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.
Selections from Sam Stephenson’s multi-artist project documenting a season with the Durham Bulls, the North Carolina AAA baseball team that inspired the film Bull Durham, which celebrates its 25th anniversary this year.
From his new solo show in the United States, black-and-white selections from Takuma Nakahira’s “Circulation: Date, Place, Events,” plus a reprint of his 1973 essay, “Looking at the City or the Look From the City.”