Tag Archives: Limited Edition Print

Jen Davis featured in Abe’s Penny August 2012 Edition

“…Abe’s Penny is a lit mag paired down to the most essential elements: image and text. Each issue consists of one story divided into four parts and printed on postcards. ‘They are not photographs and they are not texts,’ The New Yorker says of Abe’s Penny‘s unique publishing style, ‘but a combination of both, tangible objects with a heft and significance of their own.’”

Abe’s Penny’s August 2012 edition features images from Jen Davis, whose decade spanning “Self Portraits” series was featured in reGeneration 2: Tomorrow’s Photographers Today, the second book in the esteemed series shining a spotlight on the next generation’s rising stars.

›› Shop Jen Davis’s limited-edition print Untitled No. 32, from the “Self Portraits” series
›› Buy reGeneration 2: Tomorrow’s Photographers Today


Falls, Peterson, Torgovnik at Rencontres d’Arles

Watch live streaming video from lesrencontresdarles at livestream.com.

This summer, catch exhibitions by Sam Falls, Regine Petersen, and Jonathan Torgovnik at Recontres d’ Arles (on view through September 23, 2012).  Now in it’s 43rd year, Arles, one of the world’s largest photography festivals, is hosting 60 exhibitions, favoring mostly unpublished work, presented by its founders, teachers and photographers as well as curators who have emerged from their influential school at 20 heritage sites in the South of France.

Sam Falls, who’s work was profiled in Aperture #205, is exhibiting a series of images “investigating the medium’s potential as an art form,” he writes, “but [that] also continue exploring photography’s capacity for representation and challenging its veracity.” The exhibition, which is curated by Philip S. Block, showcases photographs that Falls has manipulated with Photoshop, then hand-painted as well. “The question this raises,” Falls states, “beyond specific medium’s ability to represent an object or idea, is the question of perception itself and how we relate today to photography and painting.”

Regine Petersen, one of the photographers featured in Aperture’s Regenerations 2: Tomorrow’s Photographers Today, is exhibiting a series of photographs about meteorites, what she calls “thought images,”  that mark her so-called map from the location of the falls and finds, to the personal lives of eye witnesses and descendants. ”Rather than a reconstruction of the events,” she writes, Finding a Falling Star, presented by Olivier Richon, ”is a collection of traces, an investigation into the workings of time, memory and history and an attempt to create a link between the ordinary and the sublime.” Petersen’s limited edition print Ladybug, 2006, a work from an earlier series, is considered typical of her style of “thought image.”

Jonathan Torgovnik‘s Intended Consequences, which is a series of environmental portraits made in Rwanda of women that were brutally raped during the Rwandan genocide and the children they bore from those encounters, was published as a monograph by Aperture in 2009 alongside a DVD produced by MediaStorm of interviews with the subjects. The exhibition at Rencontres d’Arles, presented by Tadashi Ono, is intended to spread these stories to a wider public, in hopes, Torgovnik writes, that “people will be inspired to act and work toward ensuring that similar acts of violence never happen again, and that those families can have a brighter future.”

Rencontres d’ Arles
Festival runs:
July 2 – September 23, 2012

34 rue du docteur Fanton
13200 Arles
33 (0) 4 90 96 76 06

Kelli Connell: Double Life

Floating, 2005; from the series Double Life (c) Kelli Connell

These two women seen above floating in a pool–this never actually happened. Kelli Connell, whose work as Leo Costello claims, “falls within a tradition of Surrealist photography… [giving] form to the multifaceted, dynamic unconscious,” digitally manipulates her images to combine multiple exposures. She uses what is commonly thought of as an objective tool to create what she has instead termed “constructed realities.”

Her series Double Life (on view at Photo-eye Gallery through June 30, 2012) in which she employs this technique, “documents” the evolving relationship between two women (one model). In addition to exploring the visual rhetoric of digital imagery, the work is an investigation of and a kind of metaphor for the fluidity and instability of identity, sexuality, and gender roles.

“By digitally creating a photograph that is a composite of multiple negatives of the same model in one setting,” Connell writes in an artist’s statement, “the self is exposed as not a solidified being in reality, but as a representation of social and interior investigations that happen within the mind.”

This solo exhibition has previously been on view at Yossi Milo Gallery in 2007, and Catherine Edelman Gallery in 2011. That same year, Decode Books also published the Double Life monograph, which is reviewed here by Time Out Chicago and was featured as one of American Photo magazine’s Books of the Year.

A limited-edition print from that series, Floating, 2005, is available for purchase from Aperture. The image also appears in Connell’s volume of the sold out tripartite series MP3: Midwest Photographers Publication Project (Aperture 2006).

Additionally,  Connell’s work has appeared in Photo Art: Photography in the 21st Century (Aperture 2008) and The New York Times Magazine Photographs (Aperture 2011).

Prior to the show, check out a transcribed conversation between Connell and American portrait photographer Dawoud Bey on the subject of Double Life at Flak Photo.

