The five large color photographs in Yvonne Todd’s “Sea of Tranquility” portray women who project varying degrees of disaffection, stoicism, and timidity. Todd applies Revlon-style control to construct the opposite of the bouffant and bouncy. From the youthful but dead-eyed Maven Fuller (all works 2002) to the floating, disembodied Rebecca Weston, she assembles a group of unreachable females, encased in etiquette and up to their necks in lace. Todd’s work suggests a total immersion in artifice, a thralldom to studio photography, but the images offer a fresh view of the aspirations and conventions