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Sophie CalleYes (Infernal)

2025

text panel in artist’s frame, pigment print, sandblasted acrylic, 36-1/4 x 57-3/4 inches (overall) [92.1 x 146.7 cm], edition of 3 + 1 AP in English & edition of 3 + 1 AP in French

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A willingness to be directed by chance encounters has long been a component in Calle’s work. In Yes (Infernal), Calle contemplates accepting every invitation she receives for a period of time.

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Sophie CalleCalle-Joconde (Wrong turn)

2025

text panel in artist’s frame, two pigment prints in artist’s frames, thread, pigment print in cardboard frame, 31 x 100-5/8 inches (overall) [78.7 x 255.6 cm], edition of 3 + 1 AP in English & edition of 3 + 1 AP in French

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Incorporating a portrait of the artist posing with the Mona Lisa freed from its frame, Calle-Joconde (Wrong turn) finds Calle searching for a personal connection to the painting. Seeing a note on the back of a stretcher that reads “cale joconde” (“Mona Lisa wedge”), Calle asks, “Was it a sign?” But she decides the approximation of her name is not a path to follow.

“I received an extraordinary invitation: ‘Dear Sophie, to see the Mona Lisa, come at 3 pm on the 16th if you’re free….’”

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Sophie CalleLa Ley de la Calle (What’s the point?)

2025

text panel in artist’s frame, six collages on comic book covers, 25-1/2 x 31-3/4 inches (overall) [64.8 x 80.6 cm], edition of 3 + 1 AP in English & edition of 3 + 1 AP in French

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In La Ley de la Calle (What’s the point?) Calle inserts herself into the racy covers of a Mexican comic book with her name in the title—“Calle” translates to “street” in Spanish. Despite the vivid images, she decides her connection to publication was limited. 

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Sophie CalleLa Ley de la Calle (What’s the point?)

2025 [detail]

text panel in artist’s frame, six collages on comic book covers, 6-3/4 x 5-3/8 inches (each collage, framed) [17 x 13.5 cm]

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Sophie CalleTwins (Max died)

2025

text panel in artist’s frame, prints in cardboard frame, 45 x 69-3/8 inches (overall) [114.3 x 176.1 cm], edition of 3 + 1 AP in English & edition of 3 + 1 AP in French

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In a multiyear project, Calle photographed herself with a friend and the Berque twins, a pair of accomplished sailors and surfers. Dressed in matching clothes, the foursome pose in beachy scenes as if enacting an annual vacation, blurring the distinction between performance and real life. But the project is cut short.

“It was an enduring ritual, in search of some sort of culmination. But then Max died. Game over.”

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Sophie CalleAnd now, what to do? (Not exhilarating)

2025

text panel in artist’s frame, three pigment prints, paper, print in found frame, 27-1/2 x 65-1/4 x 11-1/2 inches (overall) [69.9 x 165.7 x 29.2 cm], edition of 3 + 1 AP in English & edition of 3 + 1 AP in French

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Calle has often invited other people to participate in directing her work, such as asking a fortune teller to help plan her itinerary for Où et Quand? In And now what to do (Not exhilarating), Calle asked her audience for ideas, telling visitors to her exhibitions, “If you have an idea to give me, a path to suggest, advice to offer, let’s talk about it.” A vitrine holds a stack of proposals, while photographs show Calle meeting with visitors.

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Sophie CalleThe sound of silence (Suspended)

2025

text panel, pigment print, 37-3/4 x 19-3/4 inches (overall) [95.9 x 50.2 cm], edition of 3 + 1 AP in English & edition of 3 + 1 AP in French

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Absence has held a strong presence in Calle’s work. Elsewhere in the Fraenkel Gallery exhibition, she photographs paintings hidden by coverings, and contemplates the loss of her parents. In The sound of silence (Suspended), Calle is drawn to the stillness and quiet during the moment in 1995 when the verdict in the O.J. Simpson trial was announced. For a few minutes, as she notes, “Long-distance telephone calls dropped by 58%, trading volume on the New York Stock Exchange fell by 41%, water consumption dropped dramatically.” 

“I had wanted to hear the sound of silence. Failure.”

