.”\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514143805574,"sku":"LM055","price":1800.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LM055-1_63dd6e2c-92da-4e2a-b365-d35a1835cba5.jpg?v=1763776577"},{"product_id":"chickweed-2017","title":"Joy Gregory: Chickweed, 2017","description":"\u003cp\u003eJoy Gregory’s work combines considerations of history, race and feminine beauty with a through-line of imagery representing flowers and plants. Her first major body of photographs was \u003cem\u003eThe Language of Flowers—\u003c\/em\u003ea series of cyanotypes exploring the Victorian symbolism of flowers, inspired by memories of her childhood and the imagery of 19th century photographer Anna Atkins. She has used the cyanotype process ever since, for which she places objects on a coated paper that, once briefly exposed to a light source and then fixed, leaves a photogram ‘shadow’ of the object in iridescent blue. She has used the process throughout her artistic life, for instance, for \u003cem\u003eGirl Thing\u003c\/em\u003e, a series of cyanotypes of traditional objects of feminine beauty, and a similar salt print process for \u003cem\u003eThe Handbag Project\u003c\/em\u003e, photograms of delicate vintage handbags once owned by white women in South Africa during the Apartheid era.\u003cbr\u003e\u003cbr\u003e\u003cem\u003eChickweed\u003c\/em\u003e is a series of cyanotype photograms made in 2017, in an edition of 30. Each print is unique, made from a different sprig of chickweed.\u003cbr\u003e\u003cbr\u003eThis is the second in a series of Autograph editioned prints, presented by Aperture, in support of Autograph and its 35 years of work in photography on the themes of race, rights and representation.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514158518406,"sku":"LC109","price":1000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LC109-1_eb76ced6-0fc8-4491-b595-c4f1f17a1223.jpg?v=1763776606"},{"product_id":"sake-karei-haihiru-salmon-flatfish-and-high-heel-1987","title":"Kon Michiko: Sake + Karei + Haihīru (Salmon, flatfish, and high heel), 1987","description":"\u003cp\u003e\u003cspan\u003eThis limited-edition print by\u003cspan class=\"apple-converted-space\"\u003e Kon Michiko\u003c\/span\u003e is featured in \u003cspan class=\"whitespace-normal\"\u003e\u003ci\u003eI’m So Happy You Are Here: Japanese Women Photographers from the 1950s to\u003cb\u003e \u003c\/b\u003eNow\u003c\/i\u003e\u003c\/span\u003e\u003ci\u003e,\u003c\/i\u003e which surveys the work of 25 Japanese women photographers from the 1950s to the present. The volume challenges traditional narratives within the history of Japanese photography by centering the perspectives, innovations, and lived experiences of women artists. Through portfolios, critical essays, and historical contextualization, the publication reveals a rich spectrum of approaches—ranging from documentary and street photography to experimental and conceptual practices.\u003c\/span\u003e\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514160976006,"sku":"LB181","price":500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LB181-1_4800676a-4a0f-4259-8829-e6e8f1a191c4.jpg?v=1763776653"},{"product_id":"plate-vi-2022-from-the-series-plates-i-xxxi","title":"Lia Darjes: Plate VI, 2022; from the series Plates I–XXXI","description":"\u003cp\u003eDuring lockdown, the Berlin-based artist Lia Darjes relocated to her parents’ countryside home. In an essay by Jesse Dorris for the spring issue of \u003cem\u003eAperture\u003c\/em\u003e magazine, “Photography \u0026amp; Painting,” Darjes reflects on that time: “I was sitting in the garden one day, just thinking, ‘What’s next?’” she recalls. “Then I saw a squirrel jump onto our garden table, and I thought, ‘I wonder if I can recreate that.’” Despite her early passion for photojournalism, Darjes has long been seduced by the dramatic artifice of the Dutch \u003cem\u003evanitas\u003c\/em\u003e tradition. “I struggled, because I was always interested by still life, but it’s made up—arranged,” she says.\u003c\/p\u003e\n\u003cp\u003eThis photograph is part of the series \u003cem\u003ePlates I–XXXI\u003c\/em\u003e, the imaginative outcome of her first encounter with that neighborly squirrel. Inspired by that moment, she began orchestrating picnics and luncheons on tables in gardens of friends and family. She leaves behind delicate remnants of these meals, subtly coaxing future guests. Their movements, in turn, trigger the camera, which has been left in place for hours or even days. The result is a fairytale-like scene featuring a coal tit whose presence serves as a quiet testament to the space where the natural world and the human world gracefully intersect.\u003c\/p\u003e\n\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe proceeds from the sale of this limited-edition print and book set directly supports the artist and Aperture’s nonprofit publishing, educational, and public programs.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":42514161500294,"sku":"LM064","price":700.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/Aperture-LM064-1_51d3fd49-19ec-48a2-939f-f92231414507.jpg?v=1763776663"},{"product_id":"lee-friedlander-limited-edition-poster-and-book-set","title":"Lee Friedlander: Limited-Edition Poster and Book Set","description":"\u003cp\u003eCelebrate the singular vision of American photographer Lee Friedlander with this exclusive collectors’ set, featuring a signed and numbered limited-edition poster accompanied by his latest monograph, \u003cem\u003eLife Still\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp\u003eThis collaboration marks a significant milestone as Friedlander’s first publication with Aperture, bringing together rarely seen and never-before-published images from his vast archive alongside compelling new work, staging a visual dialogue between past and present.\u003c\/p\u003e\n\u003cp\u003eEach poster is printed on premium, heavy archival stock and is individually hand-signed and numbered by the artist. With the edition strictly limited to 150 copies, this set represents a rare opportunity to own a piece of photographic history.\u003c\/p\u003e\n\u003cp\u003eIn \u003cem\u003eLife Still\u003c\/em\u003e, Friedlander presents us with the enduring riddle of US culture: How does America seem, at once, so small and big, quiet and loud, phony and true? In \u003cem\u003eLife Still\u003c\/em\u003e, he reveals that these stubborn paradoxes of the American consciousness—the irony, humor, and self-conflict—remain as vivid today as they always have been. \u003c\/p\u003e\n\u003cp\u003eLee Friedlander’s \u003cem\u003eLife Still\u003c\/em\u003e collectors’ set is an essential acquisition for those who appreciate the evolving genius of one of the medium’s greatest living legends.\u003c\/p\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":43754454089862,"sku":"LB192","price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/files\/2026FriedlanderPoster1b.jpg?v=1774894436"}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0585\/5399\/1302\/collections\/callis_creampuffs.jpg?v=1771961153","url":"https:\/\/store.aperture.org\/collections\/still-life-prints.oembed","provider":"Aperture","version":"1.0","type":"link"}