Fotografi

The Cinepoetics book series aims at a theoretical and analytical reconceptualization of the discursivity of audiovisual images. The focus is not on the circulation of media representations but on the modes of this circulation: How do audiovisual images as figurations of media experience relate to other audiovisual images? What does it mean to describe different modes of audiovisual experience and recursivity as forms of cinematic thinking? From this perspective, the series' volumes provide analyses of the aesthetic dimension, historical function and cultural significance of their subjects, making the poetic logic of audiovisual images accessible to an interdisciplinary audience.

Woran bindet sich die Emotion des Zuschauers im Kino? Und wie lasst sich eine Geschichte dieser Bindung schreiben? Mit Blick auf diese Fragen konzipiert die Arbeit von Hauke Lehmann die filmhistorische Periode des New Hollywood als einen Moment der Krise, der sich weder auf okonomisch bedingte Anpassungsprozesse noch auf eine Ansammlung von Meisterwerken reduzieren lasst. Vielmehr gelangt in der detaillierten Analyse reprasentativer Filme die Kraft filmischer Bilder in den Blick, ihre Zuschauer zu affizieren: sie mit dem Neuen zu konfrontieren. Die Filme des New Hollywood vermessen das Feld der alten poetischen Einteilungen - wie es sich im klassischen Genresystem manifestiert - radikal neu und verandern dadurch die Art und Weise, wie die Zuschauer im Kino emotional adressiert werden. Die Arbeit beschreibt ein komplexes Zusammenspiel dreier filmischer Modi von Affektivitat - Suspense, Paranoia und Melancholie - welche die Zuschauer auf je besondere Weise in die Widerspruche ihrer emotionalen Weltbezuge verwickeln. Auf dieser theoretischen Grundlage entwirft die Arbeit das Projekt einer Neukonzeption von Filmgeschichte: als eine Geschichte des Fuhlens, die sich bis in die Gegenwart neu schreiben lasst.

Isolated in the confinements of her Los Angeles home during the covid lockdown, Rohina Hoffman takes a metaphorical journey of connecting her roots to food through the rituals of daily meals. In Embrace she combines two photographic projects. In Gratitude showcases the food she used to make dinners for her family. Generation 1.75 is a visual memoir of identity, belonging, and the complexities of acculturation. For Hoffman, photographing family members holding dinner ingredients turned into a tool of expressing new deep gratitude for the food. She often thought of all the effort and the hands that had touched the produce before it ended up with her family. The food also became the means of connecting with her family members and reconnecting with her Indian roots in a more profound way. As part of Generation 1.5/1.75 (a term coined by Professor Ruben Rumbaut in 1969 to distinguish those who immigrate as children from their parents who immigrate as adults), Hoffman has struggled with issues of identity and the feeling of "Otherness".  The photographs of food and family are seasoned with Hoffman's poetry. Her essay, 'Not All Peacocks are Blue', published in English and Hindi, provides a deeper look into the photographer's background and serves as a bridge between the two projects. Embrace is a visual examination of how life's simple pleasures expand the quality of human existence and how that expansion helps an individual to secure their identity.

This biography is a record of Geoff's life, written for the benefit of family and friends, and for those who love a story about a strong, creativecharacter who has overcome adversity.

In just under 25 years, single-deck buses in the UK have undergone a transformation. Every single-decker in normal service in the UK today is a low-floor bus offering easy access to everyone. This book traces the story of the UK's low-floor single-deckers, from the first tentative steps to the widespread adoption of this layout.

Beautifully illustrated with over 150 images from around the country, this book charts the routes and services undertaken by the Class 33/37 locomotives over the last 60 years.

Beautifully illustrated, this book is a product of several visits made by the author to Japan over a 14-year period. During this time, new trains had been introduced, old trains retired; new lines had opened, some lines sadly have closed, and several fine new museums had opened. This book looks at the changing scene of Japan's railways.

Beautifully illustrated, this book is a product of several visits made by the author to Japan over a 14-year period. During this time, new trains had been introduced, old trains retired; new lines had opened, some lines sadly have closed, and several fine new museums had opened. This book looks at the changing scene of Japan's railways.

With over 200 images, this is a visual journey around the Emerald Isle over 100 years, moving through to modern times, showing the various traction, locomotives and stations that have made Ireland's railways what they are today.

