LONDON — A Lee Miller photograph often tells more than one story.
LONDON — A British science museum feels like a strange place for a photography exhibition about 21st-century America.
Brandon Stanton, the founder of the award-winning street photography project Humans of New York, has a story to tell about one of his subjects, an elderly woman whose picture he took at Columbus Circle.
Patrick Caulfield (1936–2005) and Gary Hume (born 1962) have 34 years between them, and yet their work is similar and compelling enough to warrant a twin retrospective at Tate Britain. Because the Tate has prudently divided the artists — “offering visitors the chance to see the work of two complementary British artists from different generations,” as the exhibition leaflet explains — the viewer experiences Caulfield and Hume individually. And because there are no descriptive captions alongside the artworks — only an accompanying pamphlet, which focuses on one work per room — the viewer is left to discover the connections between the artists herself.
The notion of order is really rather muddled: as we put things together to make sense of them, we also surrender some of their meaning. And by its nature, order is perpetually shifting; rules are imposed, then they are broken, reconfigured. This paradox is at the heart of the International Center of Photography’s (ICP) fourth triennial, A Different Kind of Order.
The New York Public Library is asking for quiet with its current exhibition, Echoes of Silence, the first to consider the early works of the architectural photographer Philip Trager — but silence isn’t a word that comes to mind when looking at a Trager photograph. One is drawn instead to the photographer’s eye for movement, his propensity for morphing buildings into people and lifting texture and tone out of the black and white he works in, so that monochrome stills of architecture become polyphonic, playful photographs.
To peer into one’s refrigerator is to peer into one’s soul — at least, that’s the premise of You Are What You Eat, a photography series by San Antonio–based photographer Mark Menjivar, on view at Boerum Hill’s delightful micro gallery 0.00156 acres. The seven photographs featured in the exhibition depict the interiors of refrigerators in various US households, images Menjivar took over three years spent traveling across the nation, curious about America’s eating habits.
The Aperture Foundation, created in 1952, did much to alter photography’s reputation at a time when it was not yet considered art. Sixty years later, for the current anniversary exhibition, Aperture Remix, the foundation commissioned ten photographers — Rinko Kawauchi, Vik Muniz, Taiyo Onorato and Nico Krebs, Martin Parr, Doug Rickard, Viviane Sassen, Alec Soth, Penelope Umbrico, and James Welling — to revisit and respond to one of its publications, an issue of Aperture magazine or a photography book, that inspired their own work.