The collaged form of a young girl, where the coherence of a body is violently rearranged. Deborah Roberts (from 2017) in the Century: 100 Years of Black Art at MAM group show at the Montclair Art Museum.
A dense diorama of suburban signifiers, with family possessions tossed into jumbled chaos. Wardell Milan (from 2008) in the Century: 100 Years of Black Art at MAM group show at the Montclair Art Museum.
Layering glitched forests in Ghana, statuary in Parisian gardens, and a swirl of celestial sky. Todd Gray (from 2019) in the Century: 100 Years of Black Art at MAM group show at the Montclair Art Museum.
Sun blasted lattice patterns and a pop of red. Joel Meyerowitz (from 1983) in the Joel Meyerowitz: Photographs from Cape Cod (1976-1987) show at the Montclair Art Museum.
Red light bulbs that warm the sparse interior of an egg incubator. Mary Helena Clark at Bridget Donahue Gallery.
Distorting a face into a swooping beak. An unidentified photographer (from c1900) in room 521 of MoMA’s permanent collection galleries.
A surreal mix of textural layering. Man Ray (from 1926) in room 517 of MoMA’s permanent collection galleries.
Contrasts of rough and smooth, in heads of newborns. Constantin Brancusi (from c1923) in room 516 of MoMA’s permanent collection galleries.
The insistent ribbed edges of Picasso sculpture. Brassaï (from 1943) in room 516 of MoMA’s permanent collection galleries.
The pulled textures of prints laid on the studio floor. Wade Guyton (from 2020) in the When Image Processing Became Painting group show at Miguel Abreu Gallery.
Adding real gravel to an appropriated image of the Allman Brothers Band. Richard Prince (from 2013) in the When Image Processing Became Painting group show at Miguel Abreu Gallery.
Cinematic glamour interrupted by typed text. Astrid Klein at Sprüth Magers.
Mother and child in the garden, backed by the lines of hanging laundry. August Sander (from 1911-1931) in room 514 of MoMA’s permanent collection galleries.
Marching lines of light and shadow, with a single thin bridge across the white sky. Frank Gohlke (from 1973-1978) in room 511 of MoMA’s permanent collection galleries.
Nested geometric circles, like a Modernist abstraction, as seen in a Montana wind tunnel. Margaret Bourke-White (from 1936) in room 510 of MoMA’s permanent collection galleries.
The twinned forms of back-bending riveters. Homer Page (from c1950) in room 510 of MoMA’s permanent collection galleries.
Circular harmonies working inside a turbine. Lewis Hine (from c1920) in room 510 of MoMA’s permanent collection galleries.
The textured surfaces of a narrow Parisian alley. Eugène Atget (from 1900) in room 501 of MoMA’s permanent collection galleries.
A now-classic zine of youth culture. Ed Templeton (from 1999) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.
An irreverent strain of self-portraiture. Ryan McGinley (from 2001) in the Copy Machine Manifestos: Artists Who Make Zines show at the Brooklyn Museum.
