Photography

Photography

Standing in the Bispebjerg district of Copenhagen, Grundtvigs Kirke, one of the most singular works of 20th-century ecclesiastical architecture, is the protagonist of David Altrath's latest photography series. Designed by Peder Vilhelm Jensen-Klint and completed in 1940, the church translates the vertical ambition of Gothic architecture into an austere expressionist language built entirely from yellow Danish brick. Structure, surface, and ornament collapse into a single architectural system, where material discipline replaces decoration.

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The heavy brick mass of the early twentieth century warehouse stands steady at the corner, its facades still marked by decorative lintels and deep-set openings. Above, two added floors sit within a perforated aluminum veil that glows softly at dusk. The metal skin reads as a light canopy hovering over the old masonry, a precise intervention that contrasts the museum's new public life with its working past. See designboom's previous coverage here.

As a child, Ed Alcock listened to the story of his great uncle Kendon's death at the age of 17. It happened at the bottom of the mine, his mother, Sheila, told him one day. He had been working there since he left school. A section of the gallery sank and a heavy crane fell on him, crushing him and causing head injuries. They took his body out of the mine, but he never regained consciousness.

Presented by the Luma Foundation in Engadin, Switzerland, as part of Elevation 1049, STRIP TOWER (962) brings Gerhard Richter's long-running investigations into the Alpine landscape, extending his practice beyond the canvas and into three-dimensional space. On view until the spring of 2029, the work draws from the methodology of his Strip Paintings, where a single painted gesture is subjected to successive acts of photographing, scanning, digital slicing, and stretching.

Cotillion dances have European origins, but in the poem, Black New Yorkers perform classic dances such as waltzes and quadrilles and are dressed in fine outfits. These Black debutante balls go back a long way, and are one example of African Americans trying to create a better life. Today, they continue to introduce young women into society and retain a strong emphasis on the participants' education.

Bob Krasner has spent years training his eye to resist the obvious. While the city screams for attention, his photography work insists on quiet. The result is a photographic practice rooted in restraint, patience, and a near-radical commitment to looking slowly. His latest body of work, unveiled last week and now on view through Feb. 22 at Ki Smith Gallery on the Lower East Side, feels like a controlled exhale inside one of the most visually aggressive environments on earth.

Counting Ships is a photography series by Pierfrancesco Celada that examines proximity, movement, and scale within a maritime landscape. The project captures a busy ferry route connecting an island to one of the most densely populated regions nearby. The crossing takes approximately 25 minutes and passes through one of the world's most active maritime trade corridors, where more than two hundred cargo ships transit daily.

Last weekend, New York got a snowstorm like we haven't seen in years. Most people stayed inside, spending the days with hot chocolate and movies, but a few brave souls ventured out into the crisp air to see the city empty and untouched. I walked three whole blocks to my third-closest bodega for chicken over rice, but motorcycle YouTuber TripleShift went one step further: He outfitted the tires of his electric Stark Varg dirt bike with studs, and went ripping through Brooklyn and Manhattan.

The National Portrait Gallery is Jared Soares's favorite museum. It's just a few Metro stops away from the photographer's home in Northeast DC, and he says he's visited dozens of times to admire the works from his favorite artists. But Soares's next visit will be different. The second floor of the gallery now features Soares's award-winning photograph, Misidentified by Artificial Intelligence: Alonzo and Carronne (2023).

As we traverse an era dominated by algorithms and driven by the impulse for efficiency, we increasingly sacrifice our ability to feel. In this "age of emotional poverty," highlighted by philosopher Byung-Chul Han, our emotional landscapes grow flatter, our pains diluted, and genuine intimacy replaced with a sterile digital façade. However, in Gulu's evocative imagery, the body emerges as a resilient space of resistance, pushing back against a world that demands we conform to neat, predictable narratives.

"When a cover in a campaign hits right," said photographer Neil Krug, nominated for The Crux, "it's part of the language and the fabric of what makes a great record a great record."

Technology must serve the human person, not replace it,' Pope Leo said, decreeing that 'preserving human faces and voices' means preserving 'God's imprint on each human being,' which is an 'indelible reflection of God's love.' But chatbots simulate these faces and voices, oftentimes making it difficult for users to tell whether they engaging with a bot or a real person.

Adobe has improved the tools for Generative Fill, Generative Expand and Remove that are powered by its Firefly generative AI platform. Using these tools for image editing should now produce results in 2K resolution with fewer artifacts and increased detail all while delivering better matches for the provided prompts.

Myriam Jacob-Allard appears through a heavy door and greets us with an easy warmth, scooping us up and welcoming us into her world. We are immediately absorbed by an unexpected color-drenched stairwell. Every surface is saturated in a dense, glowing yellow that reads unmistakably as egg yolk, insulating us from the outside in as we make our ascent. We turn into a long hallway whose fragrant freshly waxed floor catches the light, reflecting it back upward so that the corridor seems to glow beneath our feet.

Photographer Henri Cartier-Bresson (19082004) travelled all over the world and extensively throughout Europe. After producing numerous series of photographs for magazines in Germany, Spain, Italy, Greece, Switzerland and France, Cartier-Bresson wanted to bring them together in a book and in 1955, he published Les Europeens (The Europeans). This book of photographs aims to show what makes each of the peoples of this geographical area unique while highlighting their similarities. This exhibition brings together some of the most important photographs from the book.