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Anthony Karry

@anthony.karry

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@pilotmagazined Archetypal Art Column
@akarryphoto
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They Always Replace It For Money, 2025

I never wanted to take non-consensual pictures of people or communities I don’t feel I belong to with the intent of posting them to the world, regardless of whether I profit from them or not. It always felt voyeuristic. I believe that every person has a story to tell, but it’s theirs to tell — unassumed through my lens.

When I stepped outside yesterday — I didn’t know what I wanted to capture. As I naturally started walking from my apartment toward my office, I began photographing the places my eyes always gravitate toward during these daily walks: the ping-pong table that has (very rarely) been left unattended, probably due to the cold; the lively, cherished neighborhood bar; the storefront that always seems to have its lights on yet remains filled to the brim with uncategorized, dismembered cardboard boxes; a fruit and vegetable storefront that is never open, aside from the middle grate revealing plastic sleeves, one containing a bright orange “New York” in a quirky font; the coffee shop I often admire and sometimes enter to order my medium drip — though, in reality, I prefer Café Grumpy’s brew.

All places people cherish. All that mean something — to me, to others. All new, all old.

I veered off my path suddenly. I don’t know why, but I did — and I was met with a rare view of a building I’ve admired since I was twelve years old. Standing on Baxter Street, I had a direct view of the building on Centre and Canal. I pulled out my camera and took a picture, and another, and another. I stepped back to reposition myself and found an elderly woman smiling at me, inches away.

“You know, I saw the entire demolition of this,” she said.
I asked her what had been there before. She replied, in a tone of indifference, that she no longer had a clue. I asked what was being built.

“I don’t know — they always replace it for money in the end,” she said.

The words stuck with me. I wished her well and continued on.

All around me, in downtown New York, I began to see the destruction, the vacancy, the construction. Out with the old, in with the new. I was left with the thought: they always really do replace it for money…don’t we all? by @anthony.karry

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8 months ago

New Orleans Audubon Park, 2023 by @anthony.karry

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3 months ago

Nic Under the Manhattan Bridge, August 2026 by @anthony.karry

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2 months ago

Structure(?) and Support(?) in Two Bridges and FiDi, October 4, 2026 by @anthony.karry

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3 hours ago

crowd control this fine fall by @anthony.karry

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18 days ago

How does Santa do it. How does it work? Does he wears night vision goggalas? How does he do it? - Jen by @anthony.karry

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3 months ago

Who holds the pistol now? by @anthony.karry

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a month ago

Third Installment of my Pilot Art Column is out now! Read more through link in bio!

Photo Creds:
1. Oscar yi Hou, Ecstasy, aka: Drip of daybreak, 2026. Courtesy the artist and James Fuentes Gallery, New York and Los Angeles.
2. Brenda Cabrera, El mito, from series Prototipos, Chapter La pesca, 2026, Photos by Marwin Sánchez, courtesy of El Apartamento.
3. Alix Vernet, Detail of Small Rhapsody, 2026, Courtesy of the artist and Chapter NY, New York, NY. Photo: Charles Benton.
4. Darcy Whent, Nobody Teaches you this Part, 2026. Courtesy of the artist.
5. FOUNDRY SEOUL, Zero Gravity, 2026. Installation View, Photo: Jeonkyun Koh. Courtesy of the artist, Yulia Iosilzon and FOUNDRY SEOUL, Seoul.
6. Alannah Farrell, doubts even here, 2026. Courtesy the artist and Anat Ebgi, Los Angeles / New York.
7. Taylah Hasaballah, Tar (left) and DIG (right), 2024. Courtesy of The Address Gallery by @anthony.karry

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20 days ago

On cleaning duty by @anthony.karry

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4 months ago

Birthdays were had and celebrated by @anthony.karry

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2 months ago

And One Day We All Woke Up, 2022 by @anthony.karry

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3 months ago

streets are hot and empty - today was peaceful by @anthony.karry

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3 months ago