Currently Reading: Aperture Magazine Anthology - The Minor White Years
Published on the occasion of Aperture’s sixtieth anniversary, this first ever anthology of critical writings from the magazine provides a selection of contributions from the first twenty-five years of its life - years under the editorship of visionary Aperture cofounder Minor White.
Currently Reading, Minor White: Manifestations of the Spirit
White described his sequences as being like “a cinema of stills” and called on the viewer to be an active participant in experiencing the varied moods and associations that come to the fore while moving from one photograph to the next. “To engage a sequence,” White wrote, “we keep in mind the photographs on either side of the other in our eye.” Over the course of his career, White created over one hundred sequences, series, and portfolios. Viewers of his sequences must not only read each individual image in relation to adjacent images but also consider all of the images in a highly structured grouping as the complete expression of an idea. As Peter C. Bunnell has aptly pointed out, White’s sequences have many levels of meaning, but these can be generally categorized into three main groups: superficial, underlying, and ultimate. The superficial meaning is descriptive; the underlying meaning is symbolic, and the ultimate meaning is intensely personal and thus the most elusive. Picking out the ultimate meaning requires both a good deal of concentration and a thorough understanding of what was going on in the artist’s life. (page 10)
Currently reading: Face Value: Portraiture in the Age of Abstraction
Face Value: Portraiture in the Age of Abstraction includes a detailed assessment of fifty-two innovative paintings, drawings, prints, and sculptures, accompanied by full color plates.
By charting portraiture from 1945 to 1975, at the very moment many in the art world considered figuration hopelessly out of fashion, Face Value reveals a previously untold story.
One roll of color film. Grand Canyon. Ca 1956.
Between 1927 and the late 1960’s my grandparents documented their lives with a Kodak Model A, series three camera. Almost all were shot in black and white; flower gardens, mountain landscapes, and a trip around the world. Of the 1500 two and a half by four and a quarter negatives in my collection, only eight images from a trip to the Grand Canyon are in color.