Press Release

Total Page:16

File Type:pdf, Size:1020Kb

Press Release press release APERTURE FOUNDATION ANNOUNCES In Aperture Remix, Martin Parr responds to Aperture magazine #103, including an essay and photographs by Larry Sultan (above) APERTURE REMIX: A SIXTIETH­ANNIVERSARY CELEBRATION Featuring new work by Rinko Kawauchi, Vik Muniz, Taiyo Onorato and Nico Krebs, Martin Parr, Doug Rickard, Viviane Sassen, Alec Soth, Penelope Umbrico, and James Welling Exhibition on view: Wednesday, October 17–Saturday, November 17, 2012 Opening reception: Wednesday, October 17, 2012, 6:00–8:00 pm New York–August 1, 2012–On the occasion of Aperture’s sixtieth anniversary, a select group of contemporary photographers have been invited to choose an Aperture publication by an artist who has been influential in forming their work, and to pay it artistic homage. For each commissioned artist, the goal is to create a new, unique work inspired by the ideas they find most influential or of greatest concern in the previously published work. Once published and released into the public sphere, a body of work can take on a life of its own, spurring other artists to explore new possibilities in their own practice. With Aperture Remix, the goal is to explore the past, but also the present of publishing great work: How have artists drawn encouragement from the work of others through the form of the photobook? How has the printed page—whether in book or magazine form— contributed to an ever‐evolving international network of influence and inspiration? 547 West 27th Street 4th Floor New York, NY 10001 212 505 5555 aperture.org The culmination of the project is an exhibition at Aperture Gallery, which will travel internationally thereafter. Participating artists include: Rinko Kawauchi in response to Sally Mann’s Immediate Family (1992) Vik Muniz in response to Edward Weston’s The Daybooks, Vol. 1 Mexico (1973) Taiyo Onorato and Nico Krebs in response to a selection of Aperture’s essay titles (1989‐2011) Martin Parr in response to Issue 103 of Aperture magazine (1986) Doug Rickard in response to Stephen Shore’s Uncommon Places (1982/2004) Viviane Sassen in response to Edward Weston’s Nudes (1977) Alec Soth in response to Robert Adams’s Summer Nights (1985) Penelope Umbrico in response to The Masters of Photography (1977–1998) James Welling in response to Paul Strand’s Time in New England (1977) On view will be the new works made in response by each artist, including their physical interventions with the publications themselves. These responses will be juxtaposed with the original publications, and a selection of prints published in these works. The project will ultimately comprise a unique way of mapping the enduring influence of Aperture’s publication history as it relates to contemporary practice. Each of the new works are being created in an edition of five, and are available for purchase as a set or individually. For more information, please contact Kellie McLaughlin at (212) 946‐9130 or [email protected]. Related exhibition on view: Aperture Foundation Sixtieth Anniversary Photography Auction Preview October 17–October 23, 2012 Aperture Gallery, New York Related events: Opening reception Aperture Remix: A Sixtieth Anniversary Celebration and Aperture Foundation Sixtieth Anniversary Photography Auction Preview Wednesday, October 17, 2012, 6:00 pm Aperture Gallery, New York Aperture Foundation Sixtieth Anniversary Gala Dinner & Photography Auction Tuesday, October 23, 2012, 6:00 pm Gotham Hall, New York Also published on the occasion of Aperture’s Sixtieth Anniversary: Aperture Magazine Anthology: The Minor White Years, 1952­1976 Edited and with an interview by Peter C. Bunnell Including essays by Ansel Adams, Ruth Bernhard, Carl Chiarenza, Walter Chappell, Jonathan Green, Dorothea Lange, Nathan Lyons, Lisette Model, Barbara Morgan, Beaumont Newhall, Nancy Newhall, Arthur Siegel, Henry Holmes Smith, Frederick Sommer, John Szarkowski, Minor White, and others Location: Aperture Gallery 547 West 27th Street, Fourth floor New York, NY Hours: Monday through Saturday, 10:00 am–6:00 pm; Closed Sunday Admission: Free Aperture, a not‐for‐profit foundation, connects the photo community and its audiences with the most inspiring work, the sharpest ideas, and with each other—in print, in person, and online. Press Contact: Barbara Escobar, Publicity and Events Manager, (212) 946‐7123, [email protected] .
