In this Aperture Conversation, photographer Alex Webb and Aperture senior editor Denise Wolff discuss the newly imagined edition of Webb’s now-classic and long out-of-print “Dislocations.”
“Dislocations” presents a contemporary update of Alex Webb’s 1998 book by the same name, which was first published by Harvard’s Film Study Center as an experiment in alternative book making. The 1998 book brought together pictures from the many disparate locations over Webb’s oeuvre, meditating on the act of photography as a form of dislocation in itself. It was instantly collectible and continues to be sought after today.
Webb returned to the idea of dislocation during the pandemic, looking at images produced in the twenty years since the original publication—as well as looking back at that first edition. “Dislocations” expands a beloved limited edition with unpublished images that speak to today’s sense of displacement. As a series of pictures that would have been impossible to create in a world dominated by closed borders and disrupted travel, it continues to resonate as the world resets.
Order “Dislocations” (Aperture, 2023): [ Ссылка ]
Subscribe to Aperture’s events newsletter: [ Ссылка ]
This event was recorded live on December 1, 2023.
—
All artworks from “Alex Webb: Dislocations”(Aperture, 2023). Courtesy the artist
Aperture Conversations Intro Sequence Photo Credits: Joel Meyerowitz, ”Red Interior, Provincetown, Massachusetts,” 1977; Dawit L. Petros, “Hadenbes,” 2005; Kimowan Metchewais, “Indian Handsign, Albuquerque, New Mexico,” 1997. National Museum of the American Indian, Smithsonian Institution; Jamie Hawkesworth, “Untitled,” 2011–21. Courtesy the artist; Thalía Gochez, “Every Worry Melts Away (Naomi Rodriguez and Grace Sanabria), San Francisco,” 2019; Alec Soth, “White Bear Lake, Minnesota,” 2019, © Courtesy the artist; Sean Kelly, New York; Fraenkel Gallery, San Francisco; and Weinstein Hammons Gallery, Minneapolis; Tommy Kha, “Headtown XI/Narcissus VII, Madison Avenue, Midtown, Memphis,” 2021; Sara Cwynar, Film still from “Rose Gold,” 2017, © Sara Cwynar
—
#apertureconversations
