Tag Archives: Bruce Davidson

Delpire & Co. Opens @ Aperture, Throughout NYC

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Aperture Gallery was abuzz Wednesday evening, hosting the much-anticipated New York City launch of Delpire & Co., the citywide, multi-venue retrospective of the life and work of legendary editor, curator and publisher, Robert Delpire. Following presentations in Arles and Paris, Delpire & Co. arrives to New York City with representation at six venues throughout Manhattan.

Aperture’s Wednesday opening was the first of the week (followed by Thursday night openings at the French Embassy, and Gallery at Hermes), welcoming a strong roster of photography legends and pillars of the photographic community. Sarah Moon, Mary Ellen Mark, and Josef Koudelka were in attendance, standing alongside their own seminal works on view, as well as celebrated photographers Bruce Davidson and Susan Meiselas. Multiple films by filmmaker/photographer Sarah Moon were on screen, including 1970’s TV spots directed by Moon for Cacharel (7 min), as well as “Le Montreur d’images (The Go-Between)” (2009), her feature length documentary on husband Robert Delpire.

Peter Barberie
, Curator of Photographs for the Philadelphia Art Museum was in attendance Wednesday evening, as well as Jeff Hirsch of FotoCare, and Wendy Byrne, former designer for Aperture Foundation. Special thanks to exhibition producer Mike Derez, and Project Coordinator Agnès Gagnès of Idéodis.

Delpire & Co. runs through June at venues throughout the city. Like us on Facebook to view a full album of photos from the opening.

›› Click here for details on all the exhibitions and events.
›› Join the conversation on Instagram and Twitter using #Delpire
›› The New Yorker presents a stunning and concise slideshow summary of books and photographs from among the displays at Aperture, Hermès, Pace/MacGill, and Howard Greenberg.

apertureWEEK: Online Photography Reading Shortlist

Aperture aggregates the best posts from this past week in the photography blogosphere.

  • The New York Times covers Mary Ellen Mark’s series Prom, first featured in Aperture issue 187, now a monograph by Getty Publications, and shares a trailer from Martin Bell’s accompanying documentary. The Sunday Review publishes an essay by Mark, “Prom Night,” and posts a slideshow of images from the series. LensBlog follows up with a Q&A with the photographer on shooting with one of five existing, finicky, but rewarding 20×24 Polaroid Land Cameras for this series and her earlier monograph Twins (Aperture 2005).
  • In their weekly Modern Art Notes Podcast, ArtInfo‘s Tyler Green talks to Mitch Epstein, who he calls “one of America’s most prominent and most honored photographers,” about shifting focus from American Power to trees in New York City, now on view at Sikkema Jenkins & Co. in Chelsea. Epstein will be in conversation with Sondra Gilman and Celso Gonzalez-Falla of the Shared Vision collection at Aperture on Wednesday, April 11, 2012.
  • “Is your phone’s camera the only camera you need?” asks the Wall Street Journal, profiling new apps and accessories that make that possible. They also share cell phone snapshots by professional photojournalists, and invite readers to do the same.
  • “In an environment where seconds count, there are glorious triumphs and heartbreaking defeats,” writes Michael M. Grynbaum for LensBlog on staff photographer Richard Perry‘s hectic images from the New York City subway. Can’t help but think back to Bruce Davidson’s series from the 1980s and resulting monograph Subway (Aperture 2011), save for the striking dissimilarities between now vastly different transit systems.
  • Simon Bray shares a few key points on Phototuts+ on “Why Returning To A Photographic Location Is Such A Good Idea,” whether it’s months, weeks, days, or hours apart. It’s something Richard Misrach did when he began a three year project photographing the same scene from his from porch at all hours of the day for the monograph Golden Gate, which is soon to be released by Aperture as a stunning 16×20″ oversized edition.
  • Fototazo interviews Luca Desienna, Chief Editor of Gomma Magazine, on the occasion of the announcement of the eight winners of the call for entries for their exciting new publication of black and white photography MONO, Volume 1 (November 2012). Lightbox at Time shares a slideshow of images by the winners and explains briefly what entailed Gomma’s “search for the best  new black-and-white photographers.”
  • The National Press Photographers Association launched a new blog, Ethics Matters, opening up the often circular discussion on how much image manipulation is too much, focusing specifically on new HDR technology which allows cameras to combine multiple frames into a single image, often for a more saturated color effect. This, as Aperture is in the process of acquiring a HDR camera for our own digital media reporting purposes. Stay tuned!

