Sunlight on Water — Harry Callahan


Sunlight on Water, 1943 by Harry Callahan (1912–1999)

Untitled (Pool) — William Eggleston


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Untitled from The Democratic Forest, 1983-1986 by William Eggleston (b. 1939)


Invisible Man Retreat — Gordon Parks


Invisible Man Retreat, 1952 by Gordon Parks (1912-2006)

The Kiss — Clarence White


The Kiss, 1904 by Clarence White (1871-1925)

Untitled (Mask) — William Eggleston


Untitled (from Los Alamos), 1966-74 by William Eggleston (b. 1939)

Deer Skull (Georgia O’Keeffe) — Todd Webb

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Deer Skull (Georgia O’Keeffe), 1961 by Todd Webb (1905-2000)

Untitled — Larry Clark


Untitled (Man in Chair Aiming Gun, American Flag), 1963–71, printed 1980 by Larry Clark (b. 1943)

Untitled — William Eggleston


Untitled (from The Democratic Forest) by William Eggleston (b. 1939)

A democratic way of looking around (William Eggleston)

Nan Wood Graham — Joan Liffring-Zug Bourre


Nan Wood Graham, 1975 by Joan Liffring-Zug Bourre (b. 1929)

The next one is waiting somewhere else (William Eggleston)

Red is at war (William Eggleston)

Being here (William Eggleston)

Untitled (Lights) — William Eggleston


Untitled, c. 1971-1973 by William Eggleston (b. 1939)

Self-Portrait — William H. Gass


Circus Woman — Nakaji Yasui


Circus Woman, 1940 by Nakaji Yasui (1903-1942)

Teju Cole on shattered glass

Untitled (Broken Window, San Francisco), 1937 by Brett Weston.

Teju Cole’s essay “The History of Photography is a History of Shattered Glass,” part of his “On Photography” series, is new in today’s New York Times

From the essay:

Broken glass, and broken windows in particular, are a notable byway in photography’s history. Brett Weston made one of the most striking examples in San Francisco in 1937. Weston was not recording evidence of a crime, or even particularly making a sociological comment. He was describing an abstraction with his camera, the calligraphic presence of a jagged black hole surrounded by a gray remnant of glass. What has been broken away dominates the picture. We see an outline like a map of a fictional island. There’s more dark to see here than glass, and the darkness is deep and mysterious, a mouth agape in an unending scream. About this picture, John Szarkowski, the influential curator at the Museum of Modern Art, wrote that the black shape “is not a void but a presence; the periphery of the picture is background.” In the middle, in that darkness, is where Weston’s self-portrait would be, if the window were intact.