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Magnum Square Print Sale • Hidden

“Hidden”, the October 2019 Magnum Square Print Sale theme, explores the idea of what the photographer sees that is otherwise hidden. In partnership with Aperture, it brings together a selection of over 100 images by international photographic artists.

For the third time, Magnum Photos invited a roster of artists published by Aperture to partecipate alongside Magnum’s own photographers: the resulting curation is a celebration of the diversity of practices within photography, offering a plethora of unique interpretations of the common theme.

A selection from Magnum Square Print Sale • Hidden

Bruce Gilden / Magnum Photos
William Wegman
Changsha, Hunan province, China. July 2013 -- “In 2013 I went back to China to complete the images needed to finish my book, PARTY. I was looking for symbols of communism that I could put in context with the new liberal feel of the Red Republic. I stayed in Changsha, capital of Hunan province, where Mao was born; it was also one of the provinces most affected by the famine resulting from the Great Leap Forward. Changsha is home to the biggest statue of Mao in China, it stands on an island in the Xiang River, where Mao and his friends would go swim as young men. Monuments are made to trigger the remembrance of greatness and work effectively as long as everyone agrees to remember and facts remain true. I tried to find angles that could express the awkward presence of communism, as it exists now in China, hiding and disfiguring the founder of the new nation with whatever I could find between me and the 800 tons of granite of Mao as a young man.” Cristina de Middel
Changsha, Hunan province, China. July 2013 -- “In 2013 I went back to China to complete the images needed to finish my book, PARTY. I was looking for symbols of communism that I could put in context with the new liberal feel of the Red Republic. I stayed in Changsha, capital of Hunan province, where Mao was born; it was also one of the provinces most affected by the famine resulting from the Great Leap Forward. Changsha is home to the biggest statue of Mao in China, it stands on an island in the Xiang River, where Mao and his friends would go swim as young men. Monuments are made to trigger the remembrance of greatness and work effectively as long as everyone agrees to remember and facts remain true. I tried to find angles that could express the awkward presence of communism, as it exists now in China, hiding and disfiguring the founder of the new nation with whatever I could find between me and the 800 tons of granite of Mao as a young man.” Cristina de Middel
Cristina de Middel / Magnum Photos
Noam in her yard with some neighbors, Tel Aviv. May 2002. -- “During the Second Intifada, I began the project ‘Testimony,’ because I wanted to go deeper than the news, to the inno- cent bystanders of the Israeli–Palestinian conflict. Each image is accompanied by a written testimony: ‘I’m 12-years-old. I have an older and a younger brother. I am here in our yard and we are all taking turns on the swing. Mica and Tom are on the blanket waiting for me. I know there are always horrible things going on in this country, but the truth is I don’t feel it. I think we live in a little bubble in Tel Aviv. Especially when I hear stories about what my grandfather went through. His whole family was killed in World War II and he was put in an orphanage in Czechoslovakia. He doesn’t talk about it, but my parents tell me. When I think about what my family suffered through, I feel like we live in a fairytale here. By the time I’m old enough to serve in the army, maybe there won’t be a war going on. I wish for that. - Noam (pictured)” Gillian Laub
Noam in her yard with some neighbors, Tel Aviv. May 2002. -- “During the Second Intifada, I began the project ‘Testimony,’ because I wanted to go deeper than the news, to the inno- cent bystanders of the Israeli–Palestinian conflict. Each image is accompanied by a written testimony: ‘I’m 12-years-old. I have an older and a younger brother. I am here in our yard and we are all taking turns on the swing. Mica and Tom are on the blanket waiting for me. I know there are always horrible things going on in this country, but the truth is I don’t feel it. I think we live in a little bubble in Tel Aviv. Especially when I hear stories about what my grandfather went through. His whole family was killed in World War II and he was put in an orphanage in Czechoslovakia. He doesn’t talk about it, but my parents tell me. When I think about what my family suffered through, I feel like we live in a fairytale here. By the time I’m old enough to serve in the army, maybe there won’t be a war going on. I wish for that. - Noam (pictured)” Gillian Laub
Gillian Laub
Marrakech, Morocco. 1986. -- “I was in Marrakech in 1986 during the Folklore Festival. Sitting on a dirt wall, there was a group of girls waiting to perform. As soon as they saw me taking pictures, they started hiding, covering their faces with their hands, then uncovering them slightly to look at me, then covering them again. It was like a game of seduction and, though they were quite young, they already seemed to know that to hide and to show were the basic rules of the game. They kept playing at it for a little while, laughing loudly. It would have been great to have the soundtrack with this image.” Harry Gruyaert
Marrakech, Morocco. 1986. -- “I was in Marrakech in 1986 during the Folklore Festival. Sitting on a dirt wall, there was a group of girls waiting to perform. As soon as they saw me taking pictures, they started hiding, covering their faces with their hands, then uncovering them slightly to look at me, then covering them again. It was like a game of seduction and, though they were quite young, they already seemed to know that to hide and to show were the basic rules of the game. They kept playing at it for a little while, laughing loudly. It would have been great to have the soundtrack with this image.” Harry Gruyaert
Harry Gruyaert / Magnum Photos
Thaynah Vineyard at the “We Are The Future – And The Future Is Fluid” ball organised by Legendary Marina 007 and Mother Amber Vineyard. Body painting by visual artist Airich. Amsterdam. 2018. -- “My current project ‘Opulence’ is an ode to my late brother, and all people of Afro-Caribbean descent who still are not free to live and express their sexuality to its fullest. To this day, homosexuality is strongly stigmatized and condemned within the Caribbean commu- nity. In addition, black people from the former colonies and the Caribbean islands in the Netherlands are increasingly racialized and objectified. This project seeks to break out of this dichotomy by portraying subjects in unadorned, raw yet graceful portraits.” Dustin Thierry
Thaynah Vineyard at the “We Are The Future – And The Future Is Fluid” ball organised by Legendary Marina 007 and Mother Amber Vineyard. Body painting by visual artist Airich. Amsterdam. 2018. -- “My current project ‘Opulence’ is an ode to my late brother, and all people of Afro-Caribbean descent who still are not free to live and express their sexuality to its fullest. To this day, homosexuality is strongly stigmatized and condemned within the Caribbean commu- nity. In addition, black people from the former colonies and the Caribbean islands in the Netherlands are increasingly racialized and objectified. This project seeks to break out of this dichotomy by portraying subjects in unadorned, raw yet graceful portraits.” Dustin Thierry
Dustin Thierry
Mignonne with Iris. Illovo, Johannesburg, South Africa. From the book, Synonym Study. 2014. -- “I was in Johannesburg on a three-month residency during the winter, and my wife, Mignonne, came to stay with me in the cold top- floor apartment overlooking the city. We are never apart for very long periods of time, and as soon as she arrived, everything just sort of came together with the work. It was a highly productive time. This image addresses the theme of ‘hidden’ in quite a literal way; I’ve always liked to obscure the person and use bodies more as symbols.” Nico Krijno.
Mignonne with Iris. Illovo, Johannesburg, South Africa. From the book, Synonym Study. 2014. -- “I was in Johannesburg on a three-month residency during the winter, and my wife, Mignonne, came to stay with me in the cold top- floor apartment overlooking the city. We are never apart for very long periods of time, and as soon as she arrived, everything just sort of came together with the work. It was a highly productive time. This image addresses the theme of ‘hidden’ in quite a literal way; I’ve always liked to obscure the person and use bodies more as symbols.” Nico Krijno.
Nico Krijno; Courtesy The Ravestijn, Amsterdam and Elizabeth Houston, New York
Provincetown, Massachusetts. 1976. -- “This photograph could be the opening line of a joke: ’So, a girl rides up to a bar on a horse ...’ But really what happened was that I was there getting some ice cream for my kids when this girl rode up to the window on her horse and ordered two lobster rolls and some fries; as soon as I saw the girl, the horse, and the ice cream sign, I saw the photograph. My 8x10 was always with me then, and in less time than it took to get the lobster rolls, I made the photograph.” Joel Meyerowitz
Provincetown, Massachusetts. 1976. -- “This photograph could be the opening line of a joke: ’So, a girl rides up to a bar on a horse ...’ But really what happened was that I was there getting some ice cream for my kids when this girl rode up to the window on her horse and ordered two lobster rolls and some fries; as soon as I saw the girl, the horse, and the ice cream sign, I saw the photograph. My 8x10 was always with me then, and in less time than it took to get the lobster rolls, I made the photograph.” Joel Meyerowitz
Joel Meyerowitz, Courtesy Howard Greenberg Gallery
Colletia Cruciata 2. 1929. -- “I think everything you do is something of a contribution, unless it’s no good. Then you better hide it. What I like to see about a photo- graph, is everything smoothly in focus—or if it’s out of focus, for a purpose. And, the quality and gradations of value, rendered, more nearly and accurately in a smaller photograph. I don’t mean tiny, but I mean, not too big.” Imogen Cunningham
Colletia Cruciata 2. 1929. -- “I think everything you do is something of a contribution, unless it’s no good. Then you better hide it. What I like to see about a photo- graph, is everything smoothly in focus—or if it’s out of focus, for a purpose. And, the quality and gradations of value, rendered, more nearly and accurately in a smaller photograph. I don’t mean tiny, but I mean, not too big.” Imogen Cunningham
2019 Imogen Cunningham Trust
Wet Sunset. Los Angeles, California. 2017. -- “This picture is from a large body of work called ‘I’m Looking Through You,’ about the beautiful, complicated, glamorous surface of Southern California—and by extension, about our dreamiest desires. This picture was made after a long spate of rain in L.A., when lots of things start washing down the streets.” Tim Davis
Wet Sunset. Los Angeles, California. 2017. -- “This picture is from a large body of work called ‘I’m Looking Through You,’ about the beautiful, complicated, glamorous surface of Southern California—and by extension, about our dreamiest desires. This picture was made after a long spate of rain in L.A., when lots of things start washing down the streets.” Tim Davis
Tim Davis

