Rose Marasco, Manhattan Bridge, May 18, 2011 - Courtesy of the artist and OSMOS.
TITLE_NAME :
Pinholes and Parallax
12/12/2025 - 31/01/2026
OSMOS
50 E 1st St New York
NY 10003
https://www.osmos.online/
The photographs in "Parallax," made during the early years of the COVID-19 pandemic from 2020 to 2022, draw inspiration from the shapes of shadows. Marasco's arrangement of multiple images into single compositions transform her neighborhood into abstract scenes, suffused with, in Marasco's own words, "complex visual feeling"—a transformation ultimately in line with the meaning of parallax, which refers to "the effect whereby the position or direction of an object appears to differ when viewed from different positions, e.g. through the viewfinder and the lens of a camera."
Marasco's 2011–2014 "NYC Pinhole" photographs are likewise uninterested in representation as an end in and of itself. As John Yau writes, "Marasco might point the camera at something, but she is not being literal or theatrical. Something else has caught her attention..." Lucy Lippard notes something similar in the introduction to Rose Marasco: At Home, the monograph published by OSMOS Books in 2024: "In her hands the familiar becomes unfamiliar. Everyday life becomes life itself." In this way, Lippard says, Marasco "has created a new vernacular."
12/12/2025 - 31/01/2026
OSMOS
50 E 1st St New York
NY 10003
https://www.osmos.online/
The photographs in "Parallax," made during the early years of the COVID-19 pandemic from 2020 to 2022, draw inspiration from the shapes of shadows. Marasco's arrangement of multiple images into single compositions transform her neighborhood into abstract scenes, suffused with, in Marasco's own words, "complex visual feeling"—a transformation ultimately in line with the meaning of parallax, which refers to "the effect whereby the position or direction of an object appears to differ when viewed from different positions, e.g. through the viewfinder and the lens of a camera."
Marasco's 2011–2014 "NYC Pinhole" photographs are likewise uninterested in representation as an end in and of itself. As John Yau writes, "Marasco might point the camera at something, but she is not being literal or theatrical. Something else has caught her attention..." Lucy Lippard notes something similar in the introduction to Rose Marasco: At Home, the monograph published by OSMOS Books in 2024: "In her hands the familiar becomes unfamiliar. Everyday life becomes life itself." In this way, Lippard says, Marasco "has created a new vernacular."