How has the relationship between painting and photography evolved since the invention of the latter nearly two centuries ago? This spring, Aperture presents “Photography & Painting,” featuring artists from around the world who draw inspiration from both mediums in their work, illuminating how the dialogue between camera and canvas continues to unfold today in fascinating, unexpected ways. Aperture No. 258 is anchored by three in-depth conversations with Njideka Akunyili Crosby, Vija Celmins, and Christopher Wool—three of the most significant painters of their generations. Through different strategies, these artists integrate photographic surfaces into their work, collapsing mediums to find new ways of marking time and space and of expanding our sense of how memories can be represented, from Akunyili Crosby’s spellbinding meditations on Nigerian culture incorporating family and found photographs; to Christopher Wool’s conceptual images of urban decay, talismanic objects, and his own abstract paintings; to Vija Celmins’s painstaking renderings of ocean waves and galaxies. As Celmins tells the photographer Richard Learoyd, “My tools are like hours.” Rather than treat painting and photography as rivals, this issue frames them as sources of mutual inspiration. Brian Dillon examines photographers’ abiding fascination with the painter’s studio, drawing connections among Luigi Ghirri’s pictures of Giorgio Morandi’s atelier, Collier Schorr’s portraits of Nicole Eisenman, and Sally Mann’s tender trespass into Cy Twombly’s Virginia workspace. David Campany looks at the surprising resonances between gestural painting and photography in the 1950s, while Lucy Ives reflects on the misunderstood legacy of photorealism, showing how a movement long disparaged by critics continues to exert a powerful influence on younger artists. Elsewhere in the issue, Lynne Tillman rediscovers the photography of Pierre Bonnard, while Jarrett Earnest—looking at recent paintings of Britney Spears, Ca
