NEW YORK – Olney Gleason is pleased to present Objects at Hand, an exhibition of new photographs by Daniel Gordon (b. 1980, Boston). On view from May 7 through June 6, 2026, the exhibition coincides with the release of the artist’s fifth monograph, published by Radius Books, with an essay by Kevin Moore and a conversation between Gordon and artist Lucas Blalock.

Gordon’s working method is by now well established: images captured by the artist or sourced from the internet are printed, cut, and assembled into three-dimensional paper constructions that approximate the form of the original object. The seams remain visible; similarly the hot-glue marks and the rough texture of torn paper. There is no attempt to conceal the labor of making.  These constructions are then staged, lit, and shot.

The photographs in Objects at Hand mark a departure within Gordon’s practice. The artist began his recent Light Study series working exclusively in black and white – a first in his two-decade career. Stripped of the saturated color for which he is known, the photographs foreground shadow, surface, and sculptural form. They are more tightly cropped than his previous images, intimate in scale, their attention trained on the objects immediately surrounding him: glasses, kitchenware, stationery, combs, scissors. Arranged into precisely lit tableaux at once spare and visually intricate, these compositions carry the formal echoes of canonical modernist photography – the geometries and tonal precision of Edward Weston’s shells and peppers, the playful object arrangements of André Kertész, the surrealist dislocations of Man Ray. Gordon’s work also finds kinship with a lineage of contemporary photographic construction that stretches from Jan Groover’s formalist kitchen still lifes of the 1970s through Barbara Kasten’s studies of perception and geometric illusion.