West Fayette Street, #5, 2012

Syracuse-based photographer and teacher Willson Cummer’s new project “Available” explores buildings and vacant lots in Central New York that are for sale or lease. “In the current economy, there are hundreds of such properties,” Cummer says. “The state of availability is a poignant one. When a person says they’re available, it means they are looking for a new romantic relationship. These vacant buildings and sites are also looking for new life. They are in limbo states between one purpose and another. I am attracted to the humble paint jobs that cover up graffiti, as well as the buildings that sport graffiti. Often these structures appear to have been made without much concern for architecture. A certain amount of square footage was needed, and a building was thrown up to suit. The vernacular architecture is visually intriguing.”

Cummer, whose work plumbs the intersection of the built and natural worlds, recently exhibited another of his projects, a series of images of parking garages, at OK Harris gallery in New York City.

Bowman Road, 2012.

East Jefferson Street, 2011.

West Fayette Street #1, 2011.

Solar Street, 2012.

West Fayette Street, #2.

Wyoming Street, 2012.

West Fayette Street #3, 2012.

Walton Street, 2012.

West Fayette Street #4, 2012.

With consistent formality—disciplined use of line, frame and subtle light—Andrew Borowiec transforms the banality of the Midwest industrial landscape into compelling black and white photographs that are powerful for their quiet contemplation and topographic rendering. Along The Ohio is a masterful series of photographs, on view through January 7 at Sasha Wolf Gallery in New York City.

The futuristic and almost extra-terrestrial forms of Santiago Calatrava’s Ciudad de las Artes y las Ciencias in Valencia, Spain, were like a magnet to photographer Mark Weinberg. After extensively researching this unique complex of buildings and reading about the architect and his inspiration, Mark went to photograph it. Santiago Calatrava has stated that, “You are only bound in terms of the limits you set.” These buildings are truly unlike anything else. Calatrava’s work is clearly not constrained by the limits common to most architecture.

The Beautiful Cliché – Venezia, is the fourth publication of photographer Renato D’Agostin. D’Agostin’s work in the darkroom brings these sliver gelatin prints to life. His eye is drawn to a hidden angle of beauty that many people over look – showing his audience something they haven’t seen in the most beautiful city in the world.

Girl in the Bottle, 2011 © Marc Yankus/Courtesy of ClampArt, NYC

In his third solo show with the gallery, native New Yorker Marc Yankus presents new work from Call It Sleep, as well as a series of recent photomontage still lifes. The project derives it’s name from Henry Roth’s 1934 critically acclaimed novel, about a young Jewish boy’s coming of age in the slum of Manhattan’s Lower East Side. Through Yankus’s photographs, he nostalgically portrays the city’s architecture, moody streets and pulse with his unique personal vision. The opening reception for Marc Yankus’s Call It Sleep will be Thursday, November 3, 6–8pm at ClampArt in New York City, the exhibit will be on view until December 17th.

Man in the Bottle, 2011 © Marc Yankus/Courtesy of ClampArt, NYC

Little Girl by the Lake, 2005 © Marc Yankus/Courtesy of ClampArt, NYC

James Running, 1999 © Marc Yankus/Courtesy of ClampArt, NYC

San Remo, 2008 © Marc Yankus/Courtesy of ClampArt, NYC

Where Stella Lives, 2007 © Marc Yankus/Courtesy of ClampArt, NYC

Near the Library, 2011 © Marc Yankus/Courtesy of ClampArt, NYC

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All Photos © Inês d’Orey

Photographer Inês d’Orey was commissioned to photograph the interiors of the typical food and wine industries of the Douro region of northern Portugal.  The Douro is more than terraces, stone and river. Amid the stunning landscapes of this region are industrial areas where the agricultural bounty is processed for local consumption and export. d’Orey captures the stoves where the Mirandela sausages are smoked,  the assembly line of a cheese factory in Lamego and the storage rooms where hams mature. At Peso da Régua and Santa Marta de Penaguião, there are old and contemporary deposits, where the wine patiently ages.

Valentine Schmidt’s series ‘Plunge- The Plight of the London Lido’ was taken during the winter months at four London lidos (outdoor public swimming pools). Schmidt focuses on the relationship between the floor of the pool and the surface of the water. This dynamic of architectural and natural elements is constantly in flux – affected equally by the changing seasons and by the human forces of social policy. Plunge uses the evocative qualities of the surfaces to speak to the history and demise of these beautiful and tranquil spaces. Full, or particularly when bereft of water, the Edwardian bathing spaces are honored in their various states of preservation and dereliction. Contact Zoe Bingham Fine Art for further information or see the entire collection.

-courtesy Zoe Bingham Fine Art.

Later this month the Cleveland Museum of Art will present the first major museum exhibition of work by contemporary photographer Brian Ulrich. “Copia—Retail, Thrift, and Dark Stores, 2001-11,” is a decade-long examination of the American consumer psyche. From the Latin word for “plenty,” the artist’s “Copia” series explores economic, cultural and political implications of commercialism and American consumer culture. The exhibition, featuring 60 photographs, will be on view from August 27, 2011 to January 16, 2012, in the museum’s east wing photography galleries.

JCPenney, Dixie Square Mall, 2009.

Klingsman’s Furniture, 2008.

Untitled (Shopper), 2005

Cleveland, OH, 2003.

Untitled (Shoes), 2006

Kenosha, WI, 2003

Pep Boys 3, 2009