Jenn Hyland: I’m not sure when I first learned about Aperture, but I do remember the first time I absolutely needed to pick up an issue of the magazine—it was the Winter 2016 issue, “On Feminism.” I was curious to see how an organization like Aperture would approach a topic like feminism, and I was so enlivened, and relieved, by the issue’s intersectional approach to the theme.

Famighetti: That’s one from the archive! As we worked on that issue, we were anticipating that Hillary Clinton might soon be elected president. A different reality, of course, emerged. But it’s always fascinating to hear later on about how an issue connected with a reader. Did any specific articles resonate with you?

Hyland: Julia Bryan-Wilson’s “Beyond Binary” article was one of the pieces that drew me into the issue. I was navigating my own relationship to gender at the time, and the piece tackled the question of who gets to be included in feminism and who gets to define womanhood, which felt urgent then and is still relevant today. One image that really stuck with me is from Andrea Bowers’s Trans Liberation series—it shows trans Latina immigrant activist, Johanna Saavedra, walking down a palm-lined LA street in red heels, holding a brick, which references both a 1968 French protest poster and the legacy of Stonewall.

The “On Feminism” issue was also the first time I saw Yurie Nagashima’s Full-figured, yet not full term (2001), an image that stayed with me and has become more meaningful as I’ve moved through different seasons of my life. The work took on infinite more layers of meaning for me especially around bodily autonomy and representation when I experienced pregnancy and early motherhood myself.

Famighetti: I’d like to assume that issue made you want to work here, but what did lead you to Aperture?

Hyland: When I was ready to move on from my previous job, I knew I wanted to work somewhere that was doing work I genuinely admired. That’s something that has always been crucial for me—fundraising requires advocating for projects and artists, and I can do that so much more effectively if I truly believe in the work.

Aperture’s commitment to working with a diverse array of artists—from emerging to established, and especially underrepresented voices—aligns with my own values. The organization has this decades-long history as a steadfast presence in the photography community, but it’s never been static or self-satisfied. The editorial team consistently uplifts perspectives that matter, and they take real risks on projects that push the field forward.

When the work is exceptional, fundraising becomes about connecting the right supporters to meaningful projects, not convincing people something is worthwhile when it isn’t. And when I do my job well, it gives the editors more freedom to pursue projects they’re passionate about without having to worry as much about salability. That reciprocal relationship—where strong programs enable strong fundraising, and strong fundraising enables ambitious programs—is what I was looking for.

Famighetti: I can say, we editors thank you in advance. Healthy fundraising is key to our ability to support emerging artists, who may not yet have a big audience, and, more broadly, to support research, significant production costs for artists who may not have had a gallery or agency helping them set up archives. We sell books and a magazine, but these types of projects cannot sustain themselves without philanthropic support.

We spoke about an issue of the magazine, but how about books. Do you have any favorites from the past or present?

Hyland: That’s a tough question to answer when Aperture has published landmark titles by the likes of Nan Goldin, An-My Lê, and Diane Arbus. I’ll say that my two favorite titles published since I’ve been at Aperture are Myriam Boulos’s What’s Ours (2023) and Coreen Simpson’s monograph (2025). Boulos’s book was the second recipient of the Aperture JGS Book Award; the goal of the award is to support deserving artists whose work holds the potential to shape the field of photography, and Boulos couldn’t fit that description better. Her photographs, the diary entries—it’s all so intimate. There’s this juxtaposition between pleasure and protest, and then you realize there’s a collapsing of the two, and all along these intimacies she’s documenting are revolutionary acts in and of themselves. This body of work really moved me. I love it, Harry Styles loves it . . .

Famighetti: That was a first for us—to have a mega pop star build a campaign around the cover of one of our books! Now, he needs to hire Coreen Simpson too. She is just incredible.

Hyland: Coreen is a singular force, and her pictures have such a powerful and exciting energy to them. Her monograph is the second title in Aperture’s Vision & Justice Book Series, and it’s such a stunning survey of her work documenting Black excellence and style across decades. It’s a who’s who of the twentieth century. And her B-Boys series is phenomenal. It’s a time capsule of an era. The book itself is a beautiful object. The production quality is exceptional; it’s the kind of book you want to hold and look through slowly. It shows Aperture at our best—when the content and the craft come together seamlessly.

