For those familiar with Sissi Farassat's work, Revelation is above all a surprise. A pioneer of interventions in her photographic prints with beadwork and many other ways of enlarging the image by manually manipulating its surface, Sissi Farassat proposes a reverse method here. The original image is found and then painted over. We see it only in fragments and must guess at it. The desired object reveals itself only through concealment... What we don't see takes center stage. What is primarily addressed here is the off-screen as a space that is both real and imaginary.

Michel Poivert

Sally Mann's Delta artworks (2016–2017) introduce color to her exploration of the Southern landscape and its interiors. The series captures atmospheric and nostalgic spaces filled with artificial plants, fading botanical illustrations, and dimly reflective mirrors, creating a dialogue between nature and artifice. Her use of muted tones and soft light enhances the melancholic and introspective quality of the images, evoking themes of memory, decay, and the passage of time. This shift to color photography, particularly in capturing the interiors of the South rather than the grand, sweeping landscapes of her earlier work, marks a significant evolution in her artistic practice. The Delta series expands Mann’s visual language while maintaining her deep engagement with the Southern Gothic tradition, reinforcing her ability to transform the ordinary into vessels that explore memory, decay, and the passage of time.

Stephen Shore’s Topographies series represents a striking evolution in his photographic practice, employing drone technology to capture aerial perspectives that reveal intricate patterns and human-altered landscapes from a vantage point beyond the human eye. Printed onto aluminum, these images gain a heightened sense of clarity and permanence, emphasizing the geometric and textural qualities of the terrain below. The series extends Shore’s long-standing interest in the American landscape and built environment, but with a new detachment—where his earlier work was rooted in the immediacy of street-level observation, Topographies abstracts the world into compositions that verge on the cartographic or painterly. This shift not only expands the documentary tradition he has long engaged with but also explores the ways technology alters both our perception and representation of space.

For the first time, Edwynn Houk Gallery presents the work of Lee Shulman & The Anonymous Project, showcasing work from two different series. His Last Cibachrome brings forgotten moments back to life, as Shulman prints photographs from preserved Kodachrome slides onto the last commercially available Cibachrome paper, a medium renowned for its rich color and depth. Alongside this, his Lightbox works transform these anonymous snapshots into intimate treasures, displaying the slides in illuminated jewelry boxes that highlight the fragile, precious nature of memory. Through these works, Shulman reimagines the power of found photography, inviting us to connect with the beauty of everyday moments across time.