A selection from Magnum Square Print Sale • Hidden

Since its beginnings, photography has functioned in part as a vehicle for showing what is neither accessible nor visible to the majority of us, as well as shedding light on the things around us that are otherwise overlooked. From remote societies to elite fraternities, isolated places to objects so common we don’t stop to look at them, photographs reveals hidden things, places and lives. Artists, too, often describe their own private spaces and inner lives as integral to their work.

In some cases, it is the images themselves that are hidden: Thomas Hoepker and the Inge Morath Estate share previously overlooked images from their archives, including an unseen portrait of Muhammad Ali. Other images actively obscure or conceal, such as the identity of a masked rebel in Nicaragua photographed by Susan Meiselas, or the anonymous protester in Don McCullin’s photograph.
Perspective also plays a role in many of the images in this curation, as photographers play with unexpected angles in order to make us look at things anew—as in selections by Philippe Halsman, Steve McCurry and Stephen Shore—or reflect on the allure of what they cannot see, like light emanating from behind a garage door in Todd Hido’s image.

The Magnum Square Print Sale in partnership with Aperture will take place on the Magnum Photos Shop from Monday, October 28, 8AM EST to Friday, November 1, midnight EST, 2019.

Signed or estate-stamped, museum-quality 6x6” prints by the world’s leading photographic artists for $100. Available for five days only.



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