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A black and white photograph of an empty street lined with businesses.

Robert Adams: The New West

In a seminal series of images representing the suburban Southwest, Adams shows the brutal squalor of suburban architecture and its effect on the landscape, as well as the hopeful aspects of nature that are beyond our impact.

A black and white photograph overlooking a small town with mountains and clouds in the distance. — Robert Adams, Golden, Colorado, 1969

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

A black and white photograph of a billboard advertising Howard Johnson's against pine trees and a river in the foreground. — Robert Adams, Clear Creek, near Idaho Springs, 1968-72

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

A black and white photograph of a bush and a guardrail on a freeway embankment. — Robert Adams, Along Interstate 25, 1970-72

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

A black and white photograph of trees in an open field, with telephone lines running diagonally through the sky. — Robert Adams, Grazing Land with Pines, near Falcon, Colorado, 1968-72

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

Black and white photograph of a stretch of road with businesses and homes leading to the mountains — Robert Adams, Golden, Colorado, 1970 / printed 1972

gelatin silver print, 6 x 6 inches (image & sheet) [15.2 x 15.2 cm]

A black and white photograph of a lone person digging with mountains in the background. — Robert Adams, Basement for a tract house, Colorado Springs, 1969

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

Robert AdamsAlameda Avenue, Denver

1971

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

Robert AdamsGolden, Colorado

1969

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

Robert AdamsClear Creek, near Idaho Springs

1968-72

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

Robert AdamsAlong Interstate 25

1970-72

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

Robert AdamsGrazing Land with Pines, near Falcon, Colorado

1968-72

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

Robert AdamsGolden, Colorado

1970 / printed 1972

gelatin silver print, 6 x 6 inches (image & sheet) [15.2 x 15.2 cm]

Robert AdamsBasement for a tract house, Colorado Springs

1969

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

Purple panel with uppercase dripping red text reading OBSCENE and various synonyms

Mel Bochner: Paintings

Often referencing humor and popular culture, Bochner’s paintings question the opaque meaning of language, transforming words into graphic arrangements and blurring the lines between looking and reading.

A multicolored painting of pastel-colored text on a beige background reading variations of the word "No" — Mel Bochner, No, 2012

oil on velvet, 62-3/4 x 42-1/2 inches [159.4 x 108 cm]

Striped blue and gray panels with multicolored uppercase text along each stripe — Mel Bochner, Oh Well, 2018

oil on velvet, 41-3/4 x 30-3/4 inches [106 x 78.1cm]

An oil painting with thickly applied light blue paint forming a smudge, and the text "$#!+" in white. — Mel Bochner, $#!+, 2014

oil on velvet mounted on panel, 9 x 12 inches [22.9 x 30.5 cm]

Color image of grey toned painting with phrases in different colors — Mel Bochner, Amazing, 2021

oil on velvet, 63 x 38-3/4 inches (painting) [160 x 98.4 cm]

A painting of black text on a bright, multicolored background of many synonyms of the phrase "Get Lost!". — Mel Bochner, Get Lost, 2014

enamel and acrylic on canvas, 60 x 45 inches (canvas) [152 x 114 cm]

Painting of phrases that are synonyms for the word obvious in different colors — Mel Bochner, Obvious, 2017

oil on velvet, 91-1/4 x 57-1/4 inches (canvas) [231.8 x 145.4 cm]

Mel BochnerObscene

2018

oil on velvet, 20 x 13-3/4 inches [50.8 x 34.9 cm]

Mel BochnerNo

2012

oil on velvet, 62-3/4 x 42-1/2 inches [159.4 x 108 cm]

Mel BochnerOh Well

2018

oil on velvet, 41-3/4 x 30-3/4 inches [106 x 78.1cm]

Mel Bochner$#!+

2014

oil on velvet mounted on panel, 9 x 12 inches [22.9 x 30.5 cm]

Mel BochnerGet Lost

2014

enamel and acrylic on canvas, 60 x 45 inches (canvas) [152 x 114 cm]

Mel BochnerObvious

2017

oil on velvet, 91-1/4 x 57-1/4 inches (canvas) [231.8 x 145.4 cm]

All Portfolios

Liz Deschenes: Selected Works

In the metallic sheen of their surfaces, Deschenes’s mirror-like photograms reflect the architecture of the space around them, as well as the viewer. Carefully positioned in the gallery, their materials, dimension, and arrangements reference early photographic and cinematic techniques.

