One woman powers herself with a solar panel. Another wears a neon sign in her Afro. In the future as in the past, identity is never one-dimensional.
When a photographer reviews 35 years of unposed family pictures—unexpected moments, children growing older—a symphony appears.
Multi-layered photographs show people’s inner lives merging with their environments—suggesting that what we see of reality is less than what actually exists.
Ear cleaners, knife grinders, street-side barbers—portraits of Indian tradesmen who maintain caste-prescribed professions.
Modern-day totem poles constructed from Americans’ favorite consumer materials—cars, beer cans, even cheeseburgers.
Irresistible watercolors of mouthy cowboys, automobile wrecks, boxing matches, rodeo clowns, and rock bands.
Square paintings that take the smallest things—a gas station’s roof, a swing set’s leg—and find unease in the most cheerful of circumstances.
In the instance of slipping, there’s a moment of stillness just before you lose control. Selections from 10 years of a falling man’s self-portraits.
A former criminologist focuses on the lighter side of Los Angeles. Oil paintings of the city’s shops, streets, and people, with a particular focus on a single bright pink store.
Foliage bursting into living rooms. Houses floating in trees. Dynamic paintings of how natural and built spaces invade one another.
Portraits of a boy who was born without eyes, from one of the 21 “new and emerging photographers” selected this year by Lens Culture.
Experiencing a piece of art can be transporting, but the act of explaining it to someone else is an art form in itself. No wonder that docents, professors, even patrons get caught up in the act.