art book cologne GmbH & Co. KG
Deutzer Freiheit 107
50679 Köln
Germany
Opening hours (office and showroom):
Monday to Friday 8 – 17
info@artbookcologne.de
Phone: +49 221 800 80 80
Fax: +49 221 800 80 82
art book cologne, founded by Bernd Detsch in 1997, is a wholesale company and specializes in buying and selling high quality publications in art, art theory, architecture, design, photography, illustrated cultural history and all related subjects internationally. Our team includes specialists in art, culture, music, book trade and media but in spite of our diversity we have one common ground: the enthusiasm for unique art books.
We purchase remaining stocks from museums, publishers and art institutions. We sell these remainders to bookstores, museum shops, and art dealers all over the world.
Editor | Pilar Tompkins Rivas |
Publisher | Aperture |
Year | 2021 |
Cover | Softcover |
Language | English |
ISBN | 978-1-59711-506-3 |
Pages | 136 |
Weight | 870 g |
More | |
Contributors | Carribean Fragoza, Christina Catherine Martinez, Yxta Maya Murry et al. |
Article ID | art-61531 |
This winter, Aperture magazine presents an issue that celebrates the dynamic visions of Latinx photography across the United States. Guest edited by Pilar Tompkins Rivas, chief curator at the Lucas Museum of Narrative Art in Los Angeles, “Latinx” spans a century of image making, connecting historical and contemporary photography, and covering the themes of political resistance, family and community, fashion and culture, and the complexity of identity in American life.
In “Latinx,” Carribean Fragoza traces Laura Aguilar’s influence on queer artmaking. Joiri Minaya remixes postcards from the Dominican Republic to unveil the fantasy of tourism. Christina Catherine Martinez profiles Reynaldo Rivera, who chronicled 1990s-era Los Angeles nightlife. Yxta Maya Murry considers three Latina curators and writers influencing how photography canons are made today.
“Collectively, their images cast a greater net for the multiple ways of seeing Latinx people,” Tompkins Rivas notes of the issue’s photographers, “creating a visual archive whose edges are yet to be defined.”