Getting in close to the pleating of Issey Miyake. Josephine Pryde in the Swingers group show at Greene Naftali Gallery.
Doubling the world via the distorting lens of eyeglasses. Neil Goldberg at Cristin Tierney Gallery.
The prominent angled saw of masked monument makers. Chloe Dewe Matthews at Aperture Gallery.
Documenting the resurgent power of American witches. Frances Denny at ClampArt.
Cindy Sherman in a blonde wig. Abe Frajndlich in the Portraits of Artists group show at Staley-Wise Gallery.
Systematic experimentation with colored light. Gianfranco Chiavacci at Sous Les Etoiles.
A brave tree poking through the vertical striping of rocks. Sebastião Salgado at Sundaram Tagore Gallery.
Using a darkened bedroom to frame a quiet seascape. Mischa Richter at Jack Hanley Gallery.
Turning a staged Grindr conversation into an iterative photographic series. Mahmoud Khaled at Helena Anrather.
A dappled backdrop of painted tiles and Froot Loops. Roberto Tondopó in the Fantasy, Dream and Make Believe group show at Baxter St at CCNY.
Reconstructing Eggleston’s red ceiling. Jojakim Cortis & Adrian Sonderegger at Bryce Wolkowitz Gallery.
Expressively shifting movement cut into tiles. Ray Metzker at Laurence Miller Gallery.
Ethereal mountains interrupted by tactile scratches. Shao Wenhuan in the Art of the Mountain group show at the China Institute.
A majestic mountain form constructed from tiny apartment buildings, electrical towers, and construction cranes. Yang Yongliang in the Art of the Mountain group show at the China Institute.
Mountaintops shrouded in mist, echoing the aesthetics of 17th century Chinese painting. Wang Wusheng in the Art of the Mountain group show at the China Institute.
Painterly digital composites recalling the image sampling of Rauschenberg. Max de Esteban at Klompching Gallery.
The formal echoes of wet cobblestones and potatoes. Fulvio Roiter in The New Beginning for Italian Photography: 1945-1965 at Howard Greenberg Gallery.
A parade of faces organized by portholes. Stefano Robino in The New Beginning for Italian Photography: 1945-1965 at Howard Greenberg Gallery.
Turning a tunnel view into a high contrast reflection. Sante Vittorio in The New Beginning for Italian Photography: 1945-1965 at Howard Greenberg Gallery.
The swooping lines of draped fishing nets. Ezio Quiresi in the Neorealisimo group show at Keith de Lellis Gallery.
Daybook
Daybook is an ongoing visual diary made entirely of notable photographs, a cascade of images seen here and there and deserving of further attention.
