Pieter Hugo, Thoba Calvin and Tshepo Cameron Sithole - Modisane, Pretoria, 2013 (from the sereies, "Kin")
Pieter Hugo, “Kin”
Yossi Milo Gallery, through Oct 19
The noted South African photographer presents a new series of images shot over eight years. Using different genres—still life, portraits, rural and urban landscapes—Hugo creates a collective, and very personal, portrait of his troubled homeland, which remains racked by racial and economic tensions some 20 years after the end of apartheid.
Annette Kelm, Soles, LOL!, C U SOON, XO, STUFF 2 DO, 2013
Andrew Kreps Gallery, through Nov 2
This Berlin artist’s color photos by encompass photographic categories such as portraiture, still life and landscape, and also share the sort of slick, large-format appearance usually associated with commercial photography. Her works are metaformal in that they seem to allude to all manner of recent developments in contemporary photography (Hilla and Bernd Bechers’s taxonomic approach to subject matter? Check. Wolfgang Tillmans’s use of varied scale and formats? Double check), while disassociating themselves from any of their meanings.
Didier Massard, The Tower of Babel, 2012
Didier Massard, “L’Atlas Imaginaire”
Julie Saul Gallery, through Oct 19
While they may look photoshopped, Massard’s fantastical color photos of tropical, arctic and biblical landscapes (with all their respective flora, fauna and other details) are of elaborate models and sets built by the artist in his studio.
Edward Burtynsky, Cerro Prieto Geothermal Power Station, Baja, Mexico, 2012
Howard Greenberg Gallery + Bryce Wolkowitz Gallery, through Nov 2
The various uses and abuses of the stuff that covers three quarters of the globe are the subjects of Burtynsky’s latest photo series, spread out over two galleries in midtown and Chelsea. Massive irrigation projects, hydroelectric dams and pilgrims massing along the banks of India’s Ganges River are just some of scenes in which the artist explores our relationship to this essential fluid.
Philip-Lorca diCorcia, Eddie Anderson, 21 years old, Houston, Texas, $20, 1990-92
Philip-Lorca diCorcia, “Hustlers”
David Zwirner, through Nov 2
This show revisits diCorcia’s 1990–92 series, in which he paid male prostitutes to pose for him in various suggestive locales in cities such a L.A. and Houston, including motels, supermarket parking lots and diners. Like much of the artist’s work, these photos seem to compress an entire cinematic narrative into a single still image.
Irving Penn, Large Sleeve (Sunny Harnett), New York, 1951
Irving Penn, “On Assignment”
Pace/MacGill (510 W 25th St), through Oct 26
Mounted as a collaboration between Pace and Pace/MacGill, this survey looks back on Penn’s six-decade career as a commercial photographer, creating images for publications such as The New Yorker, Vogue, Look and House & Garden, as well as for advertising campaigns.
Robert Rauschenberg, Photem Series I, #5, 1991
“Robert Rauschenberg and Photography”
Pace/MacGill (32 E 57th St), through Nov 2
Photography played a key role in the protean artist’s practice, both as a material for creating various paintings, collages, prints and drawings, and as a medium to be explored in its own right. This show covers both avenues with a selection of images spanning the 1950s and 1990s.
Kunié Sugiura, Red, Green, & Yellow, 1981
Kunié Sugiura, “Photographic Collages”
Leslie Tonkonow Artworks + Projects, through Oct 26
On view are the artist’s black-and-white and color snapshots, arranged into diptychs and triptychs with blocks of bright color. The latter manage to poetically underline and enliven the otherwise prosaic content of the pictures, which consists mainly of landscapes and cityscapes.
David Gilbert, Decline (Fall), 2013
David Gilbert, “Coming of Age”
Klaus von Nichtssagend Gallery, through Oct 20
This L.A. artist photographs colorful abstract sculptural tableaux that he creates in his studio with paint, fabric, wood and found objects. The results are rather like the usual documents of a busy artist’s domain, except that in this instance, the pictured works-in-progress never exist beyond the photos themselves.