Eye-catching landscapes don’t need glitter to produce mystery. Beautiful monochrome paintings that capture the vastness of sea, sand, and sky.
Portraits that find Manhattan’s Lower East Side in 1980 and 2010 showing different faces—blight, renewal, and the pursuit of hipsterdom—and also many things that (thankfully) never change.
Intricate designs found in large-scale, labor-intensive relief prints made from the cross sections of trees and lumber.
Irresistible paintings don’t always need giant frames. An interview with the painter who electrified this year’s Whitney Biennial.
Portraits of young men in Panama showing off their bikes—strikingly decorated, variously macho, and altogether priti.
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.