Dark Waters, Kristine Potter's second monograph, continues her engagement with the American landscape as a palimpsest for cultural ideologies. In this dark and brooding series, Potter reflects on the Southern Gothic landscape as evoked in the popular imagination of "murder ballads" from the nineteenth and twentieth centuries. Her seductive, richly detailed black-and-white images channel the setting and characters of these songs, capturing the landscape of the American South, and creating a series of evocative portraits that stand in for the oft-unnamed women at the center of their stories. In the American murder ballad, which has taken on cult appeal and continue to be rerecorded even to this day, the riverscape is frequently the stage of crimes as described in their lyrics. Places like Murder Creek, Bloody Fork, and Deadman's Pond are haunted by both the victim and perpetrator of violence in the world Potter conjures, reflecting the casual and popular glamorization of violence against women that remains prevalent in today's cultural landscape. As Potter notes, "I see a through line of violent exhibitionism from those early murder ballads, to the Wild West shows, to the contemporary landscape of cinema and television. Culturally, we seem to require it." Dark Waters both evokes and exorcises the sense of threat and foreboding that women often grapple with as they move through the world. Author Rebecca Bengal contributes an evocative short story that underscores the sense of anxiety and foreboding that Potter infuses into each of her images; a deliciously compelling, if chilling, combination. Copublished by Aperture with Images Vevey and The Momentary

In his project Community Fire, the photographer Zhang Xiao takes a local, hometown look at Shehuo (社火), a Chinese Spring Festival tradition celebrated in rural Northern Chinese communities that includes temple fairs, dragon dances, and storytelling.Shehuo— literally, “community fire”—is devoted to the worship of land and fire, and boasts a history of many thousands of years. During the festival, people hold ceremonies, pray for the next year’s good harvest, and confer blessings of peace and safety on all family members. However, what was once a heterogeneous cultural tradition with myriad regional variations has largely become a tourist-facing, consumption-oriented enterprise. In the early 2000s, Shehuo received an “intangible cultural heritage” designation from the People’s Republic of China, resulting in increased funding in exchange for greater government involvement. While altering the practitioners’ relation to Shehuo, this change expresses itself most visually in the way costumes and props have been replaced with newer, cheaper products from online shopping websites.Zhang’s colorful and fantastical photographs capture how these mass-produced substitutions have transformed the practice of Shehuo. Community Fire—with essays in English and Chinese—is a dynamic visual exploration of one of China’s oldest traditions.Copublished by Aperture and Peabody Museum Press

Mystic Parallax is the first major monograph by rising interdisciplinary artist Awol Erizku. Working across photography, film, video, painting, and installation, his work references and re-imagines African American and African visual culture, from hip hop vernacular to Nefertiti, while nodding to traditions of spirituality and Surrealism. This comprehensive monograph spans Erizku's career, blending his studio practice with his work as an in-demand editorial photographer working regularly for the New Yorker, New York magazine, Time, and GQ, among others, and features his conceptual portraits of Black cultural icons, such as Solange, Amanda Gorman, and Michael B. Jordan. As Erizku recently told the New York Times, "It's important for me to create confident, powerful, downright regal images of Black people."Featuring essays by critically acclaimed author Ishmael Reed, curator Ashley James, and writer Doreen St. Félix, and interviews with the artist by Urs Fischer and Antwaun Sargent, Mystic Parallax is a luminous and arresting testament to the artist's tremendous power and originality. Copublished by Aperture and The Momentary

In this volume of The Photography Workshop Series, Vik Muniz-known for his playful pictures that complicate what is understood as a photograph, sculpture, and painting-offers his insight into thinking creatively and seeing the familiar in new and surprising ways. Aperture works with the world's top photographers to distill their creative approaches, teachings, and insights on photography-offering the workshop experience in a book. Our goal is to inspire photographers of all levels who wish to improve their work, as well as readers interested in deepening their understanding of the art of photography. Through images and words, Muniz shares his creative practice and artistic inspirations, and discusses a wide range of topics, from generating ideas and creating images that challenge viewers' perceptions, to collaboration, imperfection, and the interplay of subject, scale, and material.

Punctuated by seventeen of the artist's photographs, "Isolation" is a poetic meander through the idea of being alone. Self-referential and deeply personal, Nylander considers the implications of the resistance to, and yet need for, personal isolation as a part of the creative process.

Exclusive art project by photographer Erwin Olaf and choreographer Hans van Manen offering a unique view on dance and photography"Ballet inspires me. Human beings have the capacity to express themselves through many art forms, but when it comes to dance - and especially classical modern ballet - I am always amazed by that unbelievably elevated form of expression. It's so precise and so incredibly skilled; I admire that enormously." -- Photographer and filmmaker Erwin Olaf"The fact that the photographer is looking through the camera lens means they have a different perspective from looking directly at the figure. That is voyeuristic. The camera can do something that the audience member can't: zooming in for a close-up." -- Choreographer Hans van ManenThe grand master of Dutch dance, Hans van Manen, celebrates his 90th birthday this year. That has given rise to international celebrations by leading ballet companies with the Hans van Manen festival from 8 to 29 June 2022, the exclusive publication Dance in Close-Up and the exhibition of the same name in Galerie Ron Mandos in Amsterdam from 19 June to 17 July 2022.From the 1970s to the 1990s, Hans van Manen was not only one of the world's leading choreographers, but also an internationally acclaimed photographer. It was during this period that the then very young photographer Erwin Olaf met the famed artist, who immediately took him under his wing and introduced him to the world of the visual arts and studio photography.This book celebrates their 40 years of friendship, with a photo series in which Van Manen directs moments from his choreographic career, recorded with the utmost precision by Erwin Olaf.With text contributions from the authors Nina Siegal and Michael James Gardner.