Recommended publications
  • Photographs from the Polaroid Collection New York | 21 Jun 2010, 5:00 PM, 22 Jun 2010, 10:00 AM & 2:00 PM & 5:00 PM | N08649
    Photographs from the Polaroid Collection New York | 21 Jun 2010, 5:00 PM, 22 Jun 2010, 10:00 AM & 2:00 PM & 5:00 PM | N08649 LOT 111 LAURIE SIMMONS B. 1949 TREE WITH CLOTHES ORNAMENTS DIPTYCH, FROM THE EDUCATION PROJECT a diptych of unique large-format Polaroid Polacolor prints, each signed and dated in ink in the margin, framed together, 1992 Each approximately 24¼ by 20¾ in. (61.6 by 52.7 cm.) ESTIMATE 5,000 - 7,000 USD LITERATURE Carole Kismaric, ed., Art Works: Teenagers and Artists Collaborate on the Polaroid 20" x 24" Camera (The Education Project, 1993), pp. 34-5 (likely these prints) CATALOGUE NOTE In the early 1990s, Janeil Engelstad, director of Public Programs and Development for The Education Project, conceived of Art Works, a not-for-profit program that would pair at-risk teenagers from New York who showed an interest in photography with professional photographers. Funded in part by the Polaroid Corporation, Art Works engaged its young participants with the use of the large-format Polaroid camera in efforts to promote learning and self-expression. Among others, participating artists included Chuck Close, Andres Serrano, and William Wegman. The photographs offered here, and in Lots 170 and 224, come from these student-artist collaborations. Photographs from the Polaroid Collection New York | 21 Jun 2010, 5:00 PM, 22 Jun 2010, 10:00 AM & 2:00 PM & 5:00 PM | N08649 LOT 122 LES KRIMS B. 1943 SELECTED IMAGES 2 unique manipulated Polaroid SX-70 prints, comprising Chicken Pisher Pitcher Picture and Nude with Watermelon Slices, each mounted, signed and dated in pencil and the first with the photographer's 'FICTCRYPTOKRIMSOGRAPH' stamp and each with date stamps in red ink in the margin, the mounts with credit and number stamps, 1974 (2) 3 1/8 by 3 in.
    [Show full text]
  • Press Release Press Release Press Release
    PRESS RELEASE PRESS RELEASE PRESS RELEASE W ALTER C HAPPELL: I NTO T HE L IGHT AUGUST 20TH – S EPTEMBER 25TH, 2021 Chappell’s photographs are maps to inaccessible places within the being of man. - Dr. Shems Friedland The poet Charles Olson said, “Art is the only true twin life has.” Walter’s art and life were indistinguishable and he lived the one as he practiced the other. And vice versa. – Robert Creeley Walter Chappell's (1925 - 2000) provocative photographs of the human body, landscapes, and his Metaflora photographs of the auras of plants, are imbued with light from within that radiates and pulses with spiritual energy. 369 Montezuma Avenue, #345 • Santa Fe, NM 87501 505-988-5116 www.photographydealers.com • [email protected] We opened our gallery in 1980 in the living room of a small house in the Historic Guadalupe Barrio in Santa Fe. The 1000 square foot house had a main bedroom that served as our darkroom, and a living room, which was the gallery. The Guadalupe Barrio was a wonderful mixture of old Santa Fe and young Santa Fe – with many artists finding the neighborhood welcoming them. Paul Caponigro lived on the corner; a few years later, Walter Chappell moved next door. Getting to know both of them was a gift and life- changing. There was never a time that we spent with Walter that we didn’t learn something significant about life, nor was there a time spent with Paul that we didn’t learn about seeing. And, through both of them, we gained insights into their teacher, Minor White.