Kelli Connell: Double Life
Exhibition on view:
June 1 – June 30, 2012

photo-eye Gallery
376 Garcia Street
Santa Fe, New Mexico
(800) 227-6941

apertureWEEK: Online Photography Reading Shortlist

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

  • Life shares a slideshow of black-and-white, mid-century images, “Orange Crush: In Praise of the Golden Gate Bridge,” to celebrate the  iconic bridge’s 75-year anniversary this Sunday, May 27, 2012. Coming soon: Aperture commemorates with a beautiful, oversized reissue of Richard Misrach’s monograph Golden Gate, in which the photographer shot the bridge in large format from his front porch at all times of the day for three years.
  • New Yorker‘s PhotoBooth and Time’s LightBox both share selections from the recently released 870,000-image archive of historical New York City photographs by the department of records. Both feature work by Eugene de Salignac of the Aperture monograph New York Rises (2007). A limited edition print of “Brooklyn Bridge, showing painters on suspenders, October 7, 1914” is featured on the cover of the monograph and in Time’s selection.
  • More on Gordon Parks this week, who was featured in David Campany’s essay in Aperture issue 206 and currently has a retrospective at the International Center of Photography, celebrating the centennial of his birth. PDN shares a 10-image gallery of his work, while La Lettre de la Photographie publishes a 1993 interview with Parks conducted by John Leongard, on what it was like photographing Black Muslims for Life magazine in the 60s.
  • Fototazo posts a lengthy recap of their group book discussion of Walker EvansAmerican Photographs with Flak Photo’s Andy Adams, focusing on essays from Gerry Badger’s The Pleasure of Good Photographs. The discussion, which is hosted on Facebook, continued Monday with the essay ”A Certain Sensibility: John Gossage, the Photographer as Auteur.” Stay tuned for a discussion of the essay ”Without Author or Art: The ‘Quiet’ Photograph” on Monday, June 4, 2012.
  • Rebecca Norris Webb, who spoke at Aperture gallery on Friday, March 23, 2012 during a co-lecture with Alex Webb, writes on the process of putting together her monograph My Dakota, launched on May 24, 2012 at the International Center of Photography, for Time’s LightBox. Work from the book will be exhibited at the Dahl Arts Center in Rapid City, South Dakota, June 1 – October 13, 2012.
  • Photoshelter Blog interviews a multitude of industry professionals and posts “7 Myths About Portfolio Reviews Debunked,” which could be similarly useful to emerging photographers as their May 10 piece “Photography Through the Eyes of Art Directors,” featuring work from Alex Prager.
  • Appropriately timed, American Photo Magazine posts their annual list of Top 10 Photographers who shoot weddings, which is where most our staff here seems to have taken off for the long weekend. A companion piece at PopPhoto takes a closer look at these photographers’ gear and process.

artMRKT San Francisco and Richard Misrach

“Showcasing new artists alongside historical material, artMRKT will create an ideal context for the discovery, discussion and placement of artwork.”

The San Francisco iteration of artMRKT marks the start of the brand’s 2012 modern and contemporary fair season. Currently in it’s second year, the San Francisco fair will combine the work of seventy leading galleries with a thoughtful program of art events and exhibitions at the fair venue and throughout the city. Aperture will be on site in 2012 with limited-edition prints, books, and the latest from Aperture magazine in tow, including our latest prints “Model Dining Room,” from the series Occupied Territory by Lynne Cohen, and “Animal (127)” by Elliot Ross.

The 2012 re-issue of Lynne Cohen’s first monograph, Occupied Territory, is also forthcoming from Aperture, “an exploration of domestic and institutional interior spaces—sometimes idealized, sometimes standardized, humorous, and disquieting.” “Model Dining Room” is a piece of this larger puzzle, representing Cohen’s visual exploration of interior space as simulated experience.

We also recommend joining acclaimed artist Richard Misrach, whose lauded Golden Gate is being reissued in a new oversized edition for the iconic bridge’s 75th anniversary, for the weekend’s keynote address plus a book signing on Saturday, May 19th.

Aperture at artMRKT San Francisco
Thursday, May 17, 2012–Sunday, May 20, 2012

Admission Required

Concourse Exhibition Center
Booth 209
San Francisco, California

›› Buy Lynne Cohen’s limited-edition print, “Model Dining Room
›› Buy the limited-edition print “Animal (127)” by Elliot Ross
›› Sign up to be notified when Lynne Cohen’s re-issued monograph, Occupied Territory, is available.


Richard Mosse: Infra @ Open Eye Gallery, Liverpool

All photography is a kind of step away from reality. Few photographers within the documentary genre have gone further to embrace this notion than Richard Mosse, whose current photo project exploring armed conflict in the eastern province of the Democratic Republic of the Congo, Richard Mosse: Infra, opens today at Open Eye Gallery, Liverpool.

“Documentary photography is now at the moment where it has to change,” says Mosse. “It is behind the times – the forms of modern conflict are profoundly complex; their narratives are impossibly difficult to convey.”