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Sophie CalleFirst love (Too late)

2025

text panel in artist’s frame, pigment print, 42 x 50 inches (overall) [106.7 x 127 cm], edition of 3 + 1 AP in English & edition of 3 + 1 AP in French

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In First love (Too late), Calle presents a wooden door on which she installed a plaque recalling a breakup from her youth. On the door itself, which Calle retrieved years later, her lover had written a brief note—still legible—telling her he had chosen another woman.

The post Sophie Calle appeared first on Fraenkel Gallery.

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Sophie CalleLa Ley de la Calle (What’s the point?)

2025

text panel in artist’s frame, six collages on comic book covers, 25-1/2 x 31-3/4 inches (overall) [64.8 x 80.6 cm], edition of 3 + 1 AP in English & edition of 3 + 1 AP in French

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Sophie CalleMinotaure violant une femme

2022

pigment print, 41 x 50-3/4 inches (framed) [104.1 x 123.8 cm], edition of 2

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In 2023, Musée National Picasso presented a solo exhibition of Calle’s work, timed to the 50th anniversary of the death of Pablo Picasso. The deliberately retrospective exhibition, titled À toi de faire, ma mignonne, (“It’s up to you, my darling”) included photographs Calle made while the museum was closed during the pandemic, recording the cloth and paper coverings that shielded Picasso’s paintings from light and dust. Calle has described her encounter with the paintings: “The Picassos were under protection, wrapped up, hidden. Underneath — a ghostlike, less intimidating presence,” she writes. Titled after the works they conceal, the photographs in Picassos in Lockdown encourage the viewer to recall the original painting.

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Sophie CalleUnforeseen

2017

pigment print, moths, text on glass, in wooden box, 16-3/4 x 12-1/4 x 3 inches (overall) [42.5 x 31.1 x 7.6 cm], edition of 5 + 1 AP in English & edition of 5 + 1 AP in French

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A third gallery presents selections from Autobiographies and other elegiac, family-focused works, pairing photographs and texts in frames or urn-like wooden boxes. In Autobiographies (Morning), Calle awaits her father’s last words, while Autobiographies (My Mother Died) reproduces notes about death from Calle’s diary and her mother’s. A glass-fronted box titled Unforeseen presents the obituary Calle commissioned for herself, hidden behind pinned butterflies to remain unreadable. The piece incorporates Calle’s commentary about her decision to obscure the writing: “So as not to attract too much attention from death, I decided it was best to cover up what I did not want to read,” she notes. In these and other works, Calle addresses her own mortality with characteristic honesty and wit, taking on the question of how we remember and are in turn remembered.

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Sophie CalleThe Legend of the Artichoke

2023

pigment print in wooden box, 12-1/4 x 17-1/4 x 4-1/4 inches (framed) [31 x 43.5 x 10.5 cm], edition of 5 + 1 AP in English & edition of 5 + 1 AP in French

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The post Sophie Calle appeared first on Fraenkel Gallery.

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Richard MisrachNancy Holt, Sun Tunnels #26

1988

pigment print, 61 x 76-3/4 inches (framed) [151.1 x 190.5 cm], edition of 3

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Richard Misrach’s series Desert Canto XL – Art in the West examines the way artists work in the American desert. His subjects included Nancy Holt’s Sun Tunnels, the 1973-1976 Land Art project she created in Utah’s Great Basin. Misrach’s photographs of the piece were featured in Blind Spot Folios 001: Nancy Holt & Richard Misrach, a book pairing Misrach’s photographs from the site with material from Holt’s archive, including photo studies and a self-interview. ⁠

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Robert AdamsColorado Springs, Colorado

1968-71

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

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Roberts Adams’s​ view of a Colorado Springs gas station ​compares the glow of the evening sky with the electric light illuminating the gas pump. In the recent monograph American Silence: The Photographs of Robert Adams, Sarah Greenough ​writes about such juxtapositions​ in Adams’s work. 

“​Drawing on insights Hopper had given him into the ‘poignancy of light,’ [Adams] also began to savor the cool light of dusk​… Probing the liaison between the natural and the artificial, he explored the contrast between this evocative, tender light of dusk with its fleeting radiance and the harsh but still haunting glow of neon signs and streetlights that punctuated the darkness for hours on end​,”​ Greenough​ notes.

