2/10Photograph: Courtesy of the artist and Andrew Kreps Gallery; New YorkAnnette Kelm, Soles, LOL!, C U SOON, XO, STUFF 2 DO, 2013
Annette KelmAndrew Kreps Gallery, through Nov 2This 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.
3/10Photograph: Courtesy Julie Saul GalleryDidier 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.
6/10Photograph: Courtesy the artist and David Zwirner; New York/LondonPhilip-Lorca diCorcia, Eddie Anderson, 21 years old, Houston, Texas, $20, 1990-92
Philip-Lorca diCorcia, “Hustlers”David Zwirner, through Nov 2This 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.
10/10Photograph: Courtesy of Klaus von Nichtssagend GalleryDavid Gilbert, Decline (Fall), 2013
David Gilbert, “Coming of Age”Klaus von Nichtssagend Gallery, through Oct 20This 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.