Famighetti: Aperture will be moving to a new home later this year. How do you envision our work there?

Hyland: I’m incredibly excited about 380 Columbus. It really is a once-in-a-generation opportunity. We’re not just moving offices—we’re establishing a permanent home that reflects what Aperture is and where we’re going, and I’m thrilled to be helping lead us through that transition.            

The space is going to be a beautiful place to gather; we’re in such good hands with our architects LEVENBETTS. There’s still a lot of work to get us uptown, but I can’t wait to welcome our community of artists, collaborators, supporters, and photography enthusiasts into our new home. The new space will transform how we interact with our audiences. We’ll be able to host more intimate gatherings—behind-the-scenes exhibition previews, artist conversations, member events. The bookstore will be a real destination, and the street presence means we’ll be reaching people who might not have known about Aperture. I am also very excited to soon be within walking distance of Zabar’s on such a regular basis.

Famighetti: We’re looking forward to having an event space, and of course we’ll need music for our gatherings. You moonlight as a DJ—what music is getting you through this frigid winter?

Hyland: It is particularly chilly this year, and one of my favorite ways to warm up is by dancing. My main dance partner these days has been my toddler, and he can’t get enough of Bad Bunny’s album Debí Tirar Más Fotos, and let’s be honest here, neither can I. It’s perfect for kitchen dancing.

I don’t play Bad Bunny when I DJ (yet), but some of my favorite tracks to spin are:

Gettoblaster & Lauren Flax, “Let It Feel Alright”
Akumen, “Move My Body”
AceMo featuring John FM, “Where They At???”
Boddika, “Warehouse”
Strandtuch, “OH Yh BG Band”
Avalon Emerson’s version of Technotronic’s “Pump Up the Jam”

Gala cochairs were Dr. Kathryn Beal, Dawoud Bey, Agnes Gund and Catherine Gund, Judy and Leonard Lauder, Jon Stryker and Slobodan Randjelović, Hank Willis Thomas, Olivia Walton, and Deborah Willis. To introduce the esteemed honorees, Deborah Willis saluted Tyler Mitchell, and Dr. Chelsea Clinton, Vice Chair of the Clinton Foundation, presented Sarah Lewis.

Complementing the inspiring program and the spirit of the venue, the Wynton Marsalis Quartet delighted guests with a surprise musical performance. A live auction expertly animated by Sarah Krueger, Head of Photographs at Phillips, featured prints by five major artists who have been central to Aperture’s past and present: Kwame Brathwaite, Lee Friedlander, Lyle Ashton Harris, Wendy Red Star, and Carrie Mae Weems. Additional funds were raised through bidding on two exclusive works of art: a limited-edition copy of Tyler Mitchell’s book Wish This Was Real (Aperture, 2025), bound with custom metallic covers and posters, and a specially commissioned photograph of Aperture’s new home at 380 Columbus Avenue by acclaimed photographer Gail Albert Halaban, known for her luminous images of cities at night. 

Tyler Mitchell

Catherine Gund, Dawoud Bey, Sarah Lewis, Sarah Meister, Tyler Mitchell

Leigh Raiford, Sarah Lewis, Deborah Willis, Coreen Simpson, Michael Famighetti

Dr. Kathryn Beal, Tyler Mitchell, Sarah Meister, Yesim Philip

Mary Ellen Goeke, Cathy Kaplan, Thomas Schiff​, Sarah Meister

Slobodan Randjelovic, Tyler Mitchell, Catherine Gund, Biljana Simic

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Guests were addressed by New York City Council Member Gale A. Brewer, with a rally of appreciation for Aperture’s work and excitement around the 2026 move to the Upper West Side. Joining the festivities were a host of artists who have collaborated with Aperture on publications and programs in support of their work over the years, including David Alekhuogie, Tina Barney, Dawoud Bey, McKayla Chandler, Awol Erizku, Ethan James Green, Lyle Ashton Harris, Balarama Heller, Rashid Johnson, Susan Meiselas, Anastasia Samoylova, Antwaun Sargent, Coreen Simpson, Ming Smith, Wendy Red Star, Alex Webb, Rebecca Norris Webb, and Deborah Willis. 

