Page 3 of 14

Color photograph of two figures standing by a race car in the middle of salt flats with mountains along the horizon

Richard Misrach: Bonneville Salt Flats Raceway

Richard Misrach’s Desert Canto XV: The Salt Flats (1992) explores a stretch of Utah desert used as a raceway where drivers attempt to break land speed records.

Color photograph of a VW bus with flames painted on the front in the middle of empty slat flats with mountains on horizon — VW With Flames, Bonneville Salt Flats, 1992

pigment print, 60-3/4 x 75-3/4 inches (framed) [154.3 x 192.4 cm], edition of 3

Color photograph of a red car on a hitched trailer in the middle of salt flats with mountains along the horizon on a cloudy day — Brukdoll Racing, Bonneville Salt Flats, 1992

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

Color photograph of multiple automobiles and a plane in the middle of salt flats with mountains along the horizon — Yellow Liner, Bonneville Salt Flats, 1992

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

Color photograph of a pickup truck in the middle of empty salt flats with mountains along the horizon — Pickup Truck, Bonneville Salt Flats, 1992

pigment print, 30 x 37 inches (sheet & mount) [76.2 x 94 cm], edition of 7

Color photograph of a camper in the middle of salt flats with mountains along the horizon — Trailer Home, Bonneville Salt Flats, 1992

pigment print, 30 x 37 inches (sheet & mount) [76.2 x 94 cm], edition of 7

Color photograph of a car with flames painted on the front in the middle of empty salt flats with mountains on horizon — Old Coupe With Flames, Bonneville Salt Flats, 1992

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

Color photograph of a red car in the middle of empty salt flats with mountain range along the horizon — Red Streamliner, Bonneville Salt Flats, 1992

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

Color photograph of figure laying on the desert ground using a camera near a pickup truck — Photographer, Bonneville Salt Flats, 1992

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

Color photograph of a car in the middles of empty salt flats with mountain range along horizon — Chrysler Newport, Bonneville Salt Flats, Utah, 1989

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

Color photograph of a land sailing vehicle and a bike in the middle of empty salt flats with mountains on the horizon — Landyacht and Bicycle, Bonneville Salt Flats

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

Richard MisrachDanny Boy, Bonneville Salt Flats

1992

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

"*" indicates required fields

Richard MisrachVW With Flames, Bonneville Salt Flats

1992

pigment print, 60-3/4 x 75-3/4 inches (framed) [154.3 x 192.4 cm], edition of 3

"*" indicates required fields

Richard MisrachBrukdoll Racing, Bonneville Salt Flats

1992

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

"*" indicates required fields

Richard MisrachYellow Liner, Bonneville Salt Flats

1992

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

"*" indicates required fields

Richard MisrachPickup Truck, Bonneville Salt Flats

1992

pigment print, 30 x 37 inches (sheet & mount) [76.2 x 94 cm], edition of 7

"*" indicates required fields

Richard MisrachTrailer Home, Bonneville Salt Flats

1992

pigment print, 30 x 37 inches (sheet & mount) [76.2 x 94 cm], edition of 7

"*" indicates required fields

Richard MisrachOld Coupe With Flames, Bonneville Salt Flats

1992

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

"*" indicates required fields

Richard MisrachRed Streamliner, Bonneville Salt Flats

1992

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

"*" indicates required fields

Richard MisrachPhotographer, Bonneville Salt Flats

1992

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

"*" indicates required fields

Richard MisrachChrysler Newport, Bonneville Salt Flats, Utah

1989

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

"*" indicates required fields

Richard MisrachLandyacht and Bicycle, Bonneville Salt Flats

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

"*" indicates required fields

Color photograph of telephone poles, decrepit trailer homes, and vehicles partly submerged in still water

Richard Misrach: Salton Sea

Misrach’s Desert Canto III: The Flood (1983-85) is an ecologically engaged series focused on the Salton Sea, an artificial desert lake created in the 1900s. Stocked with fish in the 1950s to promote tourism, by the 1980s it became highly saline with toxic algae blooms and wildlife die-offs.