A Brief, Photographic History of Republished Books

As we increase our understanding of the history of photography as defined by its great accomplishments in bookmaking, the question of the availability of that printed history becomes central. The coveted first edition of a classic photo book can at times demand a higher price tag than even original photographic prints. The art of “the book,” in some circles, has overshadowed the offerings of the gallery world.

Reprints of older photobooks, commonly known as second editions, have been one way for newer generations of photographers and students of photography to become familiar with and learn from artists who came before them. Books have served me by informing and inspiring me throughout my own photographic practice for more than two decades.

But where multiple printings are common with books of literature or non-fiction, reprints are not as common for many visual books after they are considered out of print. This usually rests on two main factors: First, in the world of art book publishing, there is rarely financial gain for the publisher involved, let alone the artist. The second factor is that artists tend to be resistant to repetition, thinking that reprinting the same exact book, edition after edition, seems to be an unnecessary act.

The result is that the books tend to become rare and increasingly valuable to collectors, leaving them sought-after but difficult to see firsthand. In a medium where the book plays such an important role in its progression, it is an unfortunate fact that so many examples of some of the greatest photobooks have been essentially lost to history. That notion fueled my own publishing project, Errata Editions, which offers studies of rare photobooks that won’t see a traditional reprint because of the aforementioned reasons.

In the Errata series of “books on books,” each volume is dedicated to the study of one photobook that has been recognized as important to the history of the genre. They present images of all of the page spreads contained in the original books, along with contemporary essays about the book. Within three years, we have published twelve volumes that include studies of books by Eugene Atget, Walker Evans, Chris Killip, William Klein, Paul Graham, Laszlo Moholy-Nagy, David Goldblatt and others.

Artists open to reprinting their books often tinker with their creations by reediting. However, a complete reenvisioning of the book in its entirety was apparent with Josef Koudelka’s book Gypsies. That book represented a kind of revisioning in reverse, as the 2011 edition is actually closer to Koudelka’s original vision for the book, whereas the 1975 edition was a construction of Robert Delpire, the editor and publisher.

For many other artists, what might be seen as the flaws of youthful instinct give way, over time, to a desire to clean up the editing or design in any given book, or to revisit contact sheets and give new life to many images that were left out of the original book. The Magnum photographer Bruce Davidson has republished some of his classic books, such as East 100th Street and his recent new edition of Subway, both of which present newly edited material. Davidson has also taken the advances in printing technology to heart as additional attention has been made to color-correct the images to Davidson’s current slightly colder palette.

An interesting case in point is William Klein’s masterwork Life is Good & Good for You in New York, first published in 1956. When Klein revisited those same photographs in the mid-1990s, he completely redesigned and reedited the work—removing much of the original’s energetic and experimental design—until there was little, if any, similarity to the original book. “The first book was about graphic design. The second was about the photography,” he says of the two editions. Whether you agree or not, that resistance to repeat is apparent.

Over the years a resurgence of reprints has hit bookstores, and a few have come from the German publisher Steidl. Last December saw a set of facsimile reprints of several important, if somewhat obscure, political photobooks with The Protest Box, edited by the British photographer and photobook historian Martin Parr. Elsewhere, Dewi Lewis has released another printing of the Dutch photographer Ed van der Elsken’s exquisite 1954 Love on the Left Bank, which is faithful to the original. And a new edition of one of the top-selling photobooks of all time, the 1972 Diane Arbus monograph from Aperture, is now available.

While not all photobooks considered great or groundbreaking will see a reprint, one can hope that enough will exist to maintain a full sense of photobook history.

Jeffrey Ladd is a photographer, writer, editor and founder of Errata Editions. Visit his blog here.