Proceeds from the gala and auction sustain Aperture’s work as a nonprofit leader in the field of photography, including its award-winning publications, educational initiatives, touring exhibitions, and public programming. Aperture relies on contributions not only from the gala but also from dedicated readers and enthusiasts, and gratefully accepts donations of any amount through aperture.org/support.

Aperture thanks all of the 2025 Gala supporters, including Aperture Legacy Stars: Thomas R. Schiff and Mary Ellen Goeke, Jon Stryker and Slobodan Randjelović, and Olivia Walton; Minor White Visionaries: Dr. Kathryn Beal, Agnes Gund and Catherine Gund, Dr. Bruce M. Halpryn and Chas Riebe, Judy and Leonard Lauder, Lisa Rosenblum and Georgina Celebic; Dorothea Lange Leaders: Peter Barbur and Tim Doody, Allan and Anna Chapin, Mark Gimbel and Dede Welles, Ingram Content Group, Elizabeth and William Kahane, Cathy M. Kaplan and Renwick D. Martin, Melissa and James O’Shaughnessy, and Yesim and Dusty Philip; and Ansel Adams Advocates: Bloomberg Philanthropies, S. B. Cooper and R. L. Besson, Terry Hermanson, Florian Koenigsberger, Leica Camera USA, Alice Walton, and Casey Weyand.

Thanks to those who made the live auction possible, including Phillips, along with the Kwame Brathwaite Archive, Fraenkel Gallery, Lyle Ashton Harris, Wendy Red Star and Sargent’s Daughters, and Carrie Mae Weems. The Self-Portrait Project installed a fun photo booth for guests in the reception. Images from the evening posted on BFA.com.

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The gala was cochaired by Kate Cordsen, Agnes Gund, Lyle Ashton Harris, Kristy and Robert Harteveldt, Elizabeth Ann Kahane, Cathy M. Kaplan, Judy and Leonard Lauder, Lisa Rosenblum and Georgina Celebic, Jamie and Robert Soros, Jon Stryker and Slobodan Randjelović, and Deborah Willis.

A festive group of patrons, artists, writers, and friends were welcomed by Aperture Executive Director Sarah Meister, who expressed deep appreciation for their alliance with Aperture’s longstanding mission to create community and understanding through photography. Guests toasted with cocktails, enjoyed a formal dinner, and were addressed by Keisha Sutton-James, deputy Manhattan borough president, with a rally of support for Aperture’s work and excitement around the impending move to the Upper West Side.

Aperture Board Chair and Gala Cochair Cathy M. Kaplan offered a tribute to honoree Helen Nitkin, who has been an Aperture trustee since 2016. As chair of the Real Estate Committee, Nitkin guides the transition to Aperture’s home on two floors of the historic, landmarked building at 380 Columbus Avenue and 78th Street, which will augment the organization’s capacity to reach broader audiences who are curious about photography. “My involvement with Aperture and photography has been and continues to be my connection to the creative world. Where Aperture excels is with the publication of our magazines, books, and programs, and the community that Aperture creates around these artists,” expressed Helen.

Writer Geoff Dyer introduced the honoree and renowned photographer Richard Misrach, whose connection to Aperture goes back to his youth. He credits finding Aperture magazines and books at the Berkeley public library with helping him discover the medium of photography. Misrach has published eight books with Aperture and has a new title coming out in spring 2025: Cargo, a beautifully atmospheric meditation on the impact of global trade on the natural environment. “Aperture was founded in 1952. . . . It’s been around over 70 years!  And it’s just getting started. New generations, all around the world, that perhaps don’t have direct access to the great museums and galleries, can visit their libraries and bookstores, and go online and get an education and inspiration otherwise impossible. May Aperture’s brilliant efforts continue for many decades to come,” said Misrach.