Color photograph of a large body of water with several wooden stakes peeking above the water on an overcast day — Salton Sea (Triangle), 1985

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61.0 cm] , edition of 25

Color photograph of a submerged gas station in large body of water with mountain range on the horizon — Submerged Gas Pumps, Salton Sea, 1983

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61.0 cm] , edition of 25

Color photograph of an abandoned building with abandoned cars and rowboats slightly submerged in water with mountain range on horizon — Stranded Rowboat, Salton Sea, 1983

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61.0 cm], edition of 25

Color photograph of a flooded abandoned garage with a distressed rowboat — Flooded Garage, Salton Sea, 1985

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61.0 cm] , edition of 25

Color photograph of a submerged street with a street sign in the center and mountain range on the horizon — Don and Barbara, Salton Sea, 1985

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61.0 cm] , edition of 25

Richard MisrachSubmerged Trailer-Home, Salton Sea

1985

pigment print, 20 x 24 inches (mount) [50.8 x 61 cm], edition of 25

"*" indicates required fields

Richard MisrachSalton Sea (Triangle)

1985

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61.0 cm] , edition of 25

"*" indicates required fields

Richard MisrachSubmerged Gas Pumps, Salton Sea

1983

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61.0 cm] , edition of 25

"*" indicates required fields

Richard MisrachStranded Rowboat, Salton Sea

1983

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61.0 cm], edition of 25

"*" indicates required fields

Richard MisrachFlooded Garage, Salton Sea

1985

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61.0 cm] , edition of 25

"*" indicates required fields

Richard MisrachDon and Barbara, Salton Sea

1985

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61.0 cm] , edition of 25

"*" indicates required fields

Black and white photograph of mustachioed man at ATM machine

Sophie Calle: Cash Machine

Often employing methods of surveillance and exploring the idea of privacy in her work, Calle also utilizes “ready-made” images to address these themes. In her series 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

"*" indicates required fields

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

"*" indicates required fields

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

"*" indicates required fields

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

"*" indicates required fields

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

"*" indicates required fields

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

"*" indicates required fields

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

"*" indicates required fields

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

"*" indicates required fields

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

"*" indicates required fields

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

"*" indicates required fields

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

"*" indicates required fields

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

"*" indicates required fields

Sophie CalleCash Machine polaroids (06-16)

1991 - 2014

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

"*" indicates required fields

Sophie CalleCash Machine polaroids (06-15)

1991 - 2014

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

"*" indicates required fields

Black and white photograph of two people tossing a rock outdoors

Alec Soth: Songbook

From 2012 to 2014 Soth traveled the United States looking for signs of social life in our era of virtual social networks. From upstate New York to Silicon Valley, he attended hundreds of meetings, dances, festivals and family gatherings.

Black and white photograph of cheerleader in midair split — Alec Soth, Bree, Liberty Cheer All-Stars, Corsicana, Texas, 2012

pigment print, 43 x 56 inches (sheet) [109.2 x 142.2 cm], edition of 9 + 3 APs

Black and white photograph of a lone man walking across an empty courtyard — Alec Soth, Facebook. Menlo Park, California, 2013

pigment print, 43 x 56 inches (sheet) [109.2 x 142.2 cm], from an edition of 9 + 3 APs

Black and white photograph of a group of individuals dancing while covered in foam — Alec Soth, Crazy Legs Saloon, Watertown, New York, 2012

pigment print, 58 x 76 inches (sheet) [147.3 x 193.4 cm], from an edition of 9 + 3 APs

Black and white photograph of motel parking lot with looming clouds just over the building — Alec Soth, Magic Castle Inns and Suites, Kissimmee, Florida, 2012

pigment print, 43 x 56 (sheet) [109.2 x 142.2 cm], edition of 9 + 3 APs

Black and white photograph of framed portrait of a man with sunglasses on — Alec Soth, Robert E. “Bob” Wiatt. College Station, Texas, 2013

pigment print, 34 x 28 inches (sheet) [86.4 cm x 71.1 cm], edition of 9 + 3 APs

Black and white photograph of house covered in greenery — Alec Soth, Near Gainesville, Georgia, 2014

pigment print, 58 x 76 inches (sheet) [147.3 x 193.1 cm], edition of 9 + 3 APs

Black and white photograph of teens dancing at prom — Alec Soth, Prom #2. Cleveland, Ohio, 2012

pigment print, 42-3/4 x 55-5/8 inches (sheet & mount) [108.6 x 141.3 cm], edition of 9 + 3 APs

