Delve into the poignant narrative of Father, a powerful new monograph by celebrated photographer Diana Markosian. Coinciding with the release of the monograph, Aperture is pleased to release this limited-edition book and print set that features a special version of the book and an exclusive print from Diana Markosian: Father (Aperture, 2024).

Born in Moscow, Markosian relocated to California as a child, and her life has been marked by her father’s absence—a profound absence that has shaped her understanding of family and identity. With no photographs to guide her and years of separation, she embarked on a transformative quest to find him in Armenia, revealing the complexities of love, loss, and longing. Through a captivating blend of documentary photographs, intimate family snapshots, and archival materials, alongside her original, diaristic writings, Markosian invites readers into the intricate dynamics of fatherhood and the realities of their relationship.

This limited-edition is a unique opportunity to own both a version of the book—which features additional pages with images from Super 8 films (printed on a Golden Star K 90-gram paper, unique to this limited edition)—and a signed archival pigment print, which is an image of the artist with her father, all presented in a clamshell box. The edition is limited to 50 signed-and-numbered copies.

Dark Room A–Z serves as both a retrospective and a comprehensive guide, unpacking the intricate web of references and relationships that shape Sepuya’s work. Through three distinct “voices,” this book offers a rich tapestry of insights, blending new writings by curator Gökcan Demirkazik, critical reflections from peers and scholars, and the artist’s own contemplations on the themes that permeate his photography.

The print included in this set epitomizes Sepuya’s signature style, merging portraiture with a dynamic exploration of identity and space. Each piece invites viewers into the intimate, collaborative process that defines his practice, embodying the spirit of his expansive body of work.

Presented in a beautifully crafted clamshell box and limited to an edition of twenty, this limited-edition set is a must-have for collectors and admirers of contemporary photography.

Limited to an edition of 30 signed and numbered sets, each set features a signed book and signed C-print printed in the United Kingdom. Nick Waplington’s Living Room, his first book, was published by Aperture in 1991, and was an instant sensation within the photography world and beyond. The 59 photographs in the original edition documented the lives of friends, families, and neighbors on the Broxtowe housing estate in Nottingham, England, where Waplington spent years making thousands of images.

In the decades since its publication, Living Room has achieved an iconic status in modern British photography. In the meantime, Waplington has developed a diverse and forward-looking body of work, and has been reluctant to heed calls to reissue the book in a new edition. Now, nearing the book’s thirty-fifth anniversary, he has produced a vibrantly new conceptual remake, one that revisits and refashions the work from a contemporary vantage point.

This new work follows the same sequencing of landscape and portrait images, and preserves the original design of the legendary Tibor Kalman. Each of the original 59 photographs, however, has been replaced with an as-yet-unseen work from Waplington’s extensive archive, often from the same roll of film as the originally printed image. The result is both familiar and uncanny, a vivid journey back to Thatcher’s Britain and a testament to the decades of art and life that have elapsed between then and now.

Occupying the rare position of having been a professional skateboarder, a two-time World Skateboarding champion, as well as a photographer and artist working within the skateboard community as it gained increasing cultural currency in the 1990s and beyond, Templeton’s work first gained recognition as part of the Beautiful Losers collective loosely gathered around Aaron Rose’s Alleged Gallery on Manhattan’s Lower East Side. This work, much of it previously unpublished and unseen, explores Templeton’s own journey as an image maker, as well as the lives of professional skateboarders as they spent long hours crisscrossing the world on tour, reveling in their newfound status as rock star–like figures and the eternal search for new terrain to skate. Interviews between Templeton and fellow pro-skaters and friends add compelling detail about the pressures and pleasures of life on the road, and what it’s like to obsessively pursue an art form—whether on their decks or behind the camera.

Each print, printed by the artist in his home darkroom, has unique handwriting and painted detail on the front, and is signed, stamped and numbered on the back. A perfect collectible for photography, art and skate enthusiasts alike.

Ed Templeton: Wires Crossed was made possible, in part, with generous support from RVCA / Artist Network Program.

The proceeds of the sale of this work benefit the artist and support Aperture’s not-for-profit publishing and public programs.

