{"product_id":"we-make-pictures-in-order-to-live-aperture-250-9781597115476","title":"We Make Pictures in Order to Live: Aperture 250","description":"This spring, \u003ci\u003eAperture \u003c\/i\u003emagazine presents issue #250, \"We Make Pictures in Order to Live,\" which explores the relationship between photography and storytelling across generations and geographies. Featuring visual stories that excite, surprise, and illuminate daily life, this issue's title is a nod to the late, celebrated writer Joan Didion, who declared, \"We tell ourselves stories in order to live.\" Aperture contributors explore the quiet poetry-- or clamorous disorder--of the everyday, and attest that making photographs is a way of being aliveIn a sweeping introductory essay, \u003cb\u003eBrian Dillon\u003c\/b\u003e asks how we might view Didion through photography, and what images come to mind when we think of her writing. \u003cb\u003eThessaly La Force \u003c\/b\u003eprofiles\u003cb\u003e Bieke Depoorter\u003c\/b\u003e, who sees documentary photography both as a listening exercise and a form of investigation, blurring the lines between authorship, fiction, and truth. \u003cb\u003eAlistair O'Neill\u003c\/b\u003e takes stock of Nick Waplington's vibrant records of subcultures on both sides of the Atlantic.\u003cb\u003e Lena Fritsch\u003c\/b\u003e writes about the \"exquisite world-making\" of photographer Eikoh Hosoe's collaborative practice.\u003cb\u003e Tiana Reid\u003c\/b\u003e reconsiders Charles \"Teenie\" Harris's vivid, midcentury portraits of Black life in Pittsburgh, several of which are published for the first time in this issue. Among the portfolios, \u003cb\u003eCasey Gerald\u003c\/b\u003e discusses Adraint Bereal's images depicting the agony and ecstasy of being a Black college student in the US today. \u003cb\u003eYvonne Venegas\u003c\/b\u003e searches for family ghosts in the Mexican landscape, which poet and novelist Daniel Saldaña París describes as \"an exercise in freedom and intelligence.\" \u003cb\u003eKamayani Sharma\u003c\/b\u003e looks at Gauri Gill's images of a community masquerade in the Indian state of Maharashtra, and its potential to reverse power dynamics inherent in seeing and being seen. \u003cb\u003eDurga Chew-Bose\u003c\/b\u003e meditates on the photographs of Mary Manning--also featured on the cover-- and their poetic sensitivity toward story and the everyday. For Endnote, Aperture poses six questions for the painter \u003cb\u003eJordan Casteel. \u003c\/b\u003eIn The PhotoBook Review--included within every issue of Aperture--\u003cb\u003eBruno Ceschel\u003c\/b\u003e speaks with photographer, bookmaker, and publisher \u003cb\u003eAlejandro Cartagena\u003c\/b\u003e about his work. \u003cb\u003eLou Stoppard\u003c\/b\u003e reviews a trio of photobooks about domestic spaces, and Aperture's editors review a range of recent publications.\u003cbr\u003e\u003cbr\u003e","brand":"Aperture","offers":[{"title":"Default Title","offer_id":50497773306130,"sku":"9781597115476","price":17.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0831\/4771\/8930\/files\/img_b47392fa-ae9b-41ee-920c-637f3c5f0a69.jpg?v=1730719669","url":"https:\/\/surprise-castle.myshopify.com\/products\/we-make-pictures-in-order-to-live-aperture-250-9781597115476","provider":"Surprise Castle","version":"1.0","type":"link"}