A panorama of the career of South African photographer David Goldblatt, elucidating his artistic commitments, networks, and influence.

David Goldblatt: No Ulterior Motive coincides with a major traveling retrospective of the renowned South African photographer’s work. From vintage handprints of the artist’s black-and-white photography, taken between the 1950s and the 1990s, to his post-apartheid, large-format, color work, photographs in the volume are approached thematically—under headers such as “Assembly,” “Disbelief,” “Dialogues,” and “Extraction”—to draw out the artist’s core interests in working-class people, the landscape, and the built environment. Objects from Goldblatt’s (1930–2018) personal archive are also included.

In an effort to create a more inclusive dialogue around Goldblatt’s work, the catalogue features images and texts by contemporary photographers and scholars, many of whom were mentored by Goldblatt, including Zanele Muholi and Sabelo Mlangeni. Some write on Goldblatt’s photographs, while others discuss his influence on their own work. Goldblatt devoted his life to documenting his country and its people. Known for his nuanced portrayals of life under apartheid, he covered a wide range of subjects, all of them intimately connected to South African history and politics.

The wide-ranging voices in this catalogue foster a broad frame of reference for his work, thus countering a frequent misunderstanding of apartheid as a situation peculiar to South Africa.

An intimate portrait of the life and work of one of photography’s most renowned and celebrated artists Throughout his more than sixty-year-long obsession with the medium, Josef Koudelka considers a remarkable range of photographic subjects—from his early theater work, to his seminal project on the Roma and his legendary coverage of the 1968 Soviet invasion of Prague, to the solitariness of exile and the often-devastating impact humans have had on the landscape. Josef Koudelka: Next embraces all of Koudelka’s projects and his evolution as an artist in the context of his life story and working process, offering an unprecedented glimpse into the mind and world of this notoriously private photographer. Based on hundreds of hours of interviews conducted over the course of almost a decade with Koudelka—as well as ongoing conversations with his friends, family, colleagues, and collaborators worldwide—this deftly told, richly illustrated biography offers an unprecedented glimpse into the mind of this notoriously private photographer. Writer, editor, and curator Melissa Harris has independently crafted a unique, in-depth, and revelatory personal history of both the man and his photography. Josef Koudelka: Next is richly illustrated with hundreds of photographs, including many biographical and behind-the-scenes images from Koudelka’s life, as well as iconic images from his work, from the 1950s to the present. The visual presentation is conceived in collaboration with Koudelka himself, as well as his longtime collaborator, Czech designer Aleš Najbrt. Copublished by Aperture and Magnum Foundation

"Aperture" magazine was founded in 1952 by the photographers Ansel Adams, Minor White, Barbara Morgan and Dorothea Lange, and the photography historians Beaumont and Nancy Newhall. These individuals wished to foster the development and appreciation of the photographic medium. Today the magazine maintains the founders' spirit, presenting a diversity of historical work, photojournalism and portfolios by emerging photographers, thematic articles, as well as interviews with important figures at work today. "Aperture" has published the work of many iconic and emerging artists from Diane Arbus, William Eggleston, Nan Goldin, and James Welling to Walead Beshty, Sara VanDerBeek, and JH Engstrom. The magazine has also showcased the writings of leading writers and curators in the field including Vince Aletti, Geoffrey Batchen, Charlotte Cotton, Greil Marcus and Luc Sante, among many others.

A Wild Life is Michael "Nick" Nichols's story, told with passion and insight by author and photo-editor Melissa Harris. Nichols' story combines a life of adventure, with a conviction about how we can redeem the human race by protecting our wildlife. The book's two central characters are the photographer - who journeys from the American South, via the photographers' co-operative Magnum, to becoming lead wildlife photographer of National Geographic magazine - and the author, who travels with the photographer on assignment in Africa, to gain intimate and deep insight into her subject. Harris's story also draws on meetings with some of the world's leading eco-scientists - including legendary primatologist, Jane Goodall.

A personal, intimate account of the extraordinary ways that today's families are being created. From adoption and assisted reproduction, to gay and straight parents, coupled and single, and multi-parent families, the stories in Modern Families explain how individuals make unconventional families by accessing a broad range of technological, medical and legal choices that expand our definitions of parenting and kinship. Joshua Gamson introduces us to a child with two mothers, made with one mother's egg and the sperm of a man none of them has ever met; another born in Ethiopia, delivered by his natural grandmother to an orphanage after both his parents died in close succession, and then to the arms of his mother, who is raising him solo. These tales are deeply personal and political. The process of forming these families involved jumping tremendous hurdles-social conventions, legal and medical institutions-with heightened intention and inventiveness, within and across multiple inequities and privileges. Yet each of these families, however they came to be, shares the same universal joys that all families share. A companion for all those who choose to navigate the world of modern kinship, Modern Families provides a "fascinating look at the remarkable range of experiences that is broadening the very idea of family" (Booklist).

