For In Extremis (bodies with no regret), Italian photographer Sandro Giordano dreams up elaborate scenes of falling, reveling in the instant of embarrassment that so often follows a public tumble. In these calamitous moments, the photographer interrupts the routines of recognizable characters—the surgeon, the churchgoer, the birthday girl—to reveal both the absurdity and pathos that bubbles beneath the surface of daily life.
The Crevasse of the Reich, photograph by Marisha Camp, 2011
The Cossacks, 2009
For Targets Unknown, Los Angeles-based photographer Stacy Kranitz inserts herself into the world World War II reenactment, inhabiting the role of Nazi propaganda filmmaker Leni Riefenstahl. In mimicking this woman, a figure for whom she feels both abhorrence and affection, she unpacks the nebulous—and often disturbing— ethical region that lies between good and evil.