”A Different Kind of Order: The ICP Triennial” at the International Center for Photography, through Sept 8
This year’s edition of ICP’s survey of contemporary photography focuses on the impact of digital technology, a trend that’s been developing for quite awhile, but one whose impact is being felt more directly since a generation of artists who have grown up with the internet has come of age.
Robert Mapplethorpe, “Self Portraits” at Skarstedt Gallery, through June 15
Mapplethorpe appears in these black-and-white photos in various tongue-in-cheek guises (drag queen, Red Brigade terrorist and transgender Pan figure, to name a few), as a way, perhaps, of sending up the idea of the artist as complicated figure.
“American Darkness: O. Winston Link and Gregory Crewdson” at Danziger Gallery, through June 14
Link, whose uncanny documents of steam locomotives in their waning days collapse the boundary between artifice and reality, is paired here with Crewdson, who has cited Link as a major influence for his own stagy photographs.
Lalla Essaydi at Edwynn Houk Gallery, through June 22
A Moroccan photographer who lives and works in the United States, Essaydi relies on her experience as a woman and a Muslim to give her vivid harem scenes (which combine studio techniques worthy of Vogue with Orientalist fantasies worthy of Ingres, Delacroix and Gérôme) a postfeminist twist.
Takuma Nakahira, “Circulation: Date, Place, Events” at Yossi Milo Gallery, May 23–July 12
This series by the noted Japanese photographer was originally created for the Seventh Paris Biennale in 1971, and involved shooting, developing and installing 100 photos a day for a period of seven days. The images themselves were random views of Paris presented without cropping or editing, resulting in a kind of radical blend of photography, performance and process art.
Dennis Hopper, “The Lost Album” at Gagosian Gallery (980 Madison Ave), through June 22
On view are the actor, cult director and sometime artist’s photos taken during the 1960s, which were last exhibited in 1970 and presumed missing until their rediscovery after Hopper’s 2010 death. In their own way, the images capture the panoply of the decade, from civil-rights marches to gatherings of outlaw bikers.
Laurel Nakadate, “Strangers and Relations” at Leslie Tonkonow Artworks + Projects, through June 29
Nakadate made her name with photos in which she posed in various states of undress alongside older men; she would loan other pictures, which depicted her alone, to male strangers for a brief perusal, provided they left fingerprints with ink-stained hands. Whether these works represent a feminist indictment of male privilege or just a mockery of pathetic subjects who happened to be far less attractive than the artist herself, Nakadate’s latest works take a less provocative approach to documenting her encounters with people she’s never met before. Using Facebook, Craigslist and even DNA (to locate distant cousins), Nakadate tracked down numerous subjects, convincing them to meet her at night in remote locations around the country. She then took their portraits, using long exposures with only a flashlight and available starlight as illumination. The results look like crime-scene photos from before the crime is committed.