By Alex Distefano
By Scott Snowden
By Anna Merlan
By Steve Almond
By Jena Ardell
By Jon Campbell
By Alan Scherstuhl
By Tessa Stuart
A photographer whose work has featured marauding aliens and mutant nerds shows 11 mural-sized color images from an unsettling new series he calls "And Jeopardize the Integrity of the Hull."
'NOT NEUTRAL: CONTEMPORARY SWISS PHOTOGRAPHY'
April 15-July 19
Grey Art Gallery, New York University, 100 Washington Square East, 212-998-6780
A survey organized by the Fotomuseum Winterthur's Urs Stahel that includes the internationally recognized Ugo Rondinone and Annelies Strba along with seven other artists who are having their first major American exposure here.
Simon, whose fashion and editorial photos have been memorable, brings her heightened documentary style to a project called "The Innocents": portraits of American men and women who were imprisoned (and later exonerated) for violent crimes they didn't commit. Taken at the scene of their alleged crime, the site at which they were misidentified, or some other place crucial to her subject's story, Simon's photos question reality at the same time they attempt to pin it down.
The work this retired Swiss police photographer made from the '50s to the '80sprimarily deadpan (and largely bloodless) black-and-white documentation of traffic accidentswas shown at the last Venice Biennale, and its rediscovery continues here. Odermatt's first New York gallery show includes those car crashes and staged color work of his colleagues miming routine police procedures.
May 1-June 28
Laurence Miller Gallery, 20 West 57th Street, 212-397-3930
The French photographer who made his reputation with huge, ravishing color images of construction sites moves on to the natural landscape, but with a similar attention to the erosion of the traditionally picturesque by urban and suburban sprawl.
May 1-June 14
Pace/MacGill Gallery, 32 East 57th Street, 212-759-7999
Perhaps the most accomplished and artful contemporary architectural photographer, Polidori shows previously unpublished images of Shanghai, Alexandria, and the interior of Chernobyl's abandoned Reactor 4.
May 8-June 14
Roth Horowitz, 160A East 70th Street, 212-717-9067
"Commercial/Residential," 40 vintage photos by one of the leading lights of what might be seen as New Objectivity, American style. This portfolio, which the gallery is issuing in book form, includes work made from 1968 to '72 during the preparation of Adams's book of social landscape work, The New West, but not published or exhibited until now.
May 8-June 14
Ricco/Maresca Gallery, 529 West 20th Street, 212-627-4819
Slota, whose scratched and cut-up images have always had an aggressive edge, shows a series inspired by fables and fairy tales, the darker and stranger the better.
In its first local gallery show since the 2000 New Museum retro, this Paris-based collaborative team, whose one-of-a-kind images involve as much painting and retouching as actual photography, shows a broadly retrospective range of previously unexhibited early work along with new images. Expect as much erotic heat as over-the-top glitz.
May 15-July 3
Yancey Richardson Gallery, 535 West 22nd Street, 646-230-9610
This obsessively inventive collaborative team mounts a new project called "City of Salt," centering on a sculptural installation representing the city itself and including a suite of delicately colored panoramas and a unique artist's book laying out K/S's latest fully-imagined alternate reality.
May 21-June 28
David Zwirner Gallery, 525 West 19th Street, 212-727-2070
Arguably the most inventive and unpredictable of the reigning triumvirate of the new German photography (the other two: Andreas Gursky and Thomas Struth), Ruff shows vividly colored abstract images from his "Substrats" series and a group of black-and-white studies of industrial machinery.
May 22-July 19
303 Gallery, 525 West 22nd Street, 212-255-1121
In the '70s, Shorealong with William Eggleston and Joel Meyerowitzbroke down the resistance to color photography among photo traditionalists and museum professionals, and his cool, matter-of-fact style comes back to us via Gursky and Struth. A group of previously unpublished or unexhibited American landscapes from the early '70s makes its debut here.