Black and white photograph of man holding glass globe in front of face causing distortion — Alec Soth, The last snow globe repairman, Northfield, Minnesota, 2012

pigment print, 28 x 36 inches (sheet) [71.1 x 91.4 cm], edition of 9 + 3 APs

Alec SothBree, Liberty Cheer All-Stars, Corsicana, Texas

2012

pigment print, 43 x 56 inches (sheet) [109.2 x 142.2 cm], edition of 9 + 3 APs

"*" indicates required fields

Alec SothRound Rock, Texas

2013

pigment print, 28 x 36 inches (sheet) [71.2 x 91.4 cm], edition of 9 + 3 APs

"*" indicates required fields

Alec SothFacebook. Menlo Park, California

2013

pigment print, 43 x 56 inches (sheet) [109.2 x 142.2 cm], from an edition of 9 + 3 APs

"*" indicates required fields

Alec SothCrazy Legs Saloon, Watertown, New York

2012

pigment print, 58 x 76 inches (sheet) [147.3 x 193.4 cm], from an edition of 9 + 3 APs

"*" indicates required fields

Alec SothMagic Castle Inns and Suites, Kissimmee, Florida

2012

pigment print, 43 x 56 (sheet) [109.2 x 142.2 cm], edition of 9 + 3 APs

"*" indicates required fields

Alec SothRobert E. “Bob” Wiatt. College Station, Texas

2013

pigment print, 34 x 28 inches (sheet) [86.4 cm x 71.1 cm], edition of 9 + 3 APs

"*" indicates required fields

Alec SothNear Gainesville, Georgia

2014

pigment print, 58 x 76 inches (sheet) [147.3 x 193.1 cm], edition of 9 + 3 APs

"*" indicates required fields

Alec SothProm #2. Cleveland, Ohio

2012

pigment print, 42-3/4 x 55-5/8 inches (sheet & mount) [108.6 x 141.3 cm], edition of 9 + 3 APs

"*" indicates required fields

Alec SothThe last snow globe repairman, Northfield, Minnesota

2012

pigment print, 28 x 36 inches (sheet) [71.1 x 91.4 cm], edition of 9 + 3 APs

"*" indicates required fields

Color image of seated man holding box labeled 'Photos' surrounded by stacks of paper

Alec Soth: A Pound of Pictures

In photographs made on a series of road trips across the U.S., Soth records people and locations with subtle connections. The series features images that reference photography itself, investigating the physicality of the medium and its limited ability to preserve what is fleeting.

Color image of minivan in cemetery with furnace plant in background — Alec Soth, Bethlehem, Pennsylvania, 2019

pigment print, 32 x 40 inches (image) [81.3 x 101.6 cm], edition of 9

Color image of a reclined male on leather sofa with two pairs of legs also in frame — Alec Soth, Cooper. Chicago, Illinois, 2019

pigment print, 40 x 50 inches (image) [101.6 x 127 cm], edition of 9 + 4 APs

Color image of waterfall with two photographers in foreground — Alec Soth, Bond Falls, Michigan, 2019

pigment print, 40 x 50 inches (image) [101.6 x 127 cm], edition of 9 + 4 APs

Color image of a seated woman with book in hand looking towards camera — Alec Soth, Anna. Austin, Texas, 2021

pigment print, 40 x 50 inches (image) [101.6 x 127 cm], edition of 9 + 4 APs

Color image of woman holding rope around a large tree amongst verdant surrounding — Alec Soth, Molly. Morenci, Michigan, 2019

pigment print, 32 x 40 inches (image) [81.3 x 101.6 cm], edition of 9 + 4 APs

Color image of nude male model posing in life drawing classroom with two students drawing — Alec Soth, Plastic Arts Club. Philadelphia, Pennsylvania, 2019 / printed 2021

pigment print, 40 x 50 inches (image) [101.6 x 127 cm], edition of 9 + 4 APs

Color image of a person with binoculars in grain field with large cloud of smoke on the horizon — Alec Soth, Birdwatching. Linfield, Pennsylvania, 2019

pigment print, 32 x 40 inches (image) [81.3 x 101.6 cm], edition of 9 + 4 APs

Color photograph of a bedside table in a mirrored bedroom corner — Alec Soth, Harvard House. Hollywood, California, 2020

pigment print, 43-1/2 x 53-1/2 inches (mount) [110.5 x 135.9 cm], edition of 9 + 4 AP