Why did Henri Cartier-Bresson nearly have a posthumous exhibition while still alive? What led Stephen Shore to work with color? Why was Sophie Calle accused of stealing Vermeer's The Concert ? And what is Susan Meiselas's take on Instagram and the future of online storytelling? Aperture Conversations presents a selection of interviews pulled from Aperture's publishing history, highlighting critical dialogue between photographers, esteemed critics, curators, editors, and artists from 1985 to the present day. Emerging talent along with well-established photographers discuss their work openly and examine the future of the medium. Through the history of Aperture's booklist, online platform, and Aperture magazine, Aperture Conversations celebrates the artist's voice, collaborations, and the photography community at large.

Combining a fascinating history of the first U.S. high school for African Americans with an unflinching analysis of urban public-school education today, First Class explores an underrepresented and largely unknown aspect of black history while opening a discussion on what it takes to make a public school successful. In 1870, in the wake of the Civil War, citizens of Washington, DC, opened the Preparatory High School for Colored Youth, the first black public high school in the United States; it would later be renamed Dunbar High and would flourish despite Jim Crow laws and segregation. Dunbar attracted an extraordinary faculty: its early principal was the first black graduate of Harvard, and at a time it had seven teachers with PhDs, a medical doctor, and a lawyer. During the school's first 80 years, these teachers would develop generations of highly educated, successful African Americans, and at its height in the 1940s and '50s, Dunbar High School sent 80 percent of its students to college. Today, as in too many failing urban public schools, the majority of Dunbar students are barely proficient in reading and math. Journalist and author Alison Stewart-whose parents were both Dunbar graduates-tells the story of the school's rise, fall, and possible resurgence as it reopens a new, state-of-the-art campus.

Western culture has long regarded black female sexuality with a strange mix of fascination and condemnation, associating it with everything from desirability, hypersexuality, and liberation to vulgarity, recklessness, and disease. Yet even as their bodies and sexualities have been the subject of countless public discourses, black women's voices have been largely marginalized in these discussions. In this groundbreaking collection, feminist scholars from across the academy come together to correct this omission--illuminating black female sexual desires marked by agency and empowerment, as well as pleasure and pain, to reveal the ways black women regulate their sexual lives.
The twelve original essays in "Black Female Sexualities" reveal the diverse ways black women perceive, experience, and represent sexuality. The contributors highlight the range of tactics that black women use to express their sexual desires and identities. Yet they do not shy away from exploring the complex ways in which black women negotiate the more traumatic aspects of sexuality and grapple with the legacy of negative stereotypes.
"Black Female Sexualities" takes not only an interdisciplinary approach--drawing from critical race theory, sociology, and performance studies--but also an intergenerational one, in conversation with the foremothers of black feminist studies. In addition, it explores a diverse archive of representations, covering everything from blues to hip-hop, from "Crash "to "Precious," from Sister Souljah to Edwidge Danticat. Revealing that black female sexuality is anything but a black-and-white issue, this collection demonstrates how to appreciate a whole spectrum of subjectivities, experiences, and desires.

Melissa Harris's dream of being a mother again shatters when a fertility doctor tells her she may never have another child due to a physical anomaly in her uterus. Determined to persevere, she undergoes nine surgeries and a year of fertility treatments until she finally gets a positive pregnancy test-only to miscarry both twins within the first fifteen weeks. When what she's decided will be her last attempt results in her finally becoming pregnant, she's told that this baby, Sam, is also at risk. While lying in a hospital bed for six days, trying to get to the golden standard twenty-four-week gestation mark, Melissa makes a decision-she will give this baby every chance to live, no matter what it takes. One Pound, Twelve Ounces is the journey of one mother's determination to give her micro-preemie a fighting chance, and the story of that baby's remarkable battle to survive.