Thomas R. Schiff​, Lyle Ashton Harris, Deborah Willis, Helen Nitkin, Elizabeth Ann Kahane, Melissa O’Shaughnessy, Sarah Meister, Cathy Kaplan, Casey Weyand, Lisa Segalas, Allan Chapin

Richard Misrach, Geoff Dyer

David Hartt, Sarah Meister, Ming Smith, Stephen Shore

Peter Barbur, Michael Hoeh, Dr. Kenneth Montague, Tim Doody

Nicole R. Fleetwood

Sarah Meister, Nina Rosenblum, Edwynn Houk, Lisa Rosenblum, Nina Celebic, Veronica Houk

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Honoree Dr. Nicole R. Fleetwood, esteemed art historian and educator, was introduced by Dr. Celine Parreñas Shimizu, filmmaker and scholar.

“I want to thank Aperture for continuing to make my life full of possibilities. We are all here because we believe in the possibility of the image, and more importantly, the possibility of human connection,” shared Fleetwood. As part of her dedicated work to raising awareness and public engagement around social, economic, and political issues, Fleetwood served as coeditor of Prison Nation, the spring 2018 Aperture magazine issue and exhibition, which addresses the unique role photography plays in creating a visual record of the crisis of mass incarceration. Fleetwood will contribute to the forthcoming publication Kinship and Community: Highlights from the Texas African American Photography Archive (Aperture, fall 2025).

Guests appreciated an ethereal performance by musical artist L’Rain and posed for the Self-Portrait Project. Joining the festivities were many artists who have collaborated with Aperture on publications and programs over the years, including David Alekhuogie, Minne Atairu, Miranda Barnes, Dawoud Bey, Sam Contis, Kelli Connell, Lola Flash, Rahim Fortune, Ethan James Green, Lyle Ashton Harris, David Hartt, Tommy Kha, An-My Lê, Diana Markosian, Susan Meiselas, Tyler Mitchell, Avion Pearce, Kristine Potter, Anastasia Samoylova, Paul Mpagi Sepuya, Shikeith, Stephen Shore, Ming Smith, Coreen Simpson, Kunié Sugiura, and Nick Waplington.

The evening featured a live auction, dynamically conducted by Sarah Krueger, head of photographs, Phillips, and a silent auction, with prints by more than twenty artists who have been central to Aperture’s past and present, including Diane Arbus, Arielle Bobb-Willis, Robert Frank, Nan Goldin, Stephen Shore, and Ming Smith. Several of the works offered at the auction specifically reference and explore New York City and will be on view to the public at Aperture’s new home as part of the inaugural installation, imagined by Executive Director Sarah Meister, that highlights the significant connection between Aperture and New York. A paddle raise, setting aside invaluable funds to continue Aperture’s work scholar program, inspired a surge of contributions from the evening’s guests, and was then generously doubled by Aperture Trustee Thomas R. Schiff.

Proceeds from the gala and auction sustain Aperture’s work as a nonprofit leader in the field, including its award-winning publications, educational initiatives, exhibitions, and public programming. Aperture relies on contributions not only from the gala, but from dedicated readers and enthusiasts, and accepts donations of any amount through aperture.org/support.