An image of a solid vivid purplish red colored print in a white frame. — Liz Deschenes, Indicator #1, 2022

dye sublimation print, 54 x 44 inches (framed) [137.1 x 111.7 cm], edition of 2

Two photographs depicting washes of green hanging on a light gray wall — Liz Deschenes, Green Screen #1 and #3, 2001

Fujiflex print mounted on plexiglass, 26 x 19 inches (each) [66 x 48.3 cm], edition of 5

An image of a solid blue colored print in a white frame. — Liz Deschenes, Indicator #9, 2022

dye sublimation print, 54 x 44 inches (framed) [137.1 x 111.7 cm], edition of 2

Color image of a unique gold toned photogram column on white wall — Liz Deschenes

Color image of unique photograms on white wall — Liz Deschenes, FPS (120), 2021

120 unique photograms mounted on Dibond, 60 x 1-1/4 inches (each) [152.4 x 3.2 cm]

Color image of a blue photogram framed in white — Liz Deschenes

Liz DeschenesIndicator #1

2022

dye sublimation print, 54 x 44 inches (framed) [137.1 x 111.7 cm], edition of 2

Liz DeschenesGreen Screen #1 and #3

2001

Fujiflex print mounted on plexiglass, 26 x 19 inches (each) [66 x 48.3 cm], edition of 5

Liz DeschenesIndicator #9

2022

dye sublimation print, 54 x 44 inches (framed) [137.1 x 111.7 cm], edition of 2

Liz DeschenesFPS (120)

2021

120 unique photograms mounted on Dibond, 60 x 1-1/4 inches (each) [152.4 x 3.2 cm]

Color photograph of wilting poppies on metal plinth framed in black

Richard Learoyd: Selected Works

Richard Learoyd’s large-scale color and black-and-white photography reimagines art historical tropes with a sensual hyperrealism. Using a camera obscura, Learoyd creates experiential tableaux with a contemporary texture, enveloping the viewer into the artist’s unique worldview.

Color photograph of seated woman in gingham dress framed in white — Nyima, 2012

Ilfochrome Photograph, 70-1/2 x 60 inches (framed) [179 x 121.9 cm]

Black and white photograph of tree filled valley framed in black frame — Yosemite III, 2018

gelatin silver contact print, 59-3/8 x 88-3/8 inches (framed) [150.8 x 224.5 cm]

Color photograph of a seated nude figure turning away from camera framed in black — Phie nude on plinth, 2016

Ilfochrome photograph, 75-3/8 x 60 inches (framed) [191.8 x 152.4 cm]

Black and white photograph of a river and trees along the horizon framed in black — The River Stour from Deadman’s Bridge near Flatford. (Summer), 2013

gelatin silver contact print, 58-1/8 x 86 inches (framed) [147.6 x 218.4 cm]

Color photograph of a nude woman laying on sheets framed in white — Agnes from above, 2008

Ilfochrome photograph, 70 x 60 inches (framed) [177 x 152 cm]

Color photograph of a woman in black lace top framed in white — Tatiana small, 2011

Ilfochrome photograph, 38-1/8 x 34-1/8 inches (framed) [96.8 x 96.8 cm]

Color photograph of a seated figure hunched over away from camera in beaded black dress framed in white — Agnes back

Ilfochrome photograph, 70-1/4 x 59-3/4 inches (framed) [181 x 151.8 cm]

Black and white photograph of a large metal and concrete structure situated on hillside framed in black — Armature, Mount Buzludzha, Bulgaria, 2016

gelatin silver contact print, 58-1/2 x 79 inches (framed) [148.6 x 200.7 cm]

