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Pictures where the eye lingers not only on the image, but in it, as if something is waiting still deeper inside.
Photographs of people at war by the co-director of Restrepo, from an upcoming show at New York’s Yossi Milo Gallery.
Three series where the photographer waits until his subject finds a moment of perfect lighting.
Elegance found inside an Arizona parking lot of retired B-52 bombers, where function and form can be equally disturbing.
Imagine the people you see on your morning commute—sleepy, bored, stoic. Now picture them jammed together in the bed of a truck, speeding down the highway to work. Photographs of Mexico’s hidden (literally) class of workers.
Blazing, husky paintings that deal with class in America—where everyone has an equal opportunity to be a mess.
In Laura Plageman’s “Response” photographs, nature pictures are ripped, folded, and turned into sculptures, then re-photographed to become unusual new landscapes.
Selections from Daniel Rosenberg and Anthony Grafton’s captivating history of timelines, now in paperback—from time circles to time dragons, to a history of civilization drawn on a single piece of paper.
In Thomas Woodruff’s paintings, Hippocrates’s Four Humors afflict beasties, batterflies, and tigers on tender, spooky landscapes.
In Jeroen Hofman’s new monograph Playground, the training facilities for Holland’s soldiers, firefighters, rescue workers, and police officers are photographed from a cherry-picker, turning dangerous scenarios into LEGO sets.
The pictures in Susan Lipper’s series may come from West Virginia, but they could be found off dozens of American byways.
Photographer Jane Fulton Alt discovered the beauty of prairie fires on the same morning that her sister underwent her first chemotherapy treatment.