Color image of a road surrounded by verdant greenery — Alec Soth, Abstract Avenue, Pittsburgh, Pennsylvania, 2021

pigment print, 32 x 40 inches (image) [81.3 x 101.6 cm], edition of 9 + 4 APs

Color photograph of a hotel bed covered in small color photographs — Alec Soth, The Coachlight. Mitchell, South Dakota, 2020 / printed 2021

pigment print, 43-1/2 x 53-1/2 inches (mount) [110.5 x 135.9 cm], edition of 9 + 4 AP

Alec SothNeil. Winona, Minnesota

2019

pigment print, 24 x 30 inches (image) [61 x 76.2 cm], edition of 9 + 4 APs

"*" indicates required fields

Alec SothBethlehem, Pennsylvania

2019

pigment print, 32 x 40 inches (image) [81.3 x 101.6 cm], edition of 9

"*" indicates required fields

Alec SothCooper. Chicago, Illinois

2019

pigment print, 40 x 50 inches (image) [101.6 x 127 cm], edition of 9 + 4 APs

"*" indicates required fields

Alec SothBond Falls, Michigan

2019

pigment print, 40 x 50 inches (image) [101.6 x 127 cm], edition of 9 + 4 APs

"*" indicates required fields

Alec SothAnna. Austin, Texas

2021

pigment print, 40 x 50 inches (image) [101.6 x 127 cm], edition of 9 + 4 APs

"*" indicates required fields

Alec SothMolly. Morenci, Michigan

2019

pigment print, 32 x 40 inches (image) [81.3 x 101.6 cm], edition of 9 + 4 APs

"*" indicates required fields

Alec SothPlastic Arts Club. Philadelphia, Pennsylvania

2019 / printed 2021

pigment print, 40 x 50 inches (image) [101.6 x 127 cm], edition of 9 + 4 APs

"*" indicates required fields

Alec SothBirdwatching. Linfield, Pennsylvania

2019

pigment print, 32 x 40 inches (image) [81.3 x 101.6 cm], edition of 9 + 4 APs

"*" indicates required fields

Alec SothHarvard House. Hollywood, California

2020

pigment print, 43-1/2 x 53-1/2 inches (mount) [110.5 x 135.9 cm], edition of 9 + 4 AP

"*" indicates required fields

Alec SothAbstract Avenue, Pittsburgh, Pennsylvania

2021

pigment print, 32 x 40 inches (image) [81.3 x 101.6 cm], edition of 9 + 4 APs

"*" indicates required fields

Alec SothThe Coachlight. Mitchell, South Dakota

2020 / printed 2021

pigment print, 43-1/2 x 53-1/2 inches (mount) [110.5 x 135.9 cm], edition of 9 + 4 AP

"*" indicates required fields

Black and white photograph of a seated dog in the artists studio

Peter Hujar: Animals

To Hujar, who grew up on a farm, animals and people were of equal interest. His photographs of dogs, horses, and cows seem to convey a mutual recognition between photographer and subject, a sort of calm acknowledgement.

Black and white photograph of a dog up close in a studio — Peter Hujar, Face of a Dog [Clarissa Dalrymple’s Dog, Kirsten], 1984

pigment print, 19-7/8 x 15-7/8 inches (sheet) [50.5 x 40.3 cm]

Black and white photograph of three sheep on hill — Peter Hujar, Sheep, Pennsylvania, 1969 / printed later

pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

Black-and-white photograph of a seated dog with a wrinkled face and coat — Peter Hujar, Will: Char-Pei (I), 1985 / printed later

pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

Black-and-white photograph of a dark horse chewing on a wooden fencepost with a pasture in the background — Peter Hujar, Horse, Warwick, R.I., 1979

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

Black and white photograph of a shaggy haired cow outdoors — Peter Hujar, Shaggy Cow (I), 1985

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

Black-and-white photograph of a foal in a harness following its mother's tail — Peter Hujar, Colt with Mother, Italy, 1975