    [Show full text]
  • Henry Holmes Smith Papers
    HENRY HOLMES SMITH PAPERS Compiled by Charles Lamb and Mary Ellen McGoldrick GUIDE SERIES NUMBER EIGHT CENTER FOR CREATIVE PHOTOGRAPHY UNIVERSITY OF ARIZONA Center for Creative Photography University of Arizona Copyright© 1983 Arizona Board of Regents This guide was produced with the assistance of the National Endowment for the Arts, a federal agency. Contents The Critic's Tale: A Commentary on Henry Holmes 5 PrefureSmith's Writings on Photography, by Susan E. Cohen 7 Introduction to the Henry Holmes Smith Papers 17 Correspondence, 1929- 80 18 Writings by Henry Holmes Smith, 1925- 82 20 Nonfiction 20 Fiction 22 Miscellaneous 23 Education, 1930s- 70s 24 Courses Taught by Smith 24 New Bauhaus School and Institute of Design 24 Courses Taken by Smith 24 Lectures, Conferences, and Workshops 24 Administrative Records (Indiana University) 25 Exhibitions, 1929- 83 26 One-Man Exhibitions of Smith's Work 26 Group Exhibitions that Included Smith's Work 26 Miscellaneous Exhibitions (Not Including Smith's Work) 28 Photographic Organizations 29 Photographer's Exhibition Service, 1959- 63 29 Professional Associations, 1947 - 81 29 Other Material 30 Personal and Financial Records, 1950s- 70s 30 Reference Files, 1940s- 70s 30 Audio Visual Material, 1950s- 80 30 Related Resources 31 Prints 31 Videotape Library 31 Henry Holmes Smith: A Biographical Essay, by Howard Bossen 32 Henry Holmes Smith Bibliography, by Howard Bossen 37 Published Works by Henry Holmes Smith 37 Writings About Henry Holmes Smith 39 Preface The Guide Series is designed to inform scholars and students of the history of photography about the larger photograph, manuscript, and negative collections at the Center for Creative Photography.
    [Show full text]
  • Contemporaries Art Gallery Records
    Contemporaries Art Gallery Records LUCILE R. HORSLEY, OWNER-DIRECTOR New Mexico Museum of Art Library and Archives Extent : 3 linear feet Dates : 1962-1967 Language : English Related Materials Many of the artists named in this collection exhibited at this museum. For information about these exhibitions consult the museum's exhibition files and/or catalogs. The museum library also contains separate biographical files for the artists mentioned in this collection. Revised 04/07/2016 Contents Section I - Financial Records Section II - Artists and Visitors Log A. Licenses and Artists' Resumes B. Register of Visitors Section III - Scrapbooks Section IV - Artists and Correspondence Preliminary Comments Artists, Sculptors, and Photographers Section V - Exhibition Flyers Section VI - Gallery Correspondence and Interview A. Correspondence B. The Interview C. Miscellaneous Material Section VII - Photographs - Art and Artists Section VIII- Record Book of Lucile R. Horsley Contemporaries Gallery Page 2 Revised 04/07/2016 Preliminary Statement Lucile R. Horsley (herein LRH), an artist in her own right, organized and opened the Contemporaries Gallery (herein Gallery) in Santa Fe, New Mexico at 418 ½ College Street [now 414 Old Santa Fe Trail] on April 7, 1962. It was one of the first sites for contemporary art showings in the city. She operated it as a "semi-cooperative center" (her words) in which 25 of the finest and most vital painters, sculptors, and photographers of New Mexico could exhibit their work at the same time. By her own admission it was a "pioneering venture." Those who agreed to make monthly payments of LHR's established "fee" schedule were called "Participating Artists." The Gallery remained open for some two and one-half years.
