A Message from Aperture Foundation’s New Executive Director
Sarah Meister reflects on the role Aperture has played throughout her life and how photography brings us together, across continents and decades.
Sara Cwynar,
Today is my second First Day at a New Job, and I’m giddy with anticipation. My
first First Day was in September 1994, fresh out of college, when I walked into the Department of Photography at the Museum of Modern Art. We used typewriters on occasion, floppy disks at shared computers, no internet or email! John Szarkowski stopped by regularly, and people smoked in their offices. Every Thursday morning, the curatorial staff would gather to look at portfolios that photographers had dropped off and mailed in from all over the world. I couldn’t believe how fortunate I was to spend my days around amazing photographs and brilliant people. That feeling never waned and in my new role leading Aperture, I imagine it never will.
30 Black Women Trailblazing Visual Representation and Racial Justice
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Through the lens, photographer Matthew Pevear sees life and motion in scenes that appear inertly every day in nature a gift he passes on to viewers looking for meaning in the ordinary panorama they view from a bedroom window, a mud puddle or a plate of kiwi slices on the kitchen table. He’s that subtle, yet full of life as an artist, catching the glow of a simple life lived. It’s a shame he’ll be leaving Colorado soon for grad school in Ohio, but we still hope to see more from him (and his talented partner, artist Marsha Mack) in Front Range galleries.
There are no big crowds or large gestures in
But Still, It Turns: Recent Photography from the World at the International Center of Photography in New York, which brings together the work of nine photographers to illuminate, as if by aleatory spotlight, corners of the United States in everyday endurance. Instead, the mood is quietly contemplative, a muted melancholy settling over the show like a light fog.
But Still, It Turns what Galileo reportedly said upon the church’s rejection of his most famous theory was planned before the pandemic but held until this February. If the exhibition feels prophetic, you might attribute that to the tricks of time. If it feels a bit random, that is no accident, writes curator and photographer Paul Graham in the stylish catalogue, published by MACK. “To some viewers, the artists’ work presented here, with its tributaries and eddies, its non-sequiturs and perambulations, its lack of drama and prize winning moments, will mean it does not appeal
Swann Galleries announces spring sale of African American art
Charles Alston, City at Night, oil on canvas, circa 195660. Estimate $100,000 to $150,000.
NEW YORK, NY
.-Swann Galleriess spring sale of African American Art will take place on Thursday, April 22. The sale will present quality works spanning mediums and movements within the canon.
Artists of the Harlem Renaissance feature in the sale, with a run of works by Richmond Barthé and prints by Aaron Douglas. African Boy Dancing, 1937, is an important and strikingly beautiful bronze by Barthé; which represents the culmination of the artists significant study of the male figure in sculpture, anatomy and African dance in the 1930s, and his pioneering realization of an ideal male nude. This is the first time this sculpture has come to auction, and only the second time that an original 1930s cast by Barthé has appeared at auction. The sculpture is expected to bring $150,000 to $200,000. Also by Barthé is Stevedore, 1
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