For Valentines Day a Limited Edition Print by Bruce Davidson

Untitled, (Couple on platform) from Subway, 1980

Looking for a Valentine’s day gift for your sweetie?  Why not the beautiful limited edition photograph by Bruce Davidson from his 1980 series Subway, reissued last fall. Untitled, (couple on platform) depicts a public display of personal affection in stunning Kodachrome color–one of his rare forays outside of black and white film.

In this video clip for Aperture, Davidson explains that for the longest time he “found that mostly color is gratuitous, because we have it.”  When he began the project, for about half the time he was shooting in black and white. At one point, he says, “something came over me,” and he loaded that legendary, now-discontinued color film.

To capture the cultural fabric of New York City at that particular time, he needed the extremes of color. “The people in the subway,” he says, “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.”

Buy the print here for your sweetheart!

Thanks for your Support at our 2011 Benefit, Auction & SNAP! Party

Last Monday, Aperture’s 2011 Benefit, Auction & SNAP! Party honored three incredibly influential figures: Bruce Davidson, Gerhard Steidl and Robert Anthione. The night had a warm and exciting atmosphere and our guests enjoyed looking at and bidding on plenty of amazing photography. In addition to the Live Auction conducted by Sotheby’s very own Denise Bethel, there was also a Silent Auction, and an Emerging Artists SNAP! Silent Auction. Aperture couldn’t have pulled this fabulous night off without the tireless support of our Board of Trustees, Benefit cochairs  Sondra Gilman, Susan Gutfreund, and Karl Lagerfeld; Auction cochairs Cathy Kaplan, Anne Stark, and Severn Taylor; and SNAP! Party cochairs artist Jowhara AlSaud, Peter Berberian of Gotham Imaging, Emily Bierman of Sotheby’s, and actor Ken Triwush. Thank you to all our generous supporters who contributed to the success of our most important fundraiser of the year!

Auction cochair Anne Stark, Aperture Chairman Celso Gonzalez-Falla, guests, Honorees Gerhard Steidl and Robert Anthoine, Benefit cochair Sondra Gilman, and Honoree Bruce Davidson.

Aperture’s Executive Director Chris Boot welcomes honorees Gerhard Steidl, Robert Anthoine, and Bruce Davidson.

Honoree Gerhard Steidl with Benefit cochair Susan Gutfreund.

Auction cochair Cathy Kaplan and guest.

Peter MacGill, Lesley A. Martin, guest, Mark Levine, and Fred Smith.

Muna Rihani, Chairman Emeritus John H. Gutfreund, guest, and Benefit cochair Susan Gutfreund.

Rachel Rimsky and SNAP! Party cochair Emily Bierman.

Alyse Archer-Coité, guest and artist Rachel Barrett enjoying the SNAP! Benefit Party.

Last Call for our 2011 Benefit, Auction, and SNAP! Party

Boys at the Lake, Central Park (1992) © Bruce Davidson/Howard Greenberg Gallery

Don’t miss out on our 2011 Benefit, Auction, and SNAP! Party! Taking place on Monday, October 17, the evening will begin with a cocktail reception and silent auction of classic and contemporary photographs. Then, a dinner, brief award ceremony, and live auction conducted by Denise Bethel, Senior Vice President and Director of Photographs, Sotheby’s. Finishing the night, there will be a Benefit Party hosted by SNAP! New Collectors Program.

We are proud to honor this year Bruce Davidson, a Magnum Photos member and one of America’s most influential photographers; Gerhard Steidl, for his outstanding skill and craftsmanship as a printer and publisher; and Robert Anthoine, Aperture Chairman Emeritus, who has dedicated over thirty years to helping lead Aperture to prominence in the field of photographic publishing.

Benefit co-chairs are Sondra GilmanSusan Gutfreund, and Karl Lagerfeld. Auction co-chairs are Cathy KaplanAnne Stark, and Severn Taylor.

Immediately following the Benefit Dinner and Auction will be the SNAP! New Collectors Benefit Party featuring an exciting Emerging Artists Auction, live jazz by DW-40, and spinning by Japanster. This event is co-chaired by artist Jowhara AlSaudPeter Berberian of Gotham Imaging, Emily Bierman of Sotheby’s, and actor Ken Triwush.

The auctions feature a range of work by both established and emerging artists. Click here to preview the artworks, and even start bidding online!

