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Between plummeting and floating, we’re cut loose from the earth but still part of the world. Elijah Gowin’s images of bodies suspended combine traditional photography with new technology to illustrate the tranquility and the fear of falling.
A series of portraits of a rural town in Italy where Douglas Gayeton lived, worked, cooked, fell in love, and took pictures—tons of pictures, many of which were then stitched together and inscribed with captions, names, anecdotes, and recipes to tell his story of assimilation.
Photographer and designer Kurt Dietrich Wilberding traveled to Pakistan to capture a more intimate side of life than what’s normally seen in the newspapers.
Simon Roberts shows what traveling around England in a motor home for six months will get you. Of course, it’s much more than that, but in a way it’s also that simple: a series of (exquisite) landscapes photographed in 2008 that depict a survey of Britons at leisure.
Photographer Robert Bergman’s first commercial outing coincides with two debut solo exhibitions, one at the National Gallery of Art in DC, and another at PS1. And all of this from an artist who’s never had a gallery show before.
Edward Burtynsky brings us the oil industry’s fields, factories, and graveyards in large-format wall-sized photographs from around the world—Azerbaijan, China, Canada, California, and more.
Edited by Katharine Harmon, The Map as Art brings together 360 visions of experimental cartography. It is wonderfully inspiring.
From founding industrial-music heavyweights Throbbing Gristle to collaborating with performance artist Lady Jaye, in which the two underwent plastic surgery to merge their identities, Genesis Breyer P-Orridge is about as cutting-edge as you get.
Contradictions abound in Iran’s struggle with modernity. The women in Saghar Daeeri’s paintings lurch from their frames to assert their self-expression, taking us into a world of bazaars and malls that existed long before rioters in the streets began Twittering.
Artist Joe Fig documents the day-to-day lives of 24 contemporary artists with photos of their studios, notes on their work habits, and interviews about where and how they make art.
The two girls in Blake Fitch’s photo series are easy to relate to: Their friendship and emotions transmit quickly through the pictures, but with added illumination, as though the images brought out inner reserves of self-possession.
Richard Barnes’s photographs are dislocating, off-putting adult hocus-pocus—portraits of animals in various states of preservation and transit, removed many degrees from anything remotely wild.