For Fall 2012 Aperture presents a list of new and re-issued publications, from the startling and fresh, to new editions and long-awaited anthologies. Read more about our upcoming releases, and view a slideshow of Fall 2012 cover art below.
Upcoming titles include:
• A New American Picture by Doug Rickard
• 101 Tragedies of Enrique Metinides
• Petrochemical America by Richard Misrach and Kate Orff
• The Ballad of Sexual Dependency by Nan Goldin
• Life’s a Beach by Martin Parr
• Labyrinth: Daido Moriyama
• Aperture Magazine Anthology: The Minor White Years, 1952–1976
• The Garden at Orgeval by Paul Strand
• Unbuilt: Louis I. Kahn at Roosevelt Island, Photographs by Barney Kulok, Essay by Steven Holl
A New American Picture by Doug Rickard
Doug Rickard’s A New American Picture offers a startling and fresh perspective on American street photography. While on first glance the work looks reassuringly familiar and well within the traditional bounds of the genre, his methodology is anything but conventional. All of the images are appropriated from Google Street View; over a period of two years, Rickard took advantage of the technology platform’s comprehensive image archive to virtually drive the unseen and overlooked roads of America, bleak places that are forgotten, economically devastated, and abandoned. With an informed and deliberate eye, Rickard finds and decodes these previously photographed scenes of urban and rural decay. He rephotographs the machine-made images as they appear on his computer screen, framing and freeing them from their technological origins.
12 1/2 x 9 3/4 in. (31.8 x 24.8 cm);
144 pages, 90 four-color images;
Hardcover with jacket;
Rights: North America
101 Tragedies of Enrique
101 Tragedies of Enrique Metinides is Enrique Metinides’ choice of the 101 key images from his life photographing crime scenes and accidents in Mexico for local newspapers and the nota roja (or “red pages,” for their bloody content) crime press. Accompanying each image, extended captions give his account of the situation depicted, describing the characters and life of the streets, the sadness of families, the criminals, and the heroism of emergency workers—revealing much about himself in the process. Having received his first camera at the age of ten, Metinides became a capable street photographer by the time he was twelve, already working with police and firefighters to get his best shots. Now also found in museum collections around the world, his images are compelling, immediate, sometimes shocking, and always authentic. Selected photographs are also paired with their original newsprint tearsheets, collected by Metinides, the typography of which have inspired the design of this book. The photographs have been compiled by Trisha Ziff, a filmmaker and curator who knows Metinides well, and who also contributes an essay about his life, work, and personality.
8 1/2 x 10 3/8 in. (21.6 x 26.4 cm);
150 four-color images;
Hardcover with jacket;
; September 2012;
Petrochemical America by Richard Misrach and Kate Orff
Petrochemical America features Richard Misrach’s haunting photographic record of Louisiana’s Chemical Corridor, accompanied by landscape architect Kate Orff’s Ecological Atlas—a series of “speculative drawings” developed through research and mapping of data from the region. Their joint effort depicts and unpacks the complex cultural, physical, and economic ecologies along 150 miles of the Mississippi River, from Baton Rouge to New Orleans, an area of intense chemical production that first garnered public attention as “Cancer Alley” when unusual occurrences of cancer were discovered in the region.
This collaboration has resulted in an unprecedented, multilayered document presenting a unique narrative of visual information. Petrochemical America offers in-depth analysis of the causes of decades of environmental abuse along the largest river system in North America. Even more critically, the project offers an extensively researched guidebook to the way in which the petrochemical industry has permeated every facet of contemporary life.
An exhibition coinciding with the release of the book will take place at Aperture Gallery in fall 2012.
13 1/2 x 10 1/2 in. (34.3 x 26.7 cm); 216 pages (plus 24-page insert),
150 four-color images; Hardcover; ISBN 978-1-59711-191-1; $80.00/£50.00; September 2012;
The Ballad of Sexual
Dependency by Nan Goldin
The Ballad of Sexual Dependency is a visual diary chronicling the struggle for intimacy and understanding between friends, family, and lovers—collectively described by Nan Goldin as her “tribe.” Her work describes a world that is visceral, charged, and seething with life. First published in 1986, this reissue recognizes the persistent relevance and freshness of Nan Goldin’s cutting-edge photography.
Over the past twenty-five years, the influence of Ballad on photography and other aesthetic realms has continually grown, making the work a contemporary classic. Nan Goldin’s story of urban life on the fringe was the swan song of an era that reached its peak in the early eighties. Yet it has captured an important element of humanity that is transcendent: a need to connect.
This new edition of The Ballad of Sexual Dependency has been printed using new scans and separations created by master-separator Robert Hennessey from Goldin’s original slides and transparencies, rendering them with unparalleled sumptuousness and impact.