    [Show full text]
  • Alec Soth's Journey: Materiality and Time Emily Elizabeth Greer
    Alec Soth’s Journey: Materiality and Time Emily Elizabeth Greer Introduction The photographer Alec Soth is known for series of images and publications that encapsulate his travels through time and place within the American landscape. Each grouping of photographs uses a specific medium and geographical orientation in order to explore unique journeys and themes, such as the loneliness and banality of strangers in a public park, religion and debauchery in the Mississippi Delta, and the isolation of hermits in the valleys of rural Montana. Yet how are we to understand the place of these smaller journeys within Soth’s larger artistic career? How are these publications and series connected to one another, and how do they evolve and change? Here, I will consider these questions as they relate to the specific materials within Soth’s work. Using material properties as a framework illuminates the way in which each series illustrates these specific themes, and also how each grouping of images holds a significant place within the artist’s larger photographic oeuvre. Throughout Alec Soth’s career, his movement between mediums has evolved in a manner that mirrors the progression of themes and subject matter within his larger body of work as a whole. From his earliest photographic forays in black and white film to his most recent digital video projects, Soth creates images that depict a meandering passage through time and place.1 His portraits, still lifes, and landscapes work together to suggest what one might call a stream of conscious wandering. The chronological progression of materiality in his works, from early black and white photography to large format 8x10 color images to more recent explorations in digital photography and film, illuminates the way in which each medium is used to tell a story of temporality and loneliness within the American landscape.
    [Show full text]
  • Our Choice of New and Emerging Photographers to Watch
    OUR CHOICE OF NEW AND EMERGING PHOTOGRAPHERS TO WATCH TASNEEM ALSULTAN SASHA ARUTYUNOVA XYZA BACANI IAN BATES CLARE BENSON ADAM BIRKAN KAI CAEMMERER NICHOLAS CALCOTT SOUVID DATTA RONAN DONOVAN BENEDICT EVANS PETER GARRITANO SALWAN GEORGES JUAN GIRALDO ERIC HELGAS CHRISTINA HOLMES JUSTIN KANEPS YUYANG LIU YAEL MARTINEZ PETER MATHER JAKE NAUGHTON ADRIANE OHANESIAN CAIT OPPERMANN KATYA REZVAYA AMANDA RINGSTAD ANASTASIIA SAPON ANDY J. SCOTT VICTORIA STEVENS CAROLYN VAN HOUTEN DANIELLA ZALCMAN © JUSTIN KANEPS APRIL 2017 pdnonline.com 25 OUR CHOICE OF NEW AND EMERGING PHOTOGRAPHERS TO WATCH EZVAYA R © KATYA © KATYA EDITor’s NoTE Reading about the burgeoning careers of these 30 Interning helped Carolyn Van Houten learn about working photographers, a few themes emerge: Personal, self- as a photographer; the Missouri Photo Workshop helped assigned work remains vital for photographers; workshops, Ronan Donovan expand his storytelling skills; Souvid fellowships, competitions and other opportunities to engage Datta gained recognition through the IdeasTap/Magnum with peers and mentors in the photo community are often International Photography Award, and Daniella Zalcman’s pivotal in building knowledge and confidence; and demeanor grants from the Pulitzer Center on Crisis Reporting altered and creative problem solving ability keep clients calling back. the course of her career. Many of the 2017 PDN’s 30 gained recognition by In their assignment work, these photographers deliver pursuing projects that reflect their own experiences and for their clients without fuss. Benedict Evans, a client interests. Salwan Georges explored the Iraqi immigrant says, “set himself apart” because people like to work with community of which he’s a part. Xyza Bacani, a one- him.
    [Show full text]
  • Notable Photographers Updated 3/12/19
    Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius
    [Show full text]
  • Darkhighway Textpluswork.Pdf
    The Dark Highway Paul Wenham-Clarke Curated by Aaron Schuman Supporting essay by Paul Allen THE ARTIST'S SPACE “I started out as a commercial photographer working for corporate clients such as British Telecom, Hitachi and Hoover, and was one of the first practitioners to embrace the opportunities and potential of digital technologies. This activity generally involved me in being creative in response to the demands of others and producing short-lived outcomes with no social impact beyond generating sales. Throughout this time I was shooting small personal projects about other people’s lives, from documenting the last employees in a bus station before it was knocked down to make way for a shopping mall, to recording the fading charm of Weymouth’s seafront. The shift was realising that I wanted to undertake a more substantial piece of work about a subject of social importance; the result was When Lives Collide. Subsequent projects continued to explore ideas about the road that ultimately led to an aspect of it that was concerned with how I felt about the subject matter rather than it being documentary research. Sacrifice the Birdsong came from a compulsion to explore a lifelong interest in wildlife and mourn its loss on our roads through images that engage the public rather than the art community alone. The Dark Highway is a summary of these works and a record of my changing working processes.” Paul Wenham-Clarke, 2014 Megan on a cold minus 5 degree morning, from The Westway 3 STYLES, STRATEGIES AND SUBJECTS CURATOR'S VIEWPOINT n one sense, The Dark Highway is a somewhat misleading title, in that it implies that the photographic works included in this exhibition are situated in the middle Iof a road, albeit an ominous and metaphoric one.