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

Black-and-white photograph of two cows with white faces standing sideways with their heads turned to the viewer — Peter Hujar, Butch and Buster, 1978 / printed later

pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

Peter Hujar, Horse, West Virginia, 1969 / printed 2010

pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

Peter Hujar, Cat in Snow, Germantown, 1982

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

Black and white photograph of a black dog — Peter Hujar, Clarissa Dalrymple’s Dog, Kirsten, 1984

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

Peter HujarBeauregard’s Dog Pilar

1983 / printed later

pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

"*" indicates required fields

Peter HujarSheep, Pennsylvania

1969 / printed later

pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

"*" indicates required fields

Peter HujarWill: Char-Pei (I)

1985 / printed later

pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

"*" indicates required fields

Peter HujarHorse, Warwick, R.I.

1979

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

"*" indicates required fields

Peter HujarShaggy Cow (I)

1985

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

"*" indicates required fields

Peter HujarColt with Mother, Italy

1975

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

"*" indicates required fields

Peter HujarButch and Buster

1978 / printed later

pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

"*" indicates required fields

Peter HujarHorse, West Virginia

1969 / printed 2010

pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

"*" indicates required fields

Peter HujarCat in Snow, Germantown

1982

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

"*" indicates required fields

Peter HujarClarissa Dalrymple’s Dog, Kirsten

1984

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

"*" indicates required fields

Black and white photographs of two women in sunglasses taking photographs on a city street

Lee Friedlander: The People’s Pictures

Black and white photograph of a person taking a family photograph in front of a life-size dinosaur statue — Lee Friedlander, Rapid City, South Dakota, 1969

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Black and white photograph of two women taking photographs on a city sidewalk — Lee Friedlander, Paris, France, 1964

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Black and white photograph of tourists having their photograph taken in front of a valley — Lee Friedlander, Canadian Rockies, Canada, 1974

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Black and white photograph of a young girl taking a photograph in a living room — Lee Friedlander, Fort Lee, New Jersey, 1971

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

Black and white photograph of a man in a crowd holding a camera to his eye — Lee Friedlander, New Orleans, Louisiana, 1991

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Black and white photograph of three young women in front of a stone memorial taking a photograph — Lee Friedlander, Washington, D.C., 1988

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Black and white photograph of a man holding a camera in an art gallery — Lee Friedlander, David Hockney, New York City, 1974

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Black and white photograph of a woman taking a photograph of a man performing on a city corner — Lee Friedlander, New Orleans, Louisiana, 1970

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Lee FriedlanderNew Orleans

1970

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

"*" indicates required fields

Lee FriedlanderRapid City, South Dakota

1969

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

"*" indicates required fields

Lee FriedlanderParis, France

1964

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

"*" indicates required fields

Lee FriedlanderCanadian Rockies, Canada

1974

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

"*" indicates required fields

Lee FriedlanderFort Lee, New Jersey

1971

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

"*" indicates required fields

Lee FriedlanderNew Orleans, Louisiana

1991

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

"*" indicates required fields

Lee FriedlanderWashington, D.C.

1988

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

"*" indicates required fields

Lee FriedlanderDavid Hockney, New York City

1974

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

"*" indicates required fields

Lee FriedlanderNew Orleans, Louisiana

1970

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

"*" indicates required fields

Color image of a mixed media artwork of a nude figure standing with silver background framed in grey frame

Wardell Milan: Paintings

Wardell Milan’s paintings often incorporate a range of materials, including oils and acrylics, spray paint, house paint, and silver leaf. His ongoing series of tulip paintings are a kind of self-portraiture, originally inspired by the 17th-century Dutch tulip craze.