Color photograph of two fishes intertwined and suspended by black thread framed in white — You and me, 2010

Ilfochrome photograph, 60-3/4 x 62-1/4 inches (framed) [154.3 x 158.1 cm]

Color photograph of a seated nude figure holding up photogram framed in white — James with photogram

Ilfochrome photograph, 80-3/8 x 60 inches (framed) [204.1 x 152.4 cm]

Richard LearoydNyima

2012

Ilfochrome Photograph, 70-1/2 x 60 inches (framed) [179 x 121.9 cm]

Richard LearoydYosemite III

2018

gelatin silver contact print, 59-3/8 x 88-3/8 inches (framed) [150.8 x 224.5 cm]

Richard LearoydPhie nude on plinth

2016

Ilfochrome photograph, 75-3/8 x 60 inches (framed) [191.8 x 152.4 cm]

Richard LearoydThe River Stour from Deadman’s Bridge near Flatford. (Summer)

2013

gelatin silver contact print, 58-1/8 x 86 inches (framed) [147.6 x 218.4 cm]

Richard LearoydAgnes from above

2008

Ilfochrome photograph, 70 x 60 inches (framed) [177 x 152 cm]

Richard LearoydPerfect poppies

2020

Ilfochrome photograph, 37-5/8 x 43-3/8 inches (framed) [95.6 x 110.2 cm]

Richard LearoydTatiana small

2011

Ilfochrome photograph, 38-1/8 x 34-1/8 inches (framed) [96.8 x 96.8 cm]

Richard LearoydAgnes back

Ilfochrome photograph, 70-1/4 x 59-3/4 inches (framed) [181 x 151.8 cm]

Richard LearoydArmature, Mount Buzludzha, Bulgaria

2016

gelatin silver contact print, 58-1/2 x 79 inches (framed) [148.6 x 200.7 cm]

Richard LearoydYou and me

2010

Ilfochrome photograph, 60-3/4 x 62-1/4 inches (framed) [154.3 x 158.1 cm]

Richard LearoydJames with photogram

Ilfochrome photograph, 80-3/8 x 60 inches (framed) [204.1 x 152.4 cm]

Color photograph of a woman dressed in an eclectic outfit posing against a high rise building

Martine Gutierrez: Selected works

Often using herself as a model, Martine Gutierrez acts as both subject and creator, transforming the language of fashion, advertising, and cinema with humor and imagination to explore identities that touch on race, class, gender, and sexuality.

Color photograph of a model dressed in vibrant colors and loud patterns chewing gum in front of building framed in white — Queer Rage, Talk to the Hand! p69 from Indigenous Woman, 2018, 2018

chromogenic print, 42-7/8 x 28-7/8 inches (framed) [108.9 x 73.43 cm], edition of 8

Black and white photograph of a reclining nude woman leaning against a male mannequin in a suit — Body En Thrall, p114-115 from Indigenous Woman, 2018

chromogenic print, 43-1/8 x 64-1/8 inches (framed) [101.9 x 152.7 cm], edition of 8

Framed color photograph of woman in culturally specific outfit holding a bowl atop her head — Neo-Indeo, Cakchiquel Calor, p34 from Indigenous Woman, 2018

chromogenic print, 54-7/8 x 36-7/8 inches (framed) [139.4 x 93.7 cm], edition of 8

Color photograph of women dressed in cultural garb against white background framed in white — Neo-Indeo, Monochrome Mamacita, p28 from Indigenous Woman, 2018

chromogenic print, 54-7/8 x 36-7/8 inches (framed) [139.4 x 93.7 cm], edition of 8

Black and white photograph of three nude bodies amongst greenery — Body En Thrall, p110 from Indigenous Woman, 2018

chromogenic print, 91-3/8 x 61-3/8 inches (framed) [232.1 x 155.9 cm], edition of 2

Framed black-and-white photograph of a nude woman reclining on a towel on the grass. — Body En Thrall, Blonde Cigarette, 2020

chromogenic print, 48-7/8 x 32-7/8 inches (framed) [124.1 x 83.5 cm], edition of 8

