Dark Odyssey

Dark odyssey

Philip Jones Griffiths

Aperture Foundation

This issue was dedicated to Ansel Adams and is devoted to photographs of the American West landscapes. Photographers include David Avison, Richard Misrach, Art Sinsabaugh, Frank Gohlke, Robert Adams, Edward Ranney, Lawrence McFarland, The Rephotographic Survey, Marilyn Bridges, Terry Husebye, David Hockney, NASA, Emmet Gowin, Mark Klett.

There are article on 19th-century photography of western scenery by Timothy O'Sullivan, photographs of the eruption of Mount St. Helen's volcano, and petroglyphs. Lewis Baltz reviews Edward Weston: California Landsdcapes by James Enyeart.  Nineteenth-Century Photographs of the American Landscape by Robert Adams. Richard Misrach suggests the primary illusion of photography in conjunction with his photographs of the desert. Frank Gohlke describes the significance of the eruption of Mt. St. Helens as a symbol of devastation and optimism. Edward Ranney traces the links between a personal landscape, a monumental land-art project, and the signs of construction and ruin in the American Southwest.

Aperture Magazine, No. 98 (Spring 1985)

Essy by Bruce Hampton. 
The renowned landscape photographer addresses conservation issues in Alaska. 
Covering an area larger than the state of Washington, southwest Alaska is a vast watershed that drains from the summits and uplands of the Alaska and Aleutian mountain ranges, west to Bristol Bay and the Bering Sea. 
Working with the support of numerous national foundations, Native corporations and villages, and all the state and federal offices that manage these lands, Robert Glenn Ketchum has brought his rich vision of the landscape and his history of pro-active work to bear on behalf of conservation of the freshwater habitat in the Bristol Bay watershed. His vibrant, encompassing photographs reveal a destination with which few of us are familiar, but one that has a stunning beauty and scale. 
The centennial edition of Audubon named Ketchum one of the one hundred champions of conservation "who shaped the environmental movement of the twentieth century." His prints can be found in most of the major museum collections in the United States, and he is exhibited internationally.

The Tongass : Alaska's Vanishing Rain Forest

Arts & Photography

Ketchum, Robert Glenn

Ketchum, Carey D.

Photography & Video

Dreams & Schemes: Love and Marriage in Modern Times

Dreams & Schemes is a powerful examination of marriage and long-term love and commitment. The deeply moving photographs have all been taken at weddings, but they penetrate the surface manners and ethnic rituals of "wedding photographs." They have another side. In her often very personal text, Abigail Heyman shows us the underlying drama: the fears within the dreams, the nobility  within the schemes. Not just the bride and groom, but also their parents, their children, their stepchildren, their former lovers all appear.  And all of their lives are changed.

Dreams & schemes: Love and marriage in modern times

Heyman, Abigail

Aperture Magazine, No. 127 (Spring 1992)

Politics & Social Sciences

Social Sciences

West from the Columbia is an essay in photographs about the meeting of a great river and the sea. The book is at once a celebration of beauty at the ocean's edge and a meditation on our relationship with it. In the pictures the sea mirrors every condition through which our lives pass- fresh mornings, calm days, fogs, storms, and night-- and as in life, little is explained. Driftwood next to our feet is as mysterious as is the ship on the horizon. Lewis and Clark arrived here, the farthest point in their exploration, in 1805. Report of their journey was instrumental in opening the American West for development. Since then we have destroyed large and diverse forests that once stood along the Columbia, and polluted the river with waste from cities, paper mills, and the Hanford Nuclear Reservation. Though we now know that even the sea itself is finite-- nothing can be hidden-- we continue to look for hope at the ocean's shore. Might we be embraced, like the river, by so perfect a light? Robert Adams is fond of an entry in one of Theodore Roethke's journals-- "I see what I believe."

West from the Columbia: Views at the River Mouth

ADAMS, ROBERT

Pictorial wraps; 120 pages; tight binding; corners are very gently bumped; previous owner's name on title page, else no further marks; no chips or tears; text block is bright and clean; first edition/first printing.