Investigating a fresh form to represent the continued hostilities surrounding the deadliest war in human history—a very old and ongoing conflict that had gone stale in popular consciousness—Mosse toured eastern Congo between 2010-11, armed with two cameras and a supply of Kodachrome film, rendering the characters of this war in vivid hues of lavender, crimson and hot pink. The tension between the hot pink-tinted worlds rendered on film and the devastating subject of the photography is what makes Mosse’s work so compelling. In taking a step away from the standard visual language of photojournalism, Mosse is producing unimaginable images that effectively underscore the truly unimaginable reality of the conflict they capture, a modern conflict too opaque for standard methods of representation.

»Read Richard Mosse’s interview with Liverpool Daily Post on his Infra series and exhibition
»Watch Richard Mosse discuss the stories behind Infra, and preview the Open Eye Gallery installation

Richard Mosse: Infra will be on view March 30 through June 10, 2012

Open Eye Gallery
Liverpool, United Kingdom
+44 (0) 151 236 6768

Also consider Richard Mosse’s first book, Infra: Photographs by Richard Mosse (Aperture 2012), or a limited edition print from the Infra series, “Debris, North Kivu, Eastern Congo, 2011″

Richard Mosse is also featured in Aperture Magazine # 203, “Richard Mosse: Sublime Proximity interview with Aaron Schuman”

J.H. Engström Awarded World’s Best Book Award

Three untitled prints from Trying to Dance portfolio © J.H. Engström/Aperture

Last month, renowned Swedish photographer J.H. Engström was awarded the Goldene Letter first prize in the Stiftung Buchkunst Best Book Design From All Over the World competition, the Frankfurt-based art foundation’s annual review.  His book La résidence was selected by an independent international jury from a pool of 540 photo books from 31 countries. They call it “a fascinating, eye-opening book – interaction without anything having to be plugged in.”

La résidence is comprised of 29 snapshot-like triptych gatefolds interspersed with his typically restrained pictorials on borderless double-page spreads and brief bursts of diary comments. The selection committee writes:

Nothing dramatic takes place, no lessons are being taught – but as each sequence elicits greater curiosity, for the spectator, browsing and folding his or her way through the pages, a personal individual story emerges, like the pieces of a jigsaw puzzle.

Engström has been featured in an interview with Anders Petersen in Aperture issue 198. Aperture Foundation also presents a limited edition print and portfolio.

“CDG/JHE #41, 2006″ from the series CDG/JHE © J.H. Engström/Aperture

The haunting, painterly print “CDG/ JHE #41, 2006,” originally featured in Aperture magazine issue 190, shows his efforts at capturing the atmosphere and ambiance of Charles de Gaulle Airport in Paris, where much of his childhood was spent, and which he calls a “fantasy landscape”. The series from which it comes, CDG/JHE, “provides an almost abstract definition of the existential homelessness and displacement that is at the heart of J.H. Engström’s work—the source of its tenderness and beauty, as well as its power to unsettle,” writes Martin Jaeggi in his commentary for Aperture.

Three other untitled prints are available as part of the Trying to Dance Portfolio, a selection from the series which comprises a photojournalistic ‘diary’ of his life: landscapes, still-lives, self-portraits, and snapshots of friends produce a loose narrative, recording not only the artist’s individual experiences, but a sensitive and provocative engagement with the world at large.

Engström’s tendency to utilize small moments in the construction of wide-reaching narratives is recurring in much of his work.



Richard Mosse: Infra

Débris, North Kivu, Eastern Congo, 2011 by Richard Mosse. Limited edition print available for purchase at Aperture.

Join us on Monday, March 5, 2012 at 6:30 pm at Aperture Gallery for an artist talk with photographer Richard Mosse , followed by a book signing and reception for his new book Infra.

Aperture Gallery and Bookstore
547 West 27th Street, 4th Floor
Between 10th and 11th Avenues
New York, New York
(212) 505-5555

Over the course of two years, Mosse documented the ongoing war in the Democratic Republic of Congo using a discontinued type of color infrared surveillance film called Kodak Aerochrome to offer a stunning and radical rethinking of how to depict a complex and intractable conflict.  With film that is extra sensitive to green light, he renders the rich typography of the country as well as the camouflage of the Congolese army and combative rebel groups in vivid hues of lavender, crimson, and hot pink.

This is Mosse’s first monograph, co-published by Aperture and the Pulitzer Center on Crisis Reporting.  These improbably colored images underline the growing tension between art, fiction, and traditional photojournalism as a way of portraying and communicating the impact of war. Mosse states that the collection works “through shocks to the imagination,” using photography’s unique ability “to make visible what cannot be perceived.”

Select large format prints from the collection are currently on view at the Weatherspoon Art Museum in Greensboro, NC through April 15, organized by Xandra Eden, Curator of Exhibitions.

Weatherspoon Art Museum
500 Tate St
Greensboro, NC 27412

Mosse’s limited edition print “Débris, North Kivu, Eastern Congo,” is also now available for purchase at Aperture. Mosse calls the ethereal shot a “surprising” double-exposure that came about by accident in March 2011. “‘Débris ‘pushed me to embrace failure and let go of certain ways of seeing.”

Photographs by Richard Mosse have been featured on the cover of Aperture magazine #203.