Framed color photograph of a woman with green hair and magenta outfit on a light blue background with a statue's image cut in two pieces below — P.P.S. Christopher Columbus was a Fuck Boi, 2018

chromogenic print, 42-7/8 x 28-7/8 inches (framed) [108.9 x 73.43 cm], edition of 8

Black and white photograph of two people embracing on a hammock while another enters the space framed in white — Body En Thrall, p108-109 from Indigenous Woman, 2018, 2018

chromogenic print, 43-1/8 x 64-1/8 inches (framed) [101.9 x 152.7 cm], edition of 8

Martine GutierrezQueer Rage, Talk to the Hand! p69 from Indigenous Woman, 2018

2018

chromogenic print, 42-7/8 x 28-7/8 inches (framed) [108.9 x 73.43 cm], edition of 8

Martine GutierrezBody En Thrall, p114-115 from Indigenous Woman

2018

chromogenic print, 43-1/8 x 64-1/8 inches (framed) [101.9 x 152.7 cm], edition of 8

Martine GutierrezNeo-Indeo, Cakchiquel Calor, p34 from Indigenous Woman

2018

chromogenic print, 54-7/8 x 36-7/8 inches (framed) [139.4 x 93.7 cm], edition of 8

Martine GutierrezNeo-Indeo, Monochrome Mamacita, p28 from Indigenous Woman

2018

chromogenic print, 54-7/8 x 36-7/8 inches (framed) [139.4 x 93.7 cm], edition of 8

Martine GutierrezBody En Thrall, p110 from Indigenous Woman

2018

chromogenic print, 91-3/8 x 61-3/8 inches (framed) [232.1 x 155.9 cm], edition of 2

Martine GutierrezBody En Thrall, Blonde Cigarette

2020

chromogenic print, 48-7/8 x 32-7/8 inches (framed) [124.1 x 83.5 cm], edition of 8

Martine GutierrezP.P.S. Christopher Columbus was a Fuck Boi

2018

chromogenic print, 42-7/8 x 28-7/8 inches (framed) [108.9 x 73.43 cm], edition of 8

Martine GutierrezBody En Thrall, p108-109 from Indigenous Woman, 2018

2018

chromogenic print, 43-1/8 x 64-1/8 inches (framed) [101.9 x 152.7 cm], edition of 8

Black and white photograph of mustachioed man at ATM machine

Sophie Calle: Cash Machine

Calle’s Cash Machine photographs are made from ATM video surveillance footage, and each work is exhibited as a sequence of two to eleven images.

Black and white photographs of mustachioed man at ATM machine in vertical sequence — Sophie Calle, Cash Machine (03-19), 1991 - 2003

three gelatin silver prints, 11-3/4 x 15-3/4 inches (each image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Three black and white photographs taken from a surveillance camera of a woman up close, using an ATM — Sophie Calle, Cash Machine (03-21), 1991-2003

three gelatin silver prints, 11-3/4 x 15-3/4 inches (each image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Black and white photograph of a woman at an ATM — Sophie Calle, Cash Machine (03-21), 1991 - 2003

gelatin silver print, 11-3/4 x 15-3/4 inches (image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Four black and white photographs of a man at an ATM in a horizontal sequence — Sophie Calle, Cash Machine (04-32), 1991 - 2003

four gelatin silver print, 11-3/4 x 15-3/4 inches (each image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Black and white photograph of a man at an ATM — Sophie Calle, Cash Machine (04-32), 1991 - 2003

gelatin silver print, 11-3/4 x 15-3/4 inches (image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Color image of six black and white polaroids with time stamps depicting shadowy figures in silver frame — Sophie Calle, Cash Machine polaroids (06-16), 1991 - 2014

six polaroids, 16 x 31 inches (framed) [40.6 x 78.7 cm]

Sophie CalleCash Machine (03-19)