Joshua Chuang, An-My Lê, Kristine Potter, Michael Famighetti

Sarah Meister, Dawoud Bey, Kate Cordsen

Ava Donaldson, Isabelle McTwigan, Steven Chaiken

L’Rain​

Lori Aldover, Artur Walther, Elizabeth Kahane, Andrew Lewin, Marina Lewin

Richard Misrach, Myriam Misrach, Kristy Harteveldt ​, Robert Harteveldt

Nadia Frye Leinhos, Tommy Kha, Sarah Meister, Miranda Barnes, Rahim Fortune

Oluremi Onabanjo, Brendan Embser, Renee Mussai, Tyler Mitchell

Celine Parreñas Shimizu, Nicole Fleetwood, Mary Baxter, and friends

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Aperture thanks the 2024 Gala supporters, including Minor White Visionaries: Agnes Gund, Judy and Leonard Lauder, Lisa Rosenblum and Georgina Celebic, Thomas R. Schiff and Mary Ellen Goeke, and Jon Stryker and Slobodan Randjelović; Dorothea Lange Leaders: Allan and Anna Chapin, Fraenkel Gallery and Pace Gallery, Elizabeth and William Kahane, Cathy M. Kaplan and Renwick D. Martin, MUUS Collection, Melissa and James O’Shaughnessy, and Jamie and Robert Soros. Thanks to those who made the live auction possible, including Doon Arbus, Fraenkel Gallery, Arielle Bobb-Willis, Pace Gallery, Michael Hoeh, Stephen Shore, and 303 Gallery.

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Coreen Simpson, Deborah Willis, Sarah Meister, Hank Thomas

Camilla Molo, Terry Greenberg, Esther McGowan, Andrew Lewin

Sophie Nitkin, Cathy M. Kaplan, Jamie Savren

Philip Montgomery, Dean Majd, Brandon Harris, Jarod Lew

Nadia Frye Leinhos, Jenn Hyland, Coreen Simpson, AnnaLiisa Benston

Lovia Gyarkye, Michael Famighetti, Nicole Acheampong, Sarah Meister

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In celebratory remarks, Michael Famighetti, Aperture’s editor in chief, expressed the importance of the evolution of the magazine’s design, as well as the intention to honor the editorial spirit driving the publication since 1952, as it upholds a mission to create community through photography. He gave a toast  to several of the issue’s contributors and featured artists present, including David Hartt, whose work is featured on one of the issue’s three covers.

To preview the issue visit aperture.org/magazines.

Venue and drinks generously sponsored by The Edition.

“Today marks the start of a new era for Aperture,” said Aperture Executive Director Sarah Meister. “By expanding our reach and enhancing access to critical conversations around photography, we further solidify Aperture’s enduring role within New York City’s cultural landscape worldwide.”

Manhattan Borough President Mark Levine stated: “I’m thrilled to see Aperture expanding into their new home on the Upper West Side, and I look forward to how Aperture will grow photography’s footprint in the city and partner with the community along the way. The arts stand as indispensable pillars, crucial to both our cultural richness and economic vitality, and Aperture is a testament to the innovation and prosperity that the arts bring to New York City.”

“Aperture’s mission of cultivating, promoting, and supporting cutting-edge photographers and photography is more essential than ever, and we’re thrilled to break ground on a permanent new home for this extraordinary organization,” said Cultural Affairs Commissioner Laurie Cumbo. “With $1 million in support from the city, this new building will allow Aperture to connect with a wider audience more deeply, with their remarkable programming. Investing in culture means investing in good jobs and strong communities, and we’re proud to partner with groups like Aperture to deliver world-class cultural facilities that are open and accessible to all New Yorkers.”

“I couldn’t be happier that Aperture is moving to 78th Street, a transformational moment for the organization and a gift to the Upper West Side,” said Council Member Gale A. Brewer. “Congratulations to Sarah Meister and all who played a role in transforming this magnificent space. This new home will expand Aperture’s reach and its impact.”

Aperture, Bookstore, 2024

Aperture, Editorial Offices, 2024

Aperture, Lobby, 2024

Aperture, Project Room, 2024

Aperture, Commons, 2024

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Award-winning architecture practice LEVENBETTS is adapting the ground floor and an additional level of the exquisitely maintained 1886 structure into ten thousand square feet of innovative and accessible new space, all while retaining the building’s historical character. Aperture’s permanent home will become a hub welcoming public engagement, with flexible spaces for events and art installations, a bookstore, and reimagined office and production areas for its robust publishing program. At the corner of 380 Columbus Avenue and Seventy-Eighth Street, the new home situates Aperture at the nexus of a vibrant residential neighborhood and bustling cultural destination.

Established in 1952, Aperture has long been a galvanizing force for the photography community, not just in New York but globally. Aperture has been located for nearly two decades at a fourth-floor space in Chelsea, where the organization has mounted exhibitions and public programs, published Aperture magazine and countless acclaimed photobooks, and hosted its bookstore and limited-edition print program.

