Aperture 210: Spring 2013

The Spring 2013 issue of "Aperture "relaunches the magazine under the title "Hello, Photography," a playful nod to Daido Moriyama's seminal project "Bye, Bye Photography." Now divided into two distinct sections, "Words" and "Pictures," the issue offers a broad sweep of key issues for photography tod [...]
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The Spring 2013 issue of "Aperture "relaunches the magazine under the title "Hello, Photography," a playful nod to Daido Moriyama's seminal project "Bye, Bye Photography." Now divided into two distinct sections, "Words" and "Pictures," the issue offers a broad sweep of key issues for photography today. The new "Words" section brings readers the sharpest ideas on photography: Charlotte Cotton asks if institutions are stifling innovation; Geoffrey Batchen teases out what social media means for photography; Arthur Ou confronts the challenges of photographic education; and Robin Kesley investigates the key questions driving new scholarship today. Conversations round out this issue's "Words" with Jeff Wall and Lucas Blalock, Mark Westmoreland and Akram Zaatari, and Virginia Rutledge and Penelope Umbrico. "Pictures" is the magazine's superbly printed new visual showcase. Featured for Spring are portfolios from the Gary Winogrand Archive, with curator Leo Rubinfien explaining his new edit to photographer Philip-Lorca diCorcia; Jason Evans' street photography; Eva Respini introducing Michele Abeles; new work by Adam Broomberg and Oliver Chanarin; a dispatch from Magnum's latest road trip with Alec Soth, Zoe Strauss, Jim Goldberg and Mikhael Subotzky; an introduction to Christopher Williams by Matthew Witkovsky; Andrew Norman Wilson's project on Google Books; James Welling speaks with Phil Chang; and more. Accessible new columns include The Collectors (with writing by novelists Sam Lipsyte, Teju Cole, Sheila Heti and Heidi Julavtis); Dispatches (Jason Fulford walks readers through San Francisco's photo scene); and Redux (David Campany on a lost book by Victor Burgin).