1991 - 2003

three gelatin silver prints, 11-3/4 x 15-3/4 inches (each image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine (03-19)

1991 - 2003

gelatin silver print, 11-3/4 x 15-3/4 inches (image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine (03-19)

1991 - 2003

gelatin silver print, 11-3/4 x 15-3/4 inches (image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine (03-19)

1991 - 2003

gelatin silver print, 11-3/4 x 15-3/4 inches (image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine (03-21)

1991-2003

three gelatin silver prints, 11-3/4 x 15-3/4 inches (each image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine (03-21)

1991 - 2003

gelatin silver print, 11-3/4 x 15-3/4 inches (image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine (03-21)

1991 - 2003

gelatin silver print, 11-3/4 x 15-3/4 inches (image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine (03-21)

1991 - 2003

gelatin silver print, 11-3/4 x 15-3/4 inches (image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine (04-32)

1991 - 2003

four gelatin silver print, 11-3/4 x 15-3/4 inches (each image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine (04-32)

1991 - 2003

gelatin silver print, 11-3/4 x 15-3/4 inches (image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine (04-32)

1991 - 2003

gelatin silver print, 11-3/4 x 15-3/4 inches (image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine (04-32)

1991 - 2003

gelatin silver print, 11-3/4 x 15-3/4 inches (image, sheet & mount) [30 x 40 cm], edition of 2 + 1 AP

Sophie CalleCash Machine polaroids (06-16)

1991 - 2014

six polaroids, 16 x 31 inches (framed) [40.6 x 78.7 cm]

Sophie CalleCash Machine polaroids (06-15)

1991 - 2014

six polaroids, 16 x 31 inches (framed) [40.6 x 78.7 cm]

Black and white photograph of a subway platform with women walking

Richard Avedon: Reportage

In addition to his widely-lauded commercial work, Richard Avedon also pursued reportage, in which he explored his cultural, political, and personal passions.

black-and-white photograph of a man and woman laying in the grass — Richard Avedon, New York Life #1, Central Park, New York City, July 22, 1949

gelatin silver print, 15-7/8 x 19-3/4 inches (image & sheet) [40.3 x 50.2 cm], edition of 9

Black-and-white photograph of a woman walking down the street holding a purse — Richard Avedon, New York Life #2, Harlem, New York City, September 6, 1949

gelatin silver print, 19-3/4 x 15-7/8 inches (image & sheet) [50.2 x 40.3 cm], edition of 7

Black and white photograph of a woman in a dark dress and a young girl in a white dress. — Richard Avedon, New York Life #20, 14th Street Subway Station, New York City, May 16, 1949

gelatin silver print, 19-3/4 x 15-7/8 inches (image & sheet) [50.2 x 40.3 cm], edition of 7

Richard AvedonNew York Life #12, Third Avenue El, New York, November 17, 1949

gelatin silver print, 19-3/4 x 15-7/8 inches (image & sheet) [50.2 x 40.3 cm], edition of 7

Richard AvedonNew York Life #1, Central Park, New York City, July 22, 1949

gelatin silver print, 15-7/8 x 19-3/4 inches (image & sheet) [40.3 x 50.2 cm], edition of 9

Richard AvedonNew York Life #2, Harlem, New York City, September 6, 1949

gelatin silver print, 19-3/4 x 15-7/8 inches (image & sheet) [50.2 x 40.3 cm], edition of 7

Richard AvedonNew York Life #20, 14th Street Subway Station, New York City, May 16, 1949

gelatin silver print, 19-3/4 x 15-7/8 inches (image & sheet) [50.2 x 40.3 cm], edition of 7

A detail of book cover showing a woman embracing a man. The book has text overlaid on top that reads "How do you deal with your dead?"

Sophie Calle: Série Noire

Encasing found pulp novels in vitrines, Calle recontextualizes lurid paperbacks with a series of questions ruminating on grief. Following formal and thematic motifs present throughout the artist’s oeuvre, Série Noire is textual and investigative–a playful series that knowingly embraces kitsch.