Aperture acknowledges that the building for its new home is situated in Lenapehoking, land of the displaced Lenape. Aperture remains committed to amplifying a diversity of voices, including supporting the achievements of Indigenous artists. Through publications and programming instilled in the belief in the role of photography to encourage a more just, tolerant society, Aperture strives to create a welcoming forum that respects history while advancing a broader and more equitable vision for the future. 

Aperture’s active capital campaign includes major support from the New York State Council on the Arts; City of New York, including the Manhattan Borough President, New York City Council, and New York City Department of Cultural Affairs; full participation from Aperture’s Board of Trustees; and support from individuals.

See here to learn about the many ways to support Aperture during this historic moment.

Read more about Aperture’s new home as featured in the New York Times.

“Zackary has been our friend, our colleague, and our partner, and now we are honored to have her join Aperture as a Trustee,” says Cathy M. Kaplan, Chair of the Board of Trustees for Aperture. “Sharing insight from her own art practice and advocacy, along with a deep understanding of Aperture’s longstanding dedication to creating community around the medium of photography, Zackary is a most welcome addition to our Board.”

“From my engagement with Aperture on the creation of ‘Future Gender’ and on a range of events and programs, I can attest to the immediacy and vitality of the work of this organization,” Drucker says. “I’m excited to take on the role of Trustee and continue to contribute to Aperture, especially at this time of growth towards a new public space that promises even greater visibility and potential.”  

Zackary Drucker is an American multimedia artist, director, and producer who has dedicated her work to telling stories that expand our cultural understanding of difference. Her photography and multimedia art has been featured in exhibitions internationally, and she is a cocurator of the film and performance program for the 2024 Whitney Biennial. Her television and film credits include directing the Hulu Original documentary Queenmaker: The Making of an It Girl (2023); codirecting the Sundance award-winning HBO original documentary film The Stroll (2023) andthe HBO documentary series The Lady and the Dale (2021); and producing the Amazon series Transparent (2014–19). Drucker has performed and exhibited her work in museums, galleries, and film festivals, including the Whitney Biennial 2014, MoMA PS1, Hammer Museum, Art Gallery of Ontario, MCA San Diego, and SF MoMA, among others, and serves on the Board of Directors for Outfest and Yerba Buena Center for the Arts.

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The lively gathering featured an insightful discussion between contributing artists and writers, including Kobby Ankomah Graham, Carlos Idun-Tawiah, Lloyd Foster, and Fibi Afloe, and was moderated by Paul Ninson, founder and executive director of Dikan Center, and Anakwa Dwamena, a writer based in Ghana and an Aperture contributor. The evening was a testament to Accra as a catalyst of photographic excellence and the ever-growing presence of Ghana as a beacon for Pan-African thought and political activism.

Ghana has been a nexus of compelling photography since the late nineteenth century, from the output of the hundred-year-old Deo Gratias photo studio to the stylish midcentury visions of James Barnor. Aperture’s “Accra” looks both to the archives that catalog Ghana’s visual past and to the visions of a new generation. Featuring exclusive interviews with Zohra Opoku, whose textile-based works evoke mortality and resilience, and John Akomfrah, the celebrated Ghanaian filmmaker, “Accra” displays artists connecting local visual culture to global conversations, engaging in history, and facing the contemporary moment.

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The Gala was graciously cochaired by Agnes Gund and Aperture Trustees Elizabeth Ann Kahane, Cathy M. Kaplan, Dr. Kenneth Montague, Bob Rennie, and Lisa Rosenblum. Guests arriving at the Ertegun Atrium at Jazz at Lincoln Center were greeted by the cochairs, served sparkling drinks, and had the opportunity to view and bid on works in an auction. 

Live music by the Harlem Renaissance Orchestra welcomed guests into the Appel Room for a seated dinner with an early autumnal menu. Aperture Board Chair and Gala Cochair Cathy Kaplan thanked the many friends and colleagues for their ongoing support and alliance with Aperture, which was followed by a spirited tribute to Dawoud Bey’s legacy as an artist and activist.