Bringing together Cwynar’s multilayered portraits and stills from her films Soft Film (2016), Rose Gold (2017), and Red Film (2018), Glass Life serves as a feminist-inflected investigation of color, cultural theory, and image-driven consumer culture. Cwynar’s research-driven and visually complex images constitute the hallmarks of contemporary post–Pictures Generation work—in which photography is pursued in relation to film, sculpture, digital culture, and the cultural and technological history of image-making. Her work revolves around her interest in subjective notions of beauty through images; the fetishization of consumer objects and colors; and the exploration of the informal image archives that have emerged around the industrialization and capitalization of these ideas.

As part of her core practice, Cwynar collects, arranges, and archives found objects and eBay purchases. She creates studio assemblages of these consumer objects, exploring how images circulate online—and how the lives and purposes of physical objects and their likenesses change over time.

This special limited-edition box set comprises a differentiated version of the monograph accompanied by an 8-by-10-inch C-print signed by the artist on the verso.

The North American frontier is an enduring symbol of romance, rebellion, escape, and freedom. At the same time, it’s a profoundly masculine myth—cowboys, outlaws, Beat poets. Justine Kurland reclaimed this space in her now-iconic series of images of teenage girls, taken between 1997 and 2002 on the road in the American wilderness. “I staged the girls as a standing army of teenaged runaways in resistance to patriarchal ideals,” says Kurland. She portrays the girls as fearless and free, tender and fierce. They hunt and explore, braid each other’s hair, and swim in sun-dappled watering holes—paying no mind to the camera (or the viewer). Their world is at once lawless and utopian, a frontier Eden in the wild spaces just outside of suburban infrastructure and ideas. Twenty years on, the series still resonates.

Over the last seven years, Melissa O’Shaughnessy has photographed daily on the streets of New York. As one of a growing number of women street photographers contributing to this dynamic genre, O’Shaughnessy enters the territory with clarity and a distinctly humanist eye, offering a refreshing addition to the tradition of street photography. Through her curious and quirky vision, we witness the play of human activity on the glittering sidewalks of the city. Woven into her cast of characters are the lonely, the soulful, and the proud. She has fallen for them all—perfect strangers.

Over the last seven years, Melissa O’Shaughnessy has photographed daily on the streets of New York. As one of a growing number of women street photographers contributing to this dynamic genre, O’Shaughnessy enters the territory with clarity and a distinctly humanist eye, offering a refreshing addition to the tradition of street photography. Through her curious and quirky vision, we witness the play of human activity on the glittering sidewalks of the city. Woven into her cast of characters are the lonely, the soulful, and the proud. She has fallen for them all—perfect strangers.

Aperture is pleased to release two special limited-edition bundles by Melissa O’Shaughnessy, which include a signed copy of Perfect Strangers and a signed and numbered limited-edition print featured in the book. The artist is donating their proceeds from the sale of this edition in support of Aperture Foundation’s publishing and programming initiatives.

Over the last seven years, Melissa O’Shaughnessy has photographed daily on the streets of New York. As one of a growing number of women street photographers contributing to this dynamic genre, O’Shaughnessy enters the territory with clarity and a distinctly humanist eye, offering a refreshing addition to the tradition of street photography. Through her curious and quirky vision, we witness the play of human activity on the glittering sidewalks of the city. Woven into her cast of characters are the lonely, the soulful, and the proud. She has fallen for them all—perfect strangers.

“One of the positives of basically being at home for the last nine months is that I have had lots of time to go through my archives, and every so often I find an image that jumps out that was originally overlooked. Image #2527 is something that I rediscovered recently. I love its chocolatey tones. This particular home felt a little bit more modern and less classic than many of the works in my House Hunting collection, which is exactly what I like about it now.”

—Todd Hido

Well-known for his photographs of landscapes and suburban housing across the United States, and for his use of luminous color, Todd Hido casts a distinctly cinematic eye across all that he photographs, digging deep into his memory and imagination for inspiration. In Intimate Distance, David Campany introduces the work and looks specifically at Hido’s cinematic influences and the kind of spectatorship the work demands. The book is organized chronologically, showing how his series overlap in exciting, new ways. Also featured are short interviews with Hido about the making of each of his monographs. From exterior to interior, surface observations to subconscious investigations, landscapes to nudes, this mid-career survey reveals insight into Hido’s practice and illustrates how his unique focus has developed and shifted over time.