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Hiroshi SugimotoBrush Impression 0883 (Fire)

2023

gelatin silver print, 48-3/8 x 41 inches (framed) [122.9 x 104.1 cm], unique

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To create the one-of-a-kind calligraphic photographs in his Brush Impression series, Hiroshi Sugimoto paints Japanese characters onto light sensitive paper using photographic chemicals. Each unique piece records the movement of his brush across the surface of the paper, producing gestural shapes as well as splashes, bubbles, and traces of bristles. The kanji characters he selects often represent words for elemental forces—here he paints the character for fire. The meaning of each word is heightened and reinforced by the expressive qualities of each piece.

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Diane Arbus42nd Street movie theater audience, N.Y.C. 1958

gelatin silver print / printed by Diane Arbus, 11 x 13-3/4 inches (mount) [27.9 x 34.9 cm]

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As a lifelong moviegoer, Diane Arbus was attuned to the divergent ways a viewer responded to a photograph and a film. By turning her camera to the spectators of New York’s movie houses, marquee movie posters, and screened dramas, Arbus captured moments where people were able to escape reality, engaging with the grander fantasies presented to them on screen.

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Elisheva BiernoffBeyond Our

2023

three acrylic paintings on wood, one painted both sides; pine frame, pushpins, 63-1/4 x 46-1/4 x 4-1/2 inches (overall) [160.7 x 117.5 x 11.4 cm]

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Elisheva Biernoff’s meticulously painted reproductions of found photographs are often small enough to fit into the palm of a hand. In Beyond Our, her recreation expands to encompass a photograph and a larger poster, as well as the wood-paneled wall on which they are displayed, all rendered in highly detailed acrylic. Together, the objects suggest questions about the mysteries that lie beyond the frame.

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Sophie CallePortrait de Marie-Thérèse

2022

pigment print, 57-1/2 x 57-1/2 inches (framed) [146 x 146 cm], edition of 2

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Sophie CalleBaigneuse ouvrant une cabine

2022

pigment print, 47-1/4 x 38-1/4 inches (framed) [120 x 97.2 cm], edition of 2

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Sophie CallePortrait de Jacques Prévert

2022

pigment print, 38-3/4 x 26-1/4 inches (framed) [98.4 x 66.7 cm], edition of 2

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As part of a 2023 exhibition at the Musée National Picasso-Paris commemorating the 50th anniversary of Picasso’s death, Sophie Calle presented photographs of Picasso’s paintings kept covered by paper and linens during lockdown. Shown in tandem with Calle’s own work and possessions, which filled three floors of the museum, her photographs reckon with Picasso’s legacy and memory.

In The Simpson Verdict, Kota Ezawa animates original footage of the legal proceedings of the O.J. Simpson trial, reconstructing frames of the video to recreate the subtle motions and gestures of the participants. By simplifying the images, Ezawa forces the viewer to look more closely at nuances of expression and the issues of race and celebrity that the case evoked.

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Hiroshi SugimotoBay of Sagami, Enoura

2022

gelatin silver print, 60 x 71-3/4 inches (framed) [152.4 x 182.2 cm], edition of 5

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For decades, Hiroshi Sugimoto has photographed bodies of water around the world, creating the breathtaking Seascapes series. Bay of Sagami, Enoura is the first seascape made at Enoura Observatory, the headquarters of the Odawara Art Foundation, the organization founded by the artist. “Every time I view the sea,” Sugimoto writes, “I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing.”

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Peter HujarRobert Bending (I)

1977

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

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Peter Hujar often photographed his friends and fellow artists, emphasizing physicality and creating striking images of the body. These pictures encapsulated the relationships, music, and art that came to define the 1970s avant-garde scene in New York—as Hujar put it, he “liked people who dare.” Robert Levithan, a writer and one of Hujar’s lovers, was the subject of a series of nudes taken in the artist’s loft apartment turned studio.

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Wardell MilanNoelle lying in liberation

2022

silver leaf, acrylic, charcoal, graphite, china marker and color pencil on panel, 25-1/4 x 37-1/4 inches (framed) [64.1 x 94.6 cm]

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Wardell Milan has often depicted figures, especially marginalized bodies, in safe spaces—a distinction he sometimes conveys with color. “I try to embody love using color,” Milan noted recently. Often, the color he turns to is blue. “The many different tones of this color have come to represent affirmation, love, resilience and advocacy.” Using it, “I’m signaling to the viewer that this person or group of people, are to be championed, validated, and loved.”

Christian Marclay’s single-channel video incorporates thousands of images taken during his daily walks through London, animating them into a frenetic, flickering sequence​. The piece recalls flip-books, early cinema, and animation devices of the late nineteenth century, such as the zoetrope used by Eadweard Muybridge.