For decades, Dawoud Bey (born in Queens, 1953) has made evocative photographs that mine the histories of marginalized Black communities, with works ranging from the side streets and thoroughfares of Harlem, the 16th Street Baptist Church in Birmingham, and the dense, unmarked trails of the Underground Railroad. His forthcoming Aperture publication, Elegy (copublished with the Virginia Museum of Fine Arts), assembles the history projects and landscape-based work Bey has made since 2012, and is being published in conjunction with a new exhibition. In admiration ofBey’s impact on modern visual culture, his friend, artist Carrie Mae Weems contributed for the video program: “Thank you for the way in which you’ve brought other photographers forward. You’ve made space for others. You’ve given us something special through your life’s work, and for that I am deeply grateful.”

Gala cochairs: Lisa Rosenblum, Elizabeth Kahane, Bob Rennie, Dawoud Bey, Agnes Gund, Kenneth Montague, Cathy Kaplan, and Sarah Meister

Kwame S. Brathwaite, Colette-Veasey Cullors, Laurie Cumbo, Dawoud Bey, Hank Willis Thomas, Kenneth Montague, and Sarah Meister

Lyle Ashton Harris, Gale Brewer, Dawoud Bey, and Sarah Meister

Natasha Egan, Sarah Meister, Dawoud Bey, An-My Lê, and Lesley A. Martin

Pamela and Lennell Myricks, Sarah Meister, Dawoud Bey, and Tom Schiff

LaToya Ruby Frazier, Dawoud Bey, Carrie Mae Weems, and Sarah Meister

Elizabeth Kahane, Dawoud Bey, and Stuart Cooper

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Additionally in the video tribute, artist Tyler Mitchell and Elisabeth Sherman, curator at International Center of Photography, shared experiences that illustrate Bey’s dedication and practice. On stage, fellow artist LaToya Ruby Frazier admired her colleague’s virtuosic ability to capture both the historic and everyday rhythms of Black life. During her introduction of Bey, Frazier remarked, “To encounter you, is to elevate in confidence, rigor, and thought what it means to be a photographer, what it means to be an artist, the discipline and commitment it takes.”

With performances from the Harlem Renaissance Orchestra, the evening included powerful remarks from Laurie Cumbo, New York City Commissioner of Cultural Affairs, and Gale A. Brewer, New York City Councilmember representing the Upper West Side neighborhood where Aperture will soon establish a new permanent home. Also joining were many artists who have collaborated with Aperture on publications and programs in support of their work over the years, such as Kelli Connell, Sara Cwynar, Angélica Dass, John Edmonds, Awol Erizku, Adam Fuss, Phyllis Galembo, Gail Albert Halaban, Lyle Ashton Harris, Tommy Kha, Justine Kurland, Gillian Laub, An-My Lê, Jarod Lew, Missy O’Shaughnessy, Ari Marcopoulos, Ryan McGinley, Susan Meiselas, Joel Meyerowitz, Philip Montgomery, Matthew Pillsbury, Stephen Shore, Paul Anthony Smith, Rosalind Fox Solomon, Joel Sternfeld, Hank Willis Thomas, Alex Webb, Rebecca Norris Webb, author and curator Nicole R. Fleetwood, and writer Rebecca Bengal.

The night also featured a live auction, animated by Sarah Krueger, Head of Photographs at Phillips, with an impressive lot of works by Dawoud Bey, Kwame Brathwaite, Gordon Parks, Gregory Crewdson, and Justine Kurland. A silent auction, hosted on Artsy through noon on October 4, included work by Jamel Shabazz, Joel Meyerowitz, Gail Albert Halaban, Garry Winogrand, An-My Lê, Lillian Bassman, Shirin Neshat, Erwin Olaf, Vik Muniz, and Robert Polidori. A paddle raise to benefit Aperture’s work scholar program which offers invaluable career development and experience in arts and publishing, inspired a swell of contributions from Gala attendees. Proceeds from the Gala and auction support Aperture’s work as a nonprofit leader in the field, including its award-winning publications, educational initiatives, exhibitions, and public programming. Those attending the Gala as well as those reading along in support are encouraged to make a donation of any amount here.

