Using black overpainted ink to redefine, flatten, and obscure. Fernando de Azevedo (1950s, from Portugal) in the Surrealism Beyond Borders group exhibition at the Metropolitan Museum of Art.
Turning sticks and shadows into densely layered netting. Cecilia Porras and Enrique Grau (late 1950s, from Colombia) in the Surrealism Beyond Borders group exhibition at the Metropolitan Museum of Art.
Post-war luxury confronted by a snarling wolf in the waves. Toshiko Okanoue (mid 1950s, from Japan) in the Surrealism Beyond Borders group exhibition at the Metropolitan Museum of Art.
Pushing photocollage toward something approaching additive portraiture. Jorge Cáceres (late 1930s, from Chile) in the Surrealism Beyond Borders group exhibition at the Metropolitan Museum of Art.
Paying tribute to the silent film era, with layered stills that intermingle faces and film clips. Chris Marker at Peter Blum Gallery.
Incisively re-imagining John Divola’s “As Far As I Could Get” as a Black man running between a swapmeet parking lot and a liquor store. William Camargo in Zora J. Murff’s show at Baxter St at CCNY.
Layering collaged gestures and echoed lines, via ballet bodies in Black and white. Kandis Williams at David Zwirner/52 Walker.
The tenderness and intimacy of touch, as part of a haircut. Isaac West in the INWARD: Reflections on Interiority group show at the ICP.
The elegantly sculptural twist and pull of arms and hands inside fabric. Djeneba Aduayom in the INWARD: Reflections on Interiority group show at the ICP.
A color and texture story featuring blue braids, a green garage door, and light pink pleats. Arielle Bobb-Willis in the INWARD: Reflections on Interiority group show at the ICP.
Wispy arm gestures echoed by layers of tactile circles and curves. Sarah Moon, for Yohji Yamamoto in 2019, at Fotografiska.
Capturing the stylishly dapper cool of the Islington Twins. Janette Beckman at Fotografiska.
An eerie self-portrait with an embedded “AIDS is Killing Artists” message. Lola Flash in the second floor lobby at MoMA.
Building new associative collages (like this one of handshakes) from image folders housed in the NYPL’s Picture Collection. Taryn Simon at the New York Public Library.
A reflected view of the connected generations of family. Tyler Mitchell at the Gordon Parks Foundation.
Replaying the quietly dramatic disillusionment of the artist’s own immigration story. Diana Markosian at the ICP.
Markosian’s 2020 photobook Santa Barbara was reviewed here.
Fitting lounging bodies together like interlocked puzzle pieces. Ruth Orkin, from 1948, at Fotografiska.
Peering through the rails of a bannister, surrounded by a surreal world of floating dolls. Rosalind Fox Solomon at Foley Gallery.
Embedding photographic imagery in ceramics, like melting blossoms in amoebic tidepools. Erin Jane Nelson in the 2021 Triennial: Soft Water Hard Stone at the New Museum.
A youthful face of pandemic-era New York city. Marie Tomanova at C24 Gallery.
