A rusted blue car and its reflection, energized by a flash lit glow. Todd Hido at Bruce Silverstein.
Squares of color printed on glass sheets, floating like isolated pixels. Liz Deschenes at Miguel Abreu Gallery.
Turning a display container into a subject, where an empty vitrine becomes a definer of geometric space. Sarah Jones at Anton Kern Gallery.
Backstage posing, with a sandwiched layer of urban decay. Gail Thacker, from 1999, at Candice Madey.
Tucking a postcard in the pocket of a Hawaiian shirt. Luigi Ghirri at Matthew Marks Gallery.
Silhouetted bodies and colorful boogie boards. Martin Parr at Harper’s Gallery.
Posing friends and fellow LGBTQ activists in Pre-Raphaelite settings. Sunil Gupta at Hales Gallery.
Taking a quick nap in the depths of the Parisian catacombs. Nadar, from 1862, at a recent single artist auction at Millon.
The gestural mark making of floating smoke rings. Donald Sultan in The Fall Classic 2023 at Janet Borden.
The unhurried glamour of waiting. Eve Arnold (from 1952) in Play the Part: Marlene Dietrich at the ICP.
Stuffed into a corner but dismissively cool and at ease. Irving Penn (from 1948) in Play the Part: Marlene Dietrich at the ICP.
Direct confidence in an untied cravat. Eugene Robert Richee (from 1932) in Play the Part: Marlene Dietrich at the ICP.
Shimmering elegance with a fur collar. Studio d’Ora Benda (from 1927) in Play the Part: Marlene Dietrich at the ICP.
A chemigram abstraction made from the artist’s grandmother’s handkerchief. Muriel Hasbun at the ICP.
Shadows, washes, and a seething orange starburst like a blossom. A unique Fred Cray photograph, found in the ICP bookshop.
Tied and spread wearing the American flag. Quil Lemons at Hannah Traore Gallery.
Turning an arrangement of cigarettes into a striped checkerboard grid. Edward Steichen (from 1927) in The Geometry of Modernism at Keith de Lellis Gallery.
A sinuous curve of domino shadows. Underwood & Underwood Studio (from c1935) in The Geometry of Modernism at Keith de Lellis Gallery.
Sparkling cast shadows through crystal cubes. Walter Westervelt (from 1929) in The Geometry of Modernism at Keith de Lellis Gallery.
Interlocking boat decks, railings, and staircases. George Platt Lynes (from c1932) in The Geometry of Modernism 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.
