Aperture, in collaboration with the photography program at Parsons School of Design at The New School, is pleased to present an artist talk with Joshua Rashaad McFadden. Through the use of photography and archive, McFadden explores African American male identity, masculinity, and notions of the father figure—providing a frame of reference that articulates the many personalities of Black men. His work continually investigates themes related to identity, masculinity, history, race, and sexuality. McFadden also documents social justice issues related to police brutality and the continuing protests across the United States.
Joshua Rashaad McFadden (born in Rochester, New York, 1990) is a visual artist and assistant professor of photography at Rochester Institute of Technology. He holds a BA in fine art from Elizabeth City State University, North Carolina, and an MFA from Savannah College of Art and Design, Georgia. McFadden was named one of the top emerging talents in the world by LensCulture in 2015, and he received a first-place prize in the 2020 International Photography Awards for After Selma, his response to the numerous recent incidents of police brutality. He also won the first place IPA award in 2016 for “Come to Selfhood,” a project examining African American manhood. In 2017, McFadden was recognized as one of Time magazine’s “American Voices” and received the Duke University Archive of Documentary Arts Collection Award for Documentarians of Color. McFadden won the 2018 Communication Arts Award of Excellence for his I Am A Man series with Smithsonian Magazine. He has also been published in the New York Times, New York Times Magazine, Slate,Travel + Leisure, Vanity Fair, and Financial Times. McFadden’s work has been exhibited at institutions such as the George Eastman Museum and Fotografiska New York, and he teaches workshops nationally and internationally.
Aperture Foundation, in collaboration with the Photography Program at Parsons School of Design of The New School, is pleased to present an artist talk with Sam Contis. Contis is a California-based artist whose first book, Deep Springs, was published in May 2017. In Deep Springs, Contis uses photography as a tool to understand the landscape of the American West in both its physical manifestation and in its mythic connotations. Responding to canonical classic photographs of the American West, such as those of Carleton Watkins and Timothy H. O’Sullivan, Contis began photographing her own version of the West through the lens of Deep Springs College, a tiny all-male school in Deep Springs Valley, near the California-Nevada border. Founded in 1917, Deep Springs is an unusual school in that it encourages physical labor as well as intellectual curiosity—students study philosophy and literature, but are also instrumental in the running of the school’s cattle ranch and alfalfa farm. Contis became closely connected to the community of young men at Deep Springs, making intimate photographs that test our expectations about the way the American West is often represented and gendered. Contis’s young cowboys are gentler and more affectionate than the Marlboro Man or John Wayne; they seem to become part of the very soil of Deep Springs, forging a oneness with the historically feminized earth. Ultimately, Contis’s project focuses on age-old photographic questions about representation, identity, and performance. The images expand our visual vocabulary about masculinity and the way we relate both to one another and to our landscapes. Contis states of the American West: “It’s always been thought of as a place where one can try on new identities, reinvent or rediscover oneself. And photography has always been used as a tool to construct new ideas about place and self, especially in the west. In that way, the work is about photography’s own role in the process of coming to understand ourselves and our environment.”
Sam Contis lives and works in California. Her work has been shown internationally with recent exhibitions in Los Angeles, Amsterdam, Antwerp, and London, and solo shows at the Berkeley Art Museum and Pacific Film Archive, California, and Klaus von Nichtssagend Gallery, New York. She is a recipient of the 2017 Nancy Graves Foundation Artist Grant, 2016 Aaron Siskind Foundation fellowship, and the Tierney Fellowship. Contis’s work is represented in the collections of the Los Angeles County Museum of Art and the Yale University Art Gallery. Deep Springs, her first book, was published by MACK earlier this year, and has been shortlisted for the 2017 Paris Photo–Aperture Foundation First PhotoBook award. In 2018, her work will be on view in Being: New Photography at the Museum of Modern Art in New York.
Image: Sam Contis, Deep Springs (2017). Courtesy of the artist and MACK.
Free for students with ID.
TUESDAY, OCTOBER 24, 2017 AT 7:00 PM to 9:00 PM
The Auditorium, Alvin Johnson/J.M. Kaplan Hall
66 West 12th Street, New York, NY 10011
The Aperture “Elements of Style” panel is part of the Confounding Expectations lecture series, which is sponsored by Aperture Foundation, the Vera List Center at The New School, and the Photography Program of Parsons School of Design at The New School.
This conversation will focus on identity, style, and dress―the codes and politics of self-presentation. Panelists will discuss connections between self-portraiture and self-styling, decolonizing the fashion image, and the role of the queer archive in the fashion industry. The conversation will be moderated by historian and author Tanisha C. Ford.
Participating panelists include Collier Shorr, Nadine Ijewere, and Ethan James Green.
Read more at aperture.org/event/aperture-elements-style-panel/
Aperture Foundation, in collaboration with the Photography Program at Parsons School of Design, of The New School, is pleased to present an artist talk with Tabitha Soren. Soren’s work centers on the aesthetic quality of both internal feelings and the photographic process; from aggressive crashing waves to capturing the expressions of someone caught mid-run, Soren’s work touches on emotions—anxiety, bliss, hopeless ambitions, motivation to succeed—that we all often feel. The end product is a photograph of quiet beauty that often contains an underlying tension between viewer and photographer. The tactile nature of her work can be felt when she stretches the medium to a point of abstraction, as seen in her tintypes of baseball players and the marks made on screens left behind by unknown users. These simple acts, such as touching a screen, quickly become beautiful collages that hover between the space of photography and self-reflection.
Tuesday, April 4
Aperture Gallery and Bookstore547 West 27th Street, 4th FloorNew York, NY
This event is free for students with ID and Aperture Members at the $50 level and above.
For more info visit the event page here
Aperture / Parsons Artist Talk: Nona Faustine
Aperture Foundation, in collaboration with the Photography Program at Parsons School of Design, of The New School, is pleased to present an artist talk with Nona Faustine. Since 2013 Faustine has gained widespread acclaim for her photographic work that examines historical narratives haunted by the black female body. Through self-portraiture, she at once reclaims sites in New York City where the history of slavery is built over while at the same time psychologically bringing forth this buried hidden past to the present.
Tuesday, April 18
Aperture Gallery and Bookstore
547 West 27th Street, 4th Floor,
New York, NY
For more info visit the event page here
Aperture Foundation, in collaboration with the Department of Photography at Parsons The New School for Design, is pleased to present an artist talk with Torbjørn Rødland. Rødland’s photographs explore the symbolism of cultural mythologies and human nature. By staging common objects such as cotton buds, ropes of sausages, and high-top sneakers with the human body, he creates surreal images that elicit discomfort despite their ability to project a calm indifference toward the peculiarities depicted. In discussing the title of Rødland’s most recent publication, Torbjørn Rødland: Sasquatch Century (2015), Milena Hoegsberg, chief curator of Henie Onstad Kunstsenter, writes, “The term [Sasquatch] has a cadence that is both foreign and familiar… [Rødland] is invested in neutered symbols, or more precisely in reconfiguring symbols or motives that have undergone shifts in values or that have been partially drained of their cultural power.”
547 West 27th Street, 4th Floor
Tuesday, February 16
FREE for Aperture Foundation Members and students with valid ID