    [Show full text]
  • Finding Aid for the Arnold Gassan Collection
    Center for Creative Photography The University of Arizona 1030 N. Olive Rd. P.O. Box 210103 Tucson, AZ 85721 Phone: 520-621-6273 Fax: 520-621-9444 Email: [email protected] URL: http://creativephotography.org Finding aid for the Arnold Gassan Archive, 1945 - 1989 AG 58 Finding aid updated by Paloma Phelps, 2017 AG 58: Arnold Gassan Archive - page 2 Arnold Gassan Archive, 1945 - 1989 AG 58 Creator Gassan, Arnold Abstract Papers, 1945 - 1989, of Arnold Gassan (1930 - 2001), photographer. Correspondents include Minor White, Walter Chappell, Syl Labrot, Ansel Adams, and Ralph Eugene Meatyard. Of interest are a transcription of a journal kept by Gassan during his participation in Adams’ Yosemite workshop in June 1959, a mimeographed review of notes from lectures given by Adams at the Museum of Modern Art (New York), in 1945, an author’s manuscript for a revised edition of A Chronology of Photography, and the working notes for an article in Aperture (1955) by Minor White and Walter Chappell. Quantity/ Extent 4 linear feet Language of Materials English Biographical/ Historical Note Arnold Gassan (1930-2001) was an American photographer, author, and psychologist. Notable photographic books written by Gassan include of A Chronology of Photography (1972) and Exploring Black and White Photography (1989). Gassan became a licensed psychologist in Arizona in 1991. Scope and Content Note The first series, Correspondence, includes correspondence with notable artists such as Ansel Adams, Minor White, and others, along with correspondence with Center for Creative Photography staff. A selected index is included in the container list. Series two, Activity Files, includes several articles written by notable American photographers, transcribed notes and interview, Ansel Adams lecture notes and Yosemite workshop journal, portfolio announcement, exhibition slides, and two Many materials are missing dates.
    [Show full text]
  • Hyperallergic Contemporary Photographers Remix Modern Masters by Chloe Pantazi on November 12, 2012
    http://hyperallergic.com/60166/contemporary-photographers-remix-modern-masters/ Hyperallergic Contemporary Photographers Remix Modern Masters by Chloe Pantazi on November 12, 2012 “Aperture Remix,” installation view (all images courtesy the Aperture Foundation) The Aperture Foundation, created in 1952, did much to alter photography’s reputation at a time when it was not yet considered art. Sixty years later, for the current anniversary exhibition, Aperture Remix, the foundation commissioned ten photographers — Rinko Kawauchi, Vik Muniz, Taiyo Onorato and Nico Krebs, Martin Parr, Doug Rickard, Viviane Sassen, Alec Soth, Penelope Umbrico, and James Welling — to revisit and respond to one of its publications, an issue of Aperture magazine or a photography book, that inspired their own work. Exhibited alongside the earlier pieces, the new works, which aren’t limited to photography but also include film and sculpture, raise questions about the nature of beauty and place that are as pertinent as those elicited by the works they pay homage to, drawing on these themes in current, culturally relevant ways. The masters of photography — Edward Weston, Paul Strand, and Robert Adams, among others — have spoken to these contemporary photographers, and now the younger generation is talking back, in terms we can all understand. Penelope Umbrico’s “Moving Mountains,” a magnificent tableau of eighty-seven photographs of mountains responding to those in Aperture’s Masters of Photography series, were taken on her iPhone and manipulated using apps. In an age when anyone can take pictures with her iPhone and, within seconds, upload them to a myriad of virtual galleries, “Mountains” represents a return to nature mediated through technology.