Color image of a painting depicting an abstracted rendering of three purple tulips — Wardell Milan, 3 purple tulips., 2023

oil, charcoal, acrylic, china marker & graphite on panel, 25-1/2 x 31-1/2 inches (framed) [64.8 x 80 cm]

Painting of a blue and teal nude figure sitting in a arch shaped wash of blue on a silver leaf background. — Wardell Milan, Sitting in her adornments., 2023

graphite, acrylic, china marker, graphite, silver leaf & cut-and-paste yupo paper on panel, 21-1/2 x 31-1/2 inches (framed) [54.6 x 31.5 cm]

Painting of a gestural blue tulip on a silver leaf background framed in a wood frame — Wardell Milan, A single blue tulip., 2023

oil, charcoal, graphite, acrylic, china marker & silver leaf on panel, 31-1/2 x 25-1/2 inches (framed) [80 x 64.8 cm]

Color image of a mixed media artwork of a nude figure laying down with silver background framed in grey frame — Wardell Milan, Noelle lying in liberation, 2022

silver leaf, acrylic, charcoal, graphite, china marker and color pencil on panel, 25-1/4 x 37-1/4 inches (framed) [64.1 x 94.6 cm]

Painting of blue and yellow tulips on a pale off white colored background in a light wood frame — Wardell Milan, Bouquet of tulips., 2023

oil, charcoal, acrylic, china marker & graphite on panel, 25-1/2 x 31-1/2 inches (framed) [64.8 x 80 cm]

Wardell MilanJacqueline, New York City

2022

silver leaf, acrylic, charcoal, graphite, china marker and color pencil on panel, 41-1/4 x 31-1/4 inches (framed) [104.7 x 79.3 cm]

"*" indicates required fields

Wardell Milan3 purple tulips.

2023

oil, charcoal, acrylic, china marker & graphite on panel, 25-1/2 x 31-1/2 inches (framed) [64.8 x 80 cm]

"*" indicates required fields

Wardell MilanSitting in her adornments.

2023

graphite, acrylic, china marker, graphite, silver leaf & cut-and-paste yupo paper on panel, 21-1/2 x 31-1/2 inches (framed) [54.6 x 31.5 cm]

"*" indicates required fields

Wardell MilanA single blue tulip.

2023

oil, charcoal, graphite, acrylic, china marker & silver leaf on panel, 31-1/2 x 25-1/2 inches (framed) [80 x 64.8 cm]

"*" indicates required fields

Wardell MilanNoelle lying in liberation

2022

silver leaf, acrylic, charcoal, graphite, china marker and color pencil on panel, 25-1/4 x 37-1/4 inches (framed) [64.1 x 94.6 cm]

"*" indicates required fields

Wardell MilanBouquet of tulips.

2023

oil, charcoal, acrylic, china marker & graphite on panel, 25-1/2 x 31-1/2 inches (framed) [64.8 x 80 cm]

"*" indicates required fields

Color photo of a collage of comic strips and creased paper, showing a screaming man

Christian Marclay: Photographs, 2020

In a series of photographs showing screaming faces, cut and torn fragments from comic books, movie stills, and images found on the internet are arranged into haunting, mask-like composites, and then recorded by the camera. Capturing the paper’s inherent creases and tears, the photographs mix analog and digital elements, and investigate the computer screen as a contemporary physical surface.

A framed collage of comic strips and creased paper, showing a screaming man — Christian Marclay, Untitled (Crying), 2020

digital chromogenic print, 25-1/8 x 33-3/4 inches (framed) [63.8 x 85.7 cm], edition of 5

A framed collage of a crumpled black sheet, with a black and white image of a screaming mouth in the center. — Christian Marclay, Untitled (Black), 2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

A framed color photograph of screaming faces from a comic book, torn out and lit on fire on the grass, surrounded by leaves. — Christian Marclay, Untitled (Burning I), 2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

A framed color photograph of a screaming face from a comic book, torn out and lit on fire on the grass, surrounded by leaves. — Christian Marclay, Untitled (Burning II), 2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

A framed collage of crumpled comic book images, with a screaming mouth at the center — Christian Marclay, Untitled (Pulp), 2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

A framed collage made from comic book images, of a person screaming with concentric circles around their open mouth. — Christian Marclay, Untitled (Concentric Waves), 2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

A framed collage of comic book images, with a small face at the center, and long black strips radiating out of it. — Christian Marclay, Untitled (Shreds), 2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

A framed collage of crumpled pages from comic books, with a torn screaming face at the center. — Christian Marclay, Untitled (Torn), 2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

A framed collage of a blue screaming face, with comic book images glued on top. — Christian Marclay, Untitled (Death), 2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

Christian MarclayUntitled (Crying)