Strong Hearts: Native American Visions and Voices

Aperture, Winter 1996. Features: The Earth Remembers By Jeanloup Sieff, Blaise Cendrars, and Ernst Jünger Photographs by Jeanloup Sieff Midway Poem by Robert Desnos Photographs by Marc Le Mené Moments in the City Vignettes by Annie Ernaux Photographs by Dolorès Marat In the World's Heart Poem by Blaise Cendrars Photographs by Mi-Hyun Kim, Sarah Moon Autobiographical Stories Installations and texts by Sophie Calle Love Chambers Photographs and texts by Bernard Faucon Evening Poem by Tristan Tzara Photographs by Caroline Feyt The Light of Home Photographs and text by Raymond Depardon Two-Way Mirrors By Xavier Emmanuelli Photographs by Jean-François Joly Uprooted Lives: France's New Poverty Photographs and text by Marie-Paule Nègre Veiled Destinies: Women in Algeria Photographs and text by Nadia Benchallal No Pity For Sarajevo By Jean Baudrillard Photographs by Jean-Claude Coutausse War And Dreams Photographs and text by Christine Spengler Monuments To Darkness Installations by Christian Boltanski Apartheid Photographs and text by Marc Pataut The Theatrical Identity Photographs by Lise Sarfati, Pierre et Gilles, Jean-François Lepage, Keiichi Tahara Sines, poem by Raymond Queneau Photography in its Childhood Interview with Robert Delpire

Aperture Magazine, No. 142 (Winter 1996)

Caught in the Act is an exhilarating look at multimedia performance with front-row-center photographs by Dona Ann McAdamns. Her unique vantage is in part due to the enormous respect she has earned from the performers, and it is her key to documenting this ground-breaking type of theater that continuallly challenges the definitions of all the arts. Caught in the Act seizes the energy of paint-squirting, media-mixing Blue Man Group drumming into oblivion, while it resounds with the passionate rants of Karen Finley, and quivers with Pat Oleszko's dazzling costumes of ever-moving appendages. Covering performance art since is nasence at the East Village's Pyramid Club, the WOW Café, 8BC, and other clubs in the early eighties McAdams became the in-house photo archivist at the infamous performance space, P.S. 122, the home of cutting-edge theater that eschews convention as it draws energy and inspiration from all media. At P.S. 122 and other alternative performance spaces such as The Kitchen and Dance Theater Workshop, McAdams developed her long-term relationships with many performers. C. Carr is a Village Voice writer and a long-recognized cultural critic of the New York underground arts movement; in her personal and insightful introduction to Caught in the Act, she writes, "The key to McAdams's work is the relationship she has with the artists. She empathizes. They trust." It is this collaborative approach that has allowed McAdams to faithfully represent the rage, courage, integrity, and creative force of such varied artists as Diamand Galás, Holly Hughes, Ishmael Houston-Jones, John Kelly, DANCENOISE, Ethyl Eichelberger, and David Wojnarowicz--and this is only a small sampling of the performers featured here. Caught in the Act celebrates the spirit that links all artists across their different disciplines and aesthetics. The wonderful coexistence of disparate sensibilities in this publication underscores the very nature of this hybrid art. At the same time, it features many artists who, while focusing primarily on a particular medium, have expanded the context for that medium and pioneered the boundlessness, the marvelous sense of possibility that so distinguishes this contemporary manifestation of performance. This sleek book of black-and-white photographs printed in duotone includes contributions of words, drawings, and scores from some of the pictured performers, including many of those listed above, as well as Penny Arcade, John Bernd, Eric Bogosian, Allen Ginsberg, Philip Glass, Meredith Monk, Tim Miller, and many others. A performance poet in the beat tradition who has been reading and performing since the early seventies, Eileen Myles also contributes a moving Afterword with her poem, "the Troubador." Taken altogether Caught in the Act is as much of the artists as it is about them. This Aperture publication is an entirely original and broad collection of work by some of the most gifted artists of our time.

Caught in the Act: A Look at Contemporary Multimedia Performance

McAdams, Dona Ann

Humor & Entertainment

In 1968, Josef Koudelka was a 30-year-old acclaimed theater photographer who had never made pictures of a news event. That all changed on the night of August 21, when Warsaw Pact tanks invaded the city of Prague, ending the short-lived political liberalization in Czechoslovakia that came to be known as the Prague Spring. Koudelka had returned home the day before from photographing gypsies in Romania. In the midst of the turmoil of the Soviet-led invasion, he took a series of photographs which were miraculously smuggled out of the country. A year after they reached New York, Magnum Photos distributed the images credited to "an unknown Czech photographer" to avoid reprisals. The intensity and significance of the images earned the still-anonymous photographer the Robert Capa Award. Sixteen years would pass before Koudelka could safely acknowledge authorship. Forty years after the invasion, this impressive monograph features nearly 250 of these searing images—most of them published here for the first time—personally selected by Koudelka from his extensive archive. Interspersed with the images are press and propaganda quotations from the time, also selected by Koudelka, alongside a text by three Czech historians. Though the images gathered in this remarkable publication document a specific historical event, their transformative quality still resonates.

Invasion 68: Prague

Individual Artists

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