    [Show full text]
  • Alec Soth's Photographs of Hard-Luck America Dazzle
    Viveros-Fauné, Christian. “Alec Soth’s Photographs of Hard-Luck America Dazzle,” artnet news, February 4, 2015. Alec Soth, Bree. Liberty Cheer All-Stars. Corsicana, Texas. (2013). Courtesy Sean Kelly Gallery What hangs in the balance between a community and a “web community"? The health of a nation, says photographer Alec Soth, who spent a busy two years between 2012 and 2014 crisscrossing the country documenting the simultaneous decline and evolution of American civic life. On assignment for his own self-published newspaper, the LBM Dispatch, as well as the New York Times, Soth took on the guise of that rare professional bird: the community reporter. The ruse gave him cover to attend beauty pageants, proms, church socials, football games, Moose Lodge functions and various small-town gatherings. His resulting visual essay invites both nostalgia and anxiety—but of the sort normally leveraged for conspiracy theories and Tea Party rallies. Evocatively titled Songbook, the photographer's collection of unsettling black-and-white images is now gathered between two clothbound covers (MACK, January 2015). It is also the subject of a single concurrent exhibition at three prominent U.S. galleries—San Francisco's Fraenkel Gallery, Minneapolis's Weinstein Gallery, and New York's Sean Kelly. Soth's latest portrait of the state of the nation—previous books include Sleeping By the Mississippi and Niagara—harkens back directly to documentary photography's golden age. An era in which rural and poor America got its first close-up, the period spawned several epic bodies of work that scrutinized the tails- you-lose side of the American dream.
    [Show full text]
  • ALEC SOTH Bibliography Selected Publications
    ALEC SOTH Bibliography Selected Publications 2019 Soth, Alec. I Know How Furiously Your Heart is Beating. London: MACK, 2019. 2018 Soth, Alec. Alec Soth: Niagara. London: MACK, 2018. 2015 Penhall, Michele M. Stories from the Camera: Reflections on the Photograph. Albuquerque: University of Mexico, 2015. Schuman, Aaron and Kate Bush. Gathered Leaves, London: MACK, 2015. 2014 Fraenkel, Jeffrey ed. The Plot Thickens. San Francisco: Fraenkel Gallery, 2014. Knight, Robert. In Context: The Portrait in Contemporary Photographic Practice. Clinton, New York: Ruth and Elmer Wellin Museum of Art, 2014. Soth, Alec. Songbook. Minnesota: Little Brown Mushroom, 2014. “The Secret Lives of Museum Guards,” The New Yorker, September 26, 2015. “Voyages: Visual Journeys by six photographers,” The New York Times Magazine, September 26, 2015. 2013 Dyer, Geoff and Pico Iyer. Ping Pong. St. Paul, Minnesota: Little Brown Mushroom, September 2013. Soth, Alec and Brad Zellar. Three Valleys. St. Paul, Minnesota: Little Brown Mushroom, March 2013. 2012 Soth, Alec. Looking for Love 1996. Berlin: Kominek Books, 2012. Soth, Alec and Brad Zellar. Ohio. St. Paul, Minnesota: Little Brown Mushroom, May 2012. Soth, Alec and Brad Zellar. Upstate. St. Paul, Minnesota: Little Brown Mushroom, August 2012. Soth, Alec and Brad Zellar. Michigan. St. Paul, Minnesota: Little Brown Mushroom, November 2012. 2011 Alec Soth: Mostly Women. Portland, Oregon: Nazraeli Press, 2011. Soth, Alec. Alec Soth: La Belle Dame Sans Merci. 2011. Soth, Alec. Lonley Boy Mag (No. A-1: Alec Soth’s Midwestern Exotica). St. Paul, Minnesota: Little Brown Mushroom Books, March 2011. 2010 Rodarte, Catherine Opie, Alec Soth. Zurich: JRP Ringier, 2010. Soth, Alec.
    [Show full text]