2020

digital chromogenic print, 25-1/8 x 33-3/4 inches (framed) [63.8 x 85.7 cm], edition of 5

"*" indicates required fields

Christian MarclayUntitled (Black)

2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

"*" indicates required fields

Christian MarclayUntitled (Burning I)

2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

"*" indicates required fields

Christian MarclayUntitled (Burning II)

2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

"*" indicates required fields

Christian MarclayUntitled (Pulp)

2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

"*" indicates required fields

Christian MarclayUntitled (Concentric Waves)

2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

"*" indicates required fields

Christian MarclayUntitled (Shreds)

2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

"*" indicates required fields

Christian MarclayUntitled (Torn)

2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

"*" indicates required fields

Christian MarclayUntitled (Death)

2020

digital chromogenic print, 33-3/4 x 25-1/8 inches (framed) [85.7 x 63.8 cm], edition of 5

"*" indicates required fields

Black and white photograph of a women turned away from the camera gazing at a wilting tree in a studio framed in black

Carrie Mae Weems: Selected Works

Over the course of forty years, Carrie Mae Weems has built a body of work incorporating photographs, text, installation, and video, focused on the relationships between personal experience, identity, and class, and the larger systems of power that shape our lives.

Color image of boarded up store front with paint splotches covering graffiti in black frame — Carrie Mae Weems, Painting the Town #17, 2021

pigment print, 61-1/8 x 90 inches (framed) [155.3 x 228.6 cm], edition of 5

Black and white photograph of a figure in a black dress looking at the exterior of a temple framed in black — Carrie Mae Weems, The Jewish Ghetto, 2006

pigment print, 73-1/2 x 61-1/2 inches (framed) , edition of 5

Color image of a purple toned photograph of a performer out of focus framed in black — Carrie Mae Weems, Slow Fade to Black (Katherine Dunham), 2009

pigment print, 49-1/4 x 37 inches (framed) [125.1 x 94 cm], edition of 3

Black and white photograph of a figure in all black looking at concrete wall — Carrie Mae Weems, Modernism – EUR 1 – Mussolini’s Rome, 2006

digital chromogenic print, 71-1/8 x 61-1/8 inches (framed) [180.7 x 155.3 cm], edition of 5

Black and white photograph of a figure in black looking at a pyramid within a city from the crosswalk framed in black — Carrie Mae Weems, Pyramids of Rome – Ancient Rome, 2006

digital chromogenic print, 71-1/8 x 61-1/8 inches (framed) [180.7 x 155.3 cm], edition of 5

Carrie Mae Weems, All the Boys (Profile 1), 2016

two archival pigment prints, 61-1/2 x 47-1/2 inches (each framed) [156.2 x 120.7 cm], edition of 5 + 2APs

Framed artwork showing a soft-focus blue-toned portrait overlayed with blue, yellow, green, and red color blocks. — Carrie Mae Weems, Color Real and Imagined, 2014

archival inkjet print with silkscreened color blocks, 38-7/8 x 54-7/8 inches (framed) [98.7 x 139.4. cm], edition of 10 + 2 APs

Framed artwork consisting of a column of three adjacent framed photographs and a framed text panel adjacent to the top image. The images depict homes in West Africa, with stairways leading to the tops of homes. — Carrie Mae Weems, Stairways to Heaven, 1993

three gelatin silver prints with text panel, 20-3/4 x 20-3/4 inches (each framed) [52.7 x 52.7 cm], edition of 10 + 2 APs

Four framed artworks of black and white storefronts framed by text panels — Carrie Mae Weems, Untitled (Peanuts), 1992

two gelatin silver prints and two silkscreened text panels on paper, 20-7/8 x 20-7/8 inches (each framed) [53 x 53 cm], approx. 83 inches long installed (overall) [210.8 cm] , edition of 10

Image of a framed black and white photograph depicting a solitary black-clad woman walking through the crosswalk toward an imposing building. — Carrie Mae Weems, Galleria Nazionale D’Arte Moderna, 2006

digital chromogenic print, 73 x 61 inches (framed) [185.4 x 154.9 cm], edition of 5 + 2APs