Proceeds from the Benefit—our most important fundraising event of the year—are essential for Aperture’s publications, exhibitions, and public programs, which provide unmatched exposure for artists and scholars working in photography.

Come mingle with fellow photography lovers and celebrate Aperture Foundation. We look forward to having you join us for this special event!

Click here for tickets and more information on our 2011 Benefit & Auction

Click here for tickets and more information on our 2011 SNAP! Benefit Party

Show Bruce Davidson Your Subway Photographs!

© Bruce Davidson/Aperture Foundation

Accompanying the re-release of Bruce Davidson‘s classic book Subway, NPR’s WNYC has organized a project that will make your commute a little more interesting. The Brian Lehrer Show is asking listeners to submit their most iconic subway shots to feature online and on-air, and to be seen by legendary photography Bruce Davidson. So whether you take the Tube or the T, be sure to send in your interpretations of the teeming, vibrant, transportation systems that criss-cross our urban environments.

You can submit your subway photographs here. You can also see a gallery of submissions here.

Deadline for submission is 11:59pm on Sunday, October 16th.

Need some inspiration? Check out the new edition of Bruce Davidson’s Subway. Or head over to Aperture Gallery & Bookstore to see Bruce Davidson: Subway, an exhibition of the striking color photographs. Aperture will also be hosting a very special Artist Talk & Book Signing with Bruce Davidson later this month.

Exhibition on view:
Monday, October 3–Saturday, October 29, 2011
10:00 am – 6:00 pm

Opening Reception:
Thursday, October 13, 2011
6:00 pm – 8:00 pm

Artist Talk & Book Signing:
Wednesday, September 26, 2011
8:30 pm

Aperture Bookstore & Gallery
547 West 27th Street, 4th floor
New York, New York 10001
Monday – Saturday, 10 am – 6 pm

Bruce Davidson’s Subway Exhibition

© Magnum/Bruce Davidson

In 1986, Aperture first published Bruce Davidson‘s Subway—a ground-breaking series that has garnered critical acclaim both as a document of a unique moment in the cultural fabric of New York City as well as for its phenomenal use of extremes of color and shadow set against flash-lit skin. In 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.”

Accompanying the third edition of this classic of photographic literature, Aperture Gallery will present Subway, an exhibition of the iconic color images that move the viewer through a landscape at times menacing, at other times lyrical, soulful, and satiric. The images include the full panoply of New Yorkers—from weary straphangers and languorous ladies in summer dresses to stalking predators and the homeless.

There will also be a Talk and Book Signing event at Strand Books on Monday, September 26, 2011. Buying a copy of the new edition of Subway, or a $10 Strand gift card will get you into the event. Although tickets are sold out online, more tickets will be sold at the door the night of the signing.

Bruce Davidson (born in Oak Park, Illinois, 1933) is considered one of America’s most influential documentary photographers. He began taking photographs when he was ten, and studied at the Rochester Institute of Technology and the Yale University School of Design. In 1958 he became a member of Magnum Photos, and in 1962, he received a Guggenheim Fellowship to document the civil rights movement. After a solo exhibition at the Museum of Modern Art in 1963, followed by a National Endowment for the Arts grant in 1967, Davidson spent two years photographing in East Harlem, resulting in East 100th Street. In 1980, after living in New York City for twenty-three years, Davidson began his startling color essay of urban life in Subway. Davidson received a second National Endowment for the Arts Fellowship in 1980, and an Open Society Institute Individual Fellowship in 1998. His work has been shown at the International Center of Photography, New York; Walker Art Center, Minneapolis; Museum de Tokyo, Paris; Smithsonian Institution, Washington, D.C.; Museum Rattu, Arles, France; Burden Gallery (Aperture), New York; Parco Gallery, Tokyo; and New-York Historical Society.

Exhibition on view:
Tuesday, October 4, 2011–Saturday, October 29, 2011

Opening reception:
Thursday, October 13, 2011, 6:00 pm

Artist Talk:
Wednesday, October 26, 2011, 6:30 pm

Aperture Gallery
547 West 27th Street, 4th floor
New York, New York
(212) 505-5555