This is the most complete introduction to Unitarian Universalism available, covering ministry, worship, religious education, social justice and history. Extensively revised, the sixth edition prepares readers with resources and information for this crucial moment in Unitarian Universalism. It, also, gives voice to many individual Unitarian Universalists - people of all ages, coming from many backgrounds and holding many beliefs - as they share their personal and deeply heartfelt testimonies. Contributors include Rosemary Bray McNatt, Erika Hewitt, Cheryl Walker, Jessica York, Elizabeth Nguyen, Aisha Hauser and Dan McKanan. The foreword was written by lifelong Unitarian Universalist Melissa Harris-Perry - writer, professor, political commentator and editor-at-large at Elle.com.

An empowering book for anyone on a journey that has suddenly taken an unexpected turn. Created from Anne Marie's journal entries during ten months of diagnosis, surgeries, chemotherapy and radiation treatments, her story will challenge and inspire you on your own journey towards healing. Hold her hand as she fully explores the difficult and complex emotions that exist at every stage of this journey. She bravely addresses themes such as: doctor-patient relationships, fear, communication, humor, anger, gratitude, patience, managing relationships, sexuality, expectations, self-nurturing, prayer, affirmations, and spiritual connection. Includes abundant resources, a chapter for caregivers, plus an mp3 file of a soothing guided meditation that Anne Marie wrote and used during her surgeries and treatments.

Western culture has long regarded black female sexuality with a strange mix of fascination and condemnation, associating it with everything from desirability, hypersexuality, and liberation to vulgarity, recklessness, and disease. Yet even as their bodies and sexualities have been the subject of countless public discourses, black women's voices have been largely marginalized in these discussions. In this groundbreaking collection, feminist scholars from across the academy come together to correct this omission--illuminating black female sexual desires marked by agency and empowerment, as well as pleasure and pain, to reveal the ways black women regulate their sexual lives.
The twelve original essays in "Black Female Sexualities" reveal the diverse ways black women perceive, experience, and represent sexuality. The contributors highlight the range of tactics that black women use to express their sexual desires and identities. Yet they do not shy away from exploring the complex ways in which black women negotiate the more traumatic aspects of sexuality and grapple with the legacy of negative stereotypes.
"Black Female Sexualities" takes not only an interdisciplinary approach--drawing from critical race theory, sociology, and performance studies--but also an intergenerational one, in conversation with the foremothers of black feminist studies. In addition, it explores a diverse archive of representations, covering everything from blues to hip-hop, from "Crash "to "Precious," from Sister Souljah to Edwidge Danticat. Revealing that black female sexuality is anything but a black-and-white issue, this collection demonstrates how to appreciate a whole spectrum of subjectivities, experiences, and desires.

A personal, intimate account of the extraordinary ways that today's families are being created. From adoption and assisted reproduction, to gay and straight parents, coupled and single, and multi-parent families, the stories in Modern Families explain how individuals make unconventional families by accessing a broad range of technological, medical and legal choices that expand our definitions of parenting and kinship. Joshua Gamson introduces us to a child with two mothers, made with one mother's egg and the sperm of a man none of them has ever met; another born in Ethiopia, delivered by his natural grandmother to an orphanage after both his parents died in close succession, and then to the arms of his mother, who is raising him solo. These tales are deeply personal and political. The process of forming these families involved jumping tremendous hurdles-social conventions, legal and medical institutions-with heightened intention and inventiveness, within and across multiple inequities and privileges. Yet each of these families, however they came to be, shares the same universal joys that all families share. A companion for all those who choose to navigate the world of modern kinship, Modern Families provides a "fascinating look at the remarkable range of experiences that is broadening the very idea of family" (Booklist).

Mary Ellen Mark is an internationally acclaimed photographer who has long been fascinated by the complex relationships between people and animals-as she puts it, "the anthropomorphic quality of animals, and the animalistic quality of man." This fascination has lured her again and again to Mexico and India, two countries that, despite their many differences, share "a primal force . . . that makes the relationship between man and beast even more obvious. There is a more fundamental and intimate working relationship between the people and animals, and this relationship is something I am drawn too and try to convey in many of my photographs." Man and Beast presents an extended photo essay comprising images from Mexico and India that span some forty years. Many of the Indian images were taken while Mark was working on her classic book Indian Circus (1983), but most of the photographs have never been previously published. Infused with an unsentimental poignancy and a fully intentional anthropomorphism, Mark's photographs of animals, circus performers, children, and others are sometimes ironic, occasionally unsettling, but always remarkably engaging. Accompanying the images are a photographer's statement and a conversation between Mark and Melissa Harris, editor-in-chief of Aperture Foundation, covering Mark's lifelong passion for animals, her experiences photographing them in circuses with their trainers, and her efforts to portray the humanity of animals and the lurking beast within humans.