书名：Aperture No. 258, Spring 2025: Photography & Painting / 光圈杂志第258期，2025年春季刊：摄影与绘画
定价：188.0
ISBN：9781597115797
作者：Aperture
版次：1
出版时间：2025-03

内容提要：

书名：Photography & Painting: Aperture No. 258 / 摄影与绘画：光圈第258期
出版社：Aperture，2025年
装帧：平装，160页
语种：英文
尺寸：约 21.5*27.0 cm
ISBN：978-1-5971-1579-7

简介

自摄影术于近两个世纪前问世以来，绘画与摄影之间的关系历经多重转折与重新定义。本期《Aperture》春季刊以“摄影与绘画”为主题，汇集了世界各地从这两种媒介中汲取灵感的艺术家，展示相机与画布之间持续展开的对话，其方式引人入胜且出人意料。

本期《Aperture》第258期以三场深度访谈为核心，聚焦于Njideka Akunyili Crosby、Vija Celmins和Christopher Wool——三位同代最具影响力的画家。他们通过截然不同的创作策略将摄影融入绘画，模糊媒介界限以探索时间与空间的新表达方式，重新思考记忆的呈现可能：从Akunyili Crosby融合家庭与旧照片的迷人构图，到Christopher Wool对都市颓败与抽象绘画的观念性探索，再到Vija Celmins对海浪与星系的精细描绘。

本期并未将绘画与摄影视为竞争对手，而是将两者定位为相互启发的源泉。Brian Dillon探讨了摄影师对画家工作室的持久迷恋，在Luigi Ghirri拍摄Giorgio Morandi工作室、Collier Schorr拍摄Nicole Eisenman肖像，以及Sally Mann闯入Cy Twombly工作室等作品中建立关联。David Campany审视了1950年代手势绘画与摄影之间令人惊讶的共鸣，而Lucy Ives则反思了照相写实主义被误解的遗产，揭示这一长期被批评家贬低的运动如何持续影响着年轻艺术家。Lynne Tillman重新发现了Pierre Bonnard的摄影作品，Jarrett Earnest则通过Britney Spears画像、《卡萨布兰卡》剧照等近期绘画提出疑问：为何如此多当代画家正在重制著名影像？Poppy Jones、Lia Darjes和Shirana Shahbazi的作品专辑则以绘画性视觉语言反思过去，拒绝怀旧，转而以更暧昧的态度探问记忆。

本期封面为日本多媒体艺术家杉浦邦惠（Kunié Sugiura）2021年的作品，其融合梦境与实验特质的拼合图像，以涂色块与X光片构成可任意组合的网格，探索了摄影表达的边界。正如编辑所言：“我们生活在一个图像泛滥的时代，一个过量的时代，其中也包括艺术的洪流。在大约两百年的共存之后，摄影与绘画仍在对话，仍通过标记的交换和对周遭表面的审视相互定义——这种交流有时能让我们获得更完整、更缓慢的体验。”

How has the relationship between painting and photography evolved since the invention of the latter nearly two centuries ago? This spring, Aperture presents “Photography & Painting,” featuring artists from around the world who draw inspiration from both mediums in their work, illuminating how the dialogue between camera and canvas continues to unfold today in fascinating, unexpected ways.

Aperture No. 258 is anchored by three in-depth conversations with Njideka Akunyili Crosby, Vija Celmins, and Christopher Wool—three of the most significant painters of their generations. Through different strategies, these artists integrate photographic surfaces into their work, collapsing mediums to find new ways of marking time and space and of expanding our sense of how memories can be represented, from Akunyili Crosby's spellbinding meditations on Nigerian culture incorporating family and found photographs; to Christopher Wool's conceptual images of urban decay, talismanic objects, and his own abstract paintings; to Vija Celmins's painstaking renderings of ocean waves and galaxies. As Celmins tells the photographer Richard Learoyd, “My tools are like hours.”

Rather than treat painting and photography as rivals, this issue frames them as sources of mutual inspiration. Brian Dillon examines photographers' abiding fascination with the painter's studio, drawing connections among Luigi Ghirri's pictures of Giorgio Morandi's atelier, Collier Schorr's portraits of Nicole Eisenman, and Sally Mann's tender trespass into Cy Twombly's Virginia workspace. David Campany looks at the surprising resonances between gestural painting and photography in the 1950s, while Lucy Ives reflects on the misunderstood legacy of photorealism, showing how a movement long disparaged by critics continues to exert a powerful influence on younger artists. Elsewhere in the issue, Lynne Tillman rediscovers the photography of Pierre Bonnard, while Jarrett Earnest—looking at recent paintings of Britney Spears, Casablanca stills, and Judy Garland's Dorothy—asks: Why are so many contemporary painters remaking famous images right now? And portfolios by Poppy Jones, Lia Darjes, and Shirana Shahbazi use painterly references to offer meditations on the past that reject nostalgia for more mysterious, unsettled attitudes toward memory.

The cover of Aperture No. 258 features a 2021 work by Kunié Sugiura, whose hybrid, dreamlike forms have tested the limits of photographic expression for nearly six decades. Made of painted color blocks and X-rays of her body as well as those of strangers—transfixed by the X-ray's spectra representations of the human form, she collected them while hospitalized in the 1990s and printed them in her own darkroom—the work is Sugiura's first large-scale grid, and can be configured in various ways. In an essay coinciding with the retrospective of Sugiura's work at the San Francisco Museum of Modern Art, the curator Erin O'Toole traces the artist's career through its trials and triumphs.

“We live in an age of images, an age of too-muchness, including a flood of art,” the editors write. “After around two hundred years of coexistence, photography and painting are still talking, still defining each other through an exchange of mark making and an examination of the surfaces around us that sometimes allows for fuller—and slower—experiences.”