10 x 9 in. (25.4 x 22.9 cm);
126 four-color images;
Clothbound with jacket
; ISBN 978-1-59711-208-6;
Rights: World (excluding France)
Life’s a Beach by Martin Parr
In the United Kingdom, one is never more than seventy-five miles away from the coast. With this much shoreline, it’s not surprising that there is a strong British tradition of photography by the seaside. American photographers may have given birth to street photography, but according to photographer Martin Parr, “in the UK, we have the beach!” Here, he asserts, people can relax, be themselves, and show off all those traces of mildly eccentric British behavior.
First released in a signed and numbered limited-edition run, Life’s a Beach shows Parr at its best, startling us with the moments of captured absurdity and immersing us in the rituals and traditions associated with beach life all over the world. A trade edition will follow in spring 2013.
11 x 9 in. (27.9 x 22.9 cm);
98 four-color images;
Signed and numbered limited-edition;
Rights: World (excluding France)
Labyrinth: Daido Moriyama
Throughout Daido Moriyama’s extensive career, he has continually sought new ways of presenting and recontextualizing his work, frequently recasting his images through the use of different printing techniques, installation, or re-editing and re-formatting. In each iteration, images both old and new take on changed and newly charged significance. This volume, created during preparations for several international survey exhibitions, offers both the photographer and the viewer the opportunity to consider the photographer’s life work in a fresh light.
Moriyama has always sought meaning in the raw accumulation and gestalt of sequences of images. Labyrinth makes public an exercise in reconsideration that the photographer has assigned to himself. In opening up this private process of re-examination to a wider public, Moriyama continues to challenge the viewer and his own practice, as well as the larger mechanisms by which photography functions and creates meaning.
11 3/4 x 13 3/4 in. (30 x 35 cm);
300 duotone images;
Paperback with flaps;
Rights: World (excluding Japan)
Anthology: The Minor White Years, 1952–1976
Published on the occasion of Aperture magazine’s sixtieth anniversary, this is the first anthology of Aperture magazine ever published. This long-awaited volume will provide a selection of the best critical writing from the first twenty-five years of the magazine—the period spanning the tenure of cofounder and editor Minor White.
The texts and visuals in this anthology were selected by Peter C. Bunnell, White’s protégé and an early member of the Aperture staff, who went on to become a major force in photography as an influential writer, curator, and professor. Several documents from Aperture’s founders and individual articles are reproduced in facsimile, and the book is enlivened by other distinctive elements, including a portfolio of each cover, and a selection of epigrams and editorials that appeared at the front of each issue. An extensive index of every contributor to the first twenty-five years of the magazine makes this an indispensible resource.
6 1/2 x 9 3/8 in. (16.5 x 23.8 cm);
, 150 four-color images;
Hardcover with jacket;
The Garden at Orgeval by Paul Strand
After 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. The work that constitutes The Garden at Orgeval is marked by close and careful study of the forms and patterns within nature—of tiny button-shaped flowers, cascading winter branches, and fierce snarls of twigs. While the images bear the same directness and precise vision that is quintessentially Strand, the work also reflects a growing metaphorical turn.
Renowned photographer Joel Meyerowitz—whose own affinity toward Strand’s Orgeval series stems from a lifetime of photographing in different genres and ultimately returning to nature as an enduring subject—has selected the photographs in the book, and he responds to them in an accompanying personal essay, reflecting on issues, including the contemplation of one’s garden, and growing old. Beautifully produced in a modest size, in the manner of a volume of poems, this book’s task is to do credit to Strand’s final work, both as an individual and as a key figure in Modernist photography.
8 x 10 3/8 in. (20.3 x 26.4 cm);
42 duotone images
October 2012, Rights: World
Unbuilt: Louis I. Kahn at Roosevelt Island (Photographs by Barney Kulok, Essay by Steven Holl)
In October 2012, Four Freedoms Park—the last design Louis I. Kahn completed before his untimely death in 1974—will open on Roosevelt Island in New York City, over forty years after its commission as a memorial to Franklin D. Roosevelt.
Barney Kulok’s black-and-white photographs of the building site function as a meditation on the materiality and formal underpinnings of Kahn’s architectural thinking. Unbuilt is at once a historical record and a multilayered visual investigation of form and the subtleties of texture—elements of fundamental importance to Kahn’s philosophies. As architect Steven Holl writes, “Kulok’s photographs free the subject matter from a literal interpretation of the site. They stand as ‘Equivalents’ to the words about material, light, and shadow that Louis Kahn often spoke.”
11 x 14 in. (27.9 x 35.5 cm); 80 pages, 40 duotone images; Hardcover with jacket; Signed and numbered limited edition of 1,000 copies; 987-1-59711-TKT-K; $TK.TK/£TK.TK; October 2012, Rights: World
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