Making a portrait of a female chatbot. Lynn Hershman Leeson (from 2024) at Bridget Donahue.
A shadowy grid of cowboys, construction workers, and policemen, playing with clichés of gay masculinity. Pacifico Silano at Island 83 Gallery.
Bessie Smith posed with a gathering of feathers. Carl Van Vechten (from 1936) in The Harlem Renaissance and Transatlantic Modernism at the Met.
A pensive Harlem nude, flanked by competing studio backdrops. James Van Der Zee (from 1923) in The Harlem Renaissance and Transatlantic Modernism at the Met.
Amplifying the luminous presence of Josephine Baker. Adolph de Meyer (from 1925-1926) in The Harlem Renaissance and Transatlantic Modernism at the Met.
Collaged layers of in-process imagery, collapsing iterative moments in artistic time. Yamini Nayar (from 2011) in a group show at Thomas Erben Gallery.
Glamorous Hitchcock-style horror staged on a Los Angeles roadway. Ellen von Unwerth (from 2018) at Staley-Wise Gallery.
Turning champagne bottles into formal up and down triangulations. Robert Mapplethorpe at Gladstone Gallery.
The angled posing of a languorous touch. George Platt Lynes (from 1937) at CLAMP.
A striding figure with sculptural echoes of driftwood. PaJaMa (from 1947) at CLAMP.
Downcast eyes and a curl of hair. Brassaï (from 1932-33) in the Nightlife group show at Marlborough New York.
A tense encounter on the stairs. Bill Brandt (from 1930s/later) in the Nightlife group show at Marlborough New York.
The tactile essences of a folded body print. Katherine Hubbard (from 2023) in the Angelic Rebels group show at Company.
A dejected angel during the AIDS crisis. Tessa Boffin (from 1989) in the Angelic Rebels group show at Company.
Nesting performative studio setups in layers of illusionistic reflection. B. Ingrid Olson in the Whitney Biennial 2024: Even Better Than the Real Thing at the Whitney.
A towering wall documenting the daily tasks of providing abortion health care. Carmen Winant in the Whitney Biennial 2024: Even Better Than the Real Thing at the Whitney.
A classic gesture of collaged glamour, as applied to the elegant profile of a Weimaraner. William Wegman at Sperone Westwater.
Blocking the sun wearing latex gloves. Ian Lewandowski at CLAMP.
A hypnotized man, acting out being at the bottom of the ocean. Elizabeth Heyert at Daniel Cooney Fine Art.
A sea of serious faces at a Black Muslim rally in Harlem. Gordon Parks (from 1963) at Jack Shainman 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.