Aperture’s 2023 Gala thanks Founders Agnes Gund, Judy and Leonard Lauder, Lisa Rosenblum, Thomas R. Schiff and Mary Ellen Goeke; Gala Leaders Dawoud Bey, Allan Chapin and Anna Nilsson, Emerson Collective, Goldman-Sonnenfeldt Foundation, Elizabeth and William Kahane, Cathy M. Kaplan and Renwick D. Martin, Melissa and James O’Shaughnessy, and Sean Kelly Gallery. Thanks to those who made the auction possible, including Dawoud Bey, Sean Kelly Gallery, The Gordon Parks Foundation, Kwame S. Brathwaite and the Brathwaite Archive, Michael Hoeh, Gregory Crewdson, and Justine Kurland and Higher Pictures. 

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The intimate evening offered lively conversation and celebratory cocktails, including an Ethiopian honey wine as a tribute to Erizku’s heritage. Guests had the opportunity to have their copy of Mystic Parallax signed by the artist, who graciously autographed books throughout the evening.

Published by Aperture, Mystic Parallax showcases over ten years of Erizku’s multivalent practice that critically engages art history, personal experience, and Pan-African thought and symbolism. Working across photography, film, video, painting, and installation, his work references and re-imagines African American and African visual culture, from hip-hop vernacular to Nefertiti, while nodding to traditions of spirituality and Surrealism.

Joining to toast Awol Erizku and Aperture were many of the project’s contributors and supporters, including curator and book contributor Antwaun Sargent, curator Ashley James, Aperture Executive Director Sarah Meister, Aperture Editor Michael Famighetti, Aperture Trustees Lyle Ashton Harris, Deb Willis, and Cathy Caplan, as well as Adam Eli, ASAP Ferg, Chase Hall, Hank Willis Thomas, Isolde Brielmaier, Jane Holzer, Kathleen Lynch, Kathy Paciello, Lisa Sutcliffe, Quil Lemons, Rachel Tashjian, Ryan McGinley, Whitney Mallett, Willa Bennett, and many more.

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Book launch made possible by Gucci.

This project was made possible, in part, with generous support from the Momentary and the Aperture Artist Book Committee, including Founding Members Peter Barbur and Tim Doody, Jeff Gutterman and Russet Lederman, and Frank Arisman, Joe Baio and Anne Griffin, Frédérique Destribats, Michael Hoeh, Loring and Diana Knoblauch, Andrew and Marina Lewin, David Solo, and Alice Sachs Zimet. Special thanks to Sean Kelly Gallery and Ben Brown Fine Arts.

As a key member of senior staff, McGowan will collaborate on a new strategic plan, helping set the future direction of Aperture and grow funding in support of it. She will lead the development team and work closely with the Executive Director and Board of Trustees to advance Aperture’s capital campaign, supporting the transition to a new, permanent home on 380 Columbus Avenue on the Upper West Side of Manhattan in 2024.

“Along with our Board of Trustees and colleagues, we warmly welcome Esther McGowan to Aperture,” stated Sarah Meister, Executive Director, Aperture. “With an accomplished record of building engagement and support for artists and mission-driven arts organizations, Esther joins us at a pivotal moment in Aperture’s history. She will play a vital role in advancing fundraising to activate our capital campaign as we prepare for our new home and continue to broaden and nurture our growing community around photography.”

“I have long been a fan of Aperture’s publications and exhibitions, and have been inspired by photography from a young age,” added McGowan. “Aperture’s role in the field is essential, and I am thrilled to contribute to this important work and help expand its reach.”

Before joining Aperture, McGowan had served as Executive Director for Visual AIDS since 2017, and as Associate Director since 2012, where she developed strategic partnerships, initiated Board growth, increased staff, expanded programming and archival practice, and created diversified revenue for the HIV/AIDS arts organization. She has held positions as Development Director and worked as a freelance fundraiser for multiple nonprofit cultural groups, including the Center for Fiction, Robert Wilson’s Watermill Center, the Bronx Museum of the Arts, Arts International, and the Alliance for the Arts.