Framed black and white photograph of suited figure with white gloves and top hat wearing a mask depicting a zebra — Carrie Mae Weems, Missing Link (Happiness), from The Louisiana Series, 2003

pigment print, 41-1/4 x 29-1/4 inches (framed) [104.8 x 74.3 cm], edition of 6

Framed black and white photograph of suited figure with white gloves wearing a mask depicting a donkey — Carrie Mae Weems, Missing Link (Liberty), from The Louisiana Series, 2003

pigment print, 41-1/4 x 29-1/4 inches (framed) [104.8 x 74.3 cm], edition of 6

Framed black and white photograph of three people seated on a pedestal lit by a spotlight in a darkened room — Carrie Mae Weems, Mourning, 2008

pigment print, 61-1/2 x 51-1/2 inches (framed) [156.2 x 130.8 cm], edition of 5

Carrie Mae WeemsA Woman Observes

2008

pigment print, 61-1/2 x 51-1/2 inches (framed) [156.2 x 130.8 cm], edition of 5 + 2APs

"*" indicates required fields

Carrie Mae WeemsPainting the Town #17

2021

pigment print, 61-1/8 x 90 inches (framed) [155.3 x 228.6 cm], edition of 5

"*" indicates required fields

Carrie Mae WeemsThe Jewish Ghetto

2006

pigment print, 73-1/2 x 61-1/2 inches (framed) , edition of 5

"*" indicates required fields

Carrie Mae WeemsSlow Fade to Black (Katherine Dunham)

2009

pigment print, 49-1/4 x 37 inches (framed) [125.1 x 94 cm], edition of 3

"*" indicates required fields

Carrie Mae WeemsModernism – EUR 1 – Mussolini’s Rome

2006

digital chromogenic print, 71-1/8 x 61-1/8 inches (framed) [180.7 x 155.3 cm], edition of 5

"*" indicates required fields

Carrie Mae WeemsPyramids of Rome – Ancient Rome

2006

digital chromogenic print, 71-1/8 x 61-1/8 inches (framed) [180.7 x 155.3 cm], edition of 5

"*" indicates required fields

Carrie Mae WeemsAll the Boys (Profile 1)

2016

two archival pigment prints, 61-1/2 x 47-1/2 inches (each framed) [156.2 x 120.7 cm], edition of 5 + 2APs

"*" indicates required fields

Carrie Mae WeemsColor Real and Imagined

2014

archival inkjet print with silkscreened color blocks, 38-7/8 x 54-7/8 inches (framed) [98.7 x 139.4. cm], edition of 10 + 2 APs

"*" indicates required fields

Carrie Mae WeemsStairways to Heaven

1993

three gelatin silver prints with text panel, 20-3/4 x 20-3/4 inches (each framed) [52.7 x 52.7 cm], edition of 10 + 2 APs

"*" indicates required fields

Carrie Mae WeemsUntitled (Peanuts)

1992

two gelatin silver prints and two silkscreened text panels on paper, 20-7/8 x 20-7/8 inches (each framed) [53 x 53 cm], approx. 83 inches long installed (overall) [210.8 cm] , edition of 10

"*" indicates required fields

Carrie Mae WeemsGalleria Nazionale D’Arte Moderna

2006

digital chromogenic print, 73 x 61 inches (framed) [185.4 x 154.9 cm], edition of 5 + 2APs

"*" indicates required fields

Carrie Mae WeemsMissing Link (Happiness), from The Louisiana Series

2003

pigment print, 41-1/4 x 29-1/4 inches (framed) [104.8 x 74.3 cm], edition of 6

"*" indicates required fields

Carrie Mae WeemsMissing Link (Liberty), from The Louisiana Series

2003

pigment print, 41-1/4 x 29-1/4 inches (framed) [104.8 x 74.3 cm], edition of 6

"*" indicates required fields

Carrie Mae WeemsMourning

2008

pigment print, 61-1/2 x 51-1/2 inches (framed) [156.2 x 130.8 cm], edition of 5

"*" indicates required fields

A photograph of a q-tip in a puddle on the side of the road, near the sidewalk curb.

Christian Marclay: Animations

Christian Marclay routinely makes photographs during his daily walks through London, where he now lives. By subtly editing many thousands of images of the pavement beneath his feet, Marclay has created hypnotic animations that unlock new possibilities inherent in the concept of “street photography.”