As Jeffrey Fraenkel explains, “Long Story Short is essentially a sliver of photography’s tasty pie, a tight group of objects that includes works by established masters as well as flea-market finds. Viewers may recognize many of the names, but most of the images will be surprises—and quite a few are anonymous images about which we know almost nothing. Here, in the thick of our digital era, we still believe that the physical presence of artworks can affect a person in the deepest ways.”

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Man RayUntitled [Banjo]

1923

gelatin silver print, 19-3/4 x 15-3/8 inches (image & sheet) [50.2 x 40 cm]

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Long Story Short begins with an anonymous daguerreotype, circa 1849, of a young woman holding a daguerreotype in her lap and continues with pivotal photographs by Charles Aubry, Carleton Watkins, Eugene Atget, and E.J. Bellocq. The story develops with photographs by Berenice Abbott, Alfred Stieglitz, Man Ray, and lesser-known 20th-century works by Helen Levitt, Romare Bearden, Diane Arbus, and William Eggleston. The evaporation of walls separating photography and other media is reflected in more recent works by Sophie Calle, Janet Cardiff & George Bures Miller, Mel Bochner, Wardell Milan, Elisheva Biernoff, and Liz Deschenes—artists whose work is not strictly, or not at all, photography.

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Photographer UnknownUntitled [Dinosaur Balloon]

November 25, 1969

gelatin silver print, 8 x 9-5/8 inches (sheet) [20.3 x 24.5 cm]

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Long Story Short offers a deliberate alternative to the onslaught of disposable imagery now part of everyday experience, and was conceived to reward sustained engagement. Both the exhibition and the book lead the viewer through an abbreviated tour of photography’s 180-year evolution. Fraenkel Gallery president Frish Brandt noted, “The range of artists and images provides for a vibrant first-person experience, whether seen in the gallery or in the book.”

The post Long Story Short: Anniversary Exhibition appeared first on Fraenkel Gallery.

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Katy Grannan’s own work in photography examines the desire of her subjects to offer themselves up to the camera lens. The exhibition she has assembled for Fraenkel Gallery includes the work of painters, sculptors, and photographers such as Robert Adams, Richard Avedon, Robert Bechtle, Diane Arbus, E.J. Bellocq, Jim Dine, Lee Friedlander, Peter Hujar, Jordan Kantor, Henri Matisse, Barry McGee, Nathan Oliveira, Richard Misrach, Linda Ridgway, William Wiley, Garry Winogrand, and several works by unknown photographers. Grannan lives in Berkeley, California.

Other artists whose work will be on view across the four galleries include Lutz Bacher, Bernd and Hilla Becher, Alighiero e Boetti, Miriam Bohm, Vija Celmins, Gregory Crewdson, Maureen Gallace, Charlie Harper, Matt Keegan, Los Carpinteros, Henry Wessel, Tom McKinley, Richard McLean, Manuel Neri, Trevor Plagen, Mitzi Pederson, Robert Rauschenberg, Will Rogan, Ed Ruscha, Iran Do Espirito Santo, Sara VanDerBeek, Garth Weiser, Rachel Whiteread, Steve Wolfe and many others.

The post They Knew What They Wanted, Curated by Katy Grannan appeared first on Fraenkel Gallery.

This year’s highlights include new work by Adam Fuss, Richard Misrach, Nicholas Nixon, Irving Penn, Catherine Wagner, William Wegman and Henry Wessel; rare and classic images such as Joel-Peter Witkin’s Studio of the Painter (Courbet), Paris, Robert Frank’s 1950s print of teenagers waiting in line outside of a television studio in Hollywood, a vintage print of Paul Outerbridge’s 1923 image Ethiopian Form and Ken Moody with his Eyes Closed by Robert Mapplethorpe; unlikely surprises such as Felice Beato’s Review of Fire Brigades (1860), Edouart & Cobb’s San Francisco Fusiliers, San Francisco (1878), Helen Levitt’s portrait of Walker Evans with a drape on his head and Diane Arbus’ Woman with a Floppy Hat. Some of the quirkiest images are by anonymous photographers such as a large-scale hand-colored family portrait from the 19th century and a picture of two tiny ants in the snow.

Also exhibited will be work of Diane Arbus, E.J. Bellocq, Christopher Bucklow, Harry Callahan, Sophie Calle, Gary Fabian-Miller, Nan Goldin, Lewis Hine, Jacques-Henri Lartigue, Nadar, Eadweard Muybridge, August Sander, Charles Sheeler, David Smith, Alfred Steiglitz, Hiroshi Sugimoto and Garry Winogrand.

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E.J. Bellocq’s photographs of Storyville prostitutes became famous in 1970, when they were shown at the Museum of Modern Art in New York. Bellocq was more or less unknown before that, but with the show and the accompanying book, his mysterious, hauntingly beautiful portraits reaches a wide audience, and Bellcoq became a celebrated figure in the history of photography. Of the eighty-nine plates discovered by the photographer Lee Friedlander, many have remained unpublished and unseen. Fraenkel Gallery will mount an exhibition of twenty-one prints, many not shown before, to accompany the long-awaited release of Bellocq, only the second book to be published of Bellocq’s work (by Random House, New York).

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Bellocq is remembered as an odd man whose craft seems to have absorbed most of his energy and interest. His pictures tell us perhaps more about him than can those who knew him only as a strange figure with a camera who kept very much to himself. They reveal an artist of considerable skill and uncultivated but compelling sensibility. Writes John Szarkowski, “Bellocq’s prostitiutes are beautiful…Beautiful innocently or tenderly or wickedly or joyfully or obscenely, but all beautiful, in the same sense that they are present, unique, irreplacable, believable, receptive.”

The post Storyville Portraits appeared first on Fraenkel Gallery.

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