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Performance: Aperture 221Envisioning the intersections of photography and performance. This issue, a collaboration between Aperture and Performa, the nonprofit organization dedicated to exploring the critical role of live performance in visual art, takes a capacious approach to considering the intersections of photography and performance. In the Words section, Tate curator Simon Baker traces the impulse to perform for the camera throughout photographic history; New Museum
Envisioning the intersections of photography and performance. This issue, a collaboration between Aperture and Performa, the nonprofit organization dedicated to exploring the critical role of live performance in visual art, takes a capacious approach to considering the intersections of photography and performance. In the Words section, Tate curator Simon Baker traces the impulse to perform for the camera throughout photographic history; New Museum curator Lauren Cornell looks at how artists such as K8 Hardy, Juliana Huxtable, and Amalia Ulman use social media to calculated effect; Performa founder RoseLee Goldberg and MoMA curator Roxana Marcoci discuss performance, documentation, and the ways in which performances are crafted for the camera; and Kaelen Wilson-Goldie explores the lecture-performance form in the work of Lebanese artists Walid Raad, Rabih Mrou , Lina Saneh, and Joana Hadjithomas and Khalil Joreige. In the Pictures section, Delfim Sardo considers the Portuguese artist Helena Almeida's Inhabited Painting(s) and other works; Brian Sholis on the disquieting appeal of Torbj rn R dland's images; James Welling introduces his new series Dance Project; Olu Oguibe on Samuel Fosso's recent Mao Zedong series; Brian Dillon on Dru Donovan's recreations; Performa curator Adrienne Edwards on how Carrie Mae Weems animates minimalism; a look at the role of image research in the Hong Kong-based duo Zheng Mahler's Performa 15 debut performance; and Kristin Poor explores two approaches to photographing dance, by looking at Barbara Morgan's enduring images of Martha Graham, and Babette Mangolte's photographs of Trisha Brown's dance performances.Binding Type: Paperback
Author: Aperture
Published: 11/24/2015
Publisher: Aperture
ISBN: 9781597113243
Pages: 128
Weight: 1.75lbs
Size: 12.00h x 9.20w x 0.50d
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★★★★★ 5
Great opener
Color: Blue
Had a battery operated can opener before and was always changing the batteries. Love the safety cut and this works great now that I can just charge it with my phone charger. Fits in my drawer so no counter space used
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Reviewed in the United States on March 27, 2026
★★★★★ 5
Can opener
Color: Black
Great can opener. Charge lasts a good while.
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Reviewed in the United States on May 23, 2026
★★★★★ 1
Leaves an EXTREMELY SHARP edge - cuts off entire lid from sides of can!
Color: Blue, Color: Blue
This can opener cut off the whole top of the tuna cans and left an insanely sharp, wobbly, very thin edge of the top of the can that nearly cut me because there was no heavy metal lip left behind to hold the structure of the top of the can! This is a very bad feature that is going to really hurt someone! I do NOT recommend this for anyone! Needs a product recall!
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Reviewed in the United States on May 21, 2026
★★★★★ 3
Lackluster
Color: Black, Color: Black
It does what it’s supposed to but only for a couple of cans before it dies. I’ve learned that I have to charge it before I put it away or it’s dead when I need it next and that’s after 2-3 cans. It’s small and fits in my drawer nice, does what it’s supposed to, just a little disappointed in how long it lasts
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Reviewed in the United States on May 21, 2026
★★★★★ 4
Don't mind the noise
Color: Blue
Works great, does exactly what it is supposed to do. Just very loud.
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Reviewed in the United States on May 16, 2026
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