Stock car examples, set against isolating backdrops of white. Michael Dweck (from 2007) at Staley-Wise Gallery.
Scattered chamomile flowers on a flare of intense pink. Melanie Schiff (from 2021) in the Here We Leave Solid Ground three-person show at Kate Werble Gallery.
Drowning toy ships in turbulent water. David Attie (from c1965) in the Out of this World: Surreal & Fantastic Art in Photography group show at Keith de Lellis Gallery.
Moving from positive to negative across a face. Gordon Coster (from c1934) in the Out of this World: Surreal & Fantastic Art in Photography group show at Keith de Lellis Gallery.
The clutter of Marcel Duchamp’s studio. Frederick Kiesler/Percy Rainford (from 1945) in the Out of this World: Surreal & Fantastic Art in Photography group show at Keith de Lellis Gallery.
Layers of moving silhouettes. Peter Rose Pulham in the Out of this World: Surreal & Fantastic Art in Photography group show at Keith de Lellis Gallery.
Collaging solarized forms into energetically overlapped movement. Raoul Ubac (from 1937) in the More Avant-Garde group show at Gitterman Gallery.
Mixing darkroom techniques with elegant dexterity. Jaroslav Rössler (from 1968) in the More Avant-Garde group show at Gitterman Gallery.
Wood grain microphotography, with a shiny metallic sheen. Laure Albin-Guillot (from 1931) in the More Avant-Garde group show at Gitterman Gallery.
The surreal isolation of a single freckled eye. Jean Moral (from 1927) in the More Avant-Garde group show at Gitterman Gallery.
Transforming Prince Albert into the Elephant Man. Frederick Sommer (from 1947) in the More Avant-Garde group show at Gitterman Gallery.
The mystery of a doubled face in positive/negative. Francois Kollar (from c1933) in the More Avant-Garde group show at Gitterman Gallery.
Capturing slogans written in the streets during the feminist revolution in Iran. Gülistan Kenanoğlu in the Divine Violence/Jin, Jîyan, Azadî group show at Apexart.
Using collage to document the feminist revolution in Iran. Çağlar Hanaylı in the Divine Violence/Jin, Jîyan, Azadî group show at Apexart.
Following the overhead wires to a “divine connection”. Flor Garduño (from 2017) at Throckmorton Fine Art.
Staging an early self-portrait, with bananas. Erwin Olaf (from 1981) at Edwynn Houk Gallery.
Shimmering blue on the skin, like the sky above. Koral Carballo in Visibility & Resistance: New Acquisitions, Contemporary Afro-Mexican Photography at the Schomburg Center for Research in Black Culture at the NYPL.
Laced up to the point of suffocation. Dolores Medel in Visibility & Resistance: New Acquisitions, Contemporary Afro-Mexican Photography at the Schomburg Center for Research in Black Culture at the NYPL.
Using singular objects to represent life in Costa Chica, Mexico. Hugo Arellanes Antonio in Visibility & Resistance: New Acquisitions, Contemporary Afro-Mexican Photography at the Schomburg Center for Research in Black Culture at the NYPL.
Altering skin tones in a doubled self-portrait to explore a bi-racial identity. Toumani Camara in Visibility & Resistance: New Acquisitions, Contemporary Afro-Mexican Photography at the Schomburg Center for Research in Black Culture at the NYPL.