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Richard MisrachDiving Board, Salton Sea

1983

pigment print, 60-3/4 x 75-3/4 inches (framed) [154.3 x 192.4 cm], edition of 10

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An image from Desert Canto III: The Flood, one of the chapters from Richard Misrach’s long-running series focused on the American Southwest. The Flood depicts the Salton Sea, an artificial desert lake created in the 1900s, which grew into resort destination starting in the 1950s. Suffering from rising salinity and contamination from runoff, the lake became toxic, and by the 1980s many of the communities along its edges had been largely abandoned, leaving behind a surreal landscape.

The post Art Basel appeared first on Fraenkel Gallery.

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Robert AdamsColorado Springs, Colorado

1968-71

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

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Robert Adams’s early, unpublished image of a Colorado commercial strip is from his seminal body of work, The New West, a photographic essay about our imprint on the landscape of the American West. Adams’s work is the subject of a current exhibition American Silence: The Photographs of Robert Adams at the National Gallery of Art in Washington, D.C., which explores the spiritual and environmental meanings of his work. The show is accompanied by a catalogue (available for purchase here).

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Bernd & Hilla BecherCooling Towers; Blast Furnaces; Water Towers; Winding Towers [Kühltürme; Hochöfen; Wassertürme; Fördertürme]

1973 – 1986

four typologies, each comprised of nine gelatin silver prints, 34-3/8 x 108-1/2 inches (overall) [87.3 x 275.6 cm]

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A collection of typologies by Bernd & Hilla Becher, assembled by a close friend of the artists, brings together four types of structures, subverting the viewer’s expectation of what is being typologized: the structures or the prints.

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Hiroshi SugimotoMathematical Model 004: Dini’s surface: A Surface of Constant Negative Curvature Obtained by Twisting A Pseudosphere

2006

aluminum, iron, 119 x 9 x 9 inches (overall) [302.3 x 22.9 x 22.9 cm]

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Hiroshi Sugimoto works in metal to produce mathematical models, following the tradition of forms envisioned by mathematicians to give substance to geometric ideas. “I have attempted to transform mathematical equations into tangible objects,” he has written about the works, which are created using a computer and advanced machining tools to sculpt each form. 

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Diane ArbusTattooed lady with dog, Philadelphia, Pa. 1964

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]

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Diane Arbus signed and inscribed the verso of this print:

“Miss Betty Broadbent, tattooed lady with Goldie, Her dog. Phila. 1964.“

The image is included in the definitive monograph Diane Arbus: Revelations, to be reissued by Aperture in the fall of 2022.

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Carrie Mae WeemsPainting the Town #3

2021

pigment print, 58-7/8 x 86-7/8 inches (framed) [149.9 x 221 cm]

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Activism has been central to Carrie Mae Weems’s practice. In new, large-format photographs made in Portland, Oregon, Weems records the aftermath of the city’s 2020 protests for racial justice. In the series, boarded-up windows become a canvas, collecting traces of graffiti and the paint used to cover it.    

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Richard LearoydUntitled [Two parrots]

2022

Ilfochrome photograph, 63-3/4 x 54-5/8 inches (framed) [161.8 x 138.8 cm]

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Inspired in part by Paul Gauguin’s 1902 painting Still Life with Parrots, Richard Learoyd’s photograph captures the iridescent feathers and the talismanic form of the two birds. Learoyd describes the image as “a joyous celebration of the exotic mingled with the tragedy of mortality.”

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Wardell MilanTwo warriors looking for euphoria

2018

charcoal, graphite, gesso, etching ink, cut-and-paste paper on ink jet print, 47-1/2 x 63-1/8 inches (framed) [120.7 x 160.3 cm]

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Wardell Milan works in mixed media, combining elements of photography, drawing, painting, and collage. Themes of freedom of expression and safe spaces are often at the forefront of his works, especially as they apply to the marginalized body.

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Peter HujarKeith Cameron (II)

1981

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

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“Lightly bearded, with tousled hair falling over one eye, he looks like a Greenpoint hipster,” Vince Aletti has written about one of Peter Hujar’s portraits of Keith Cameron.

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Richard MisrachTrain Tracks, Colorado Desert, California

1984 / printed 2022

pigment print, 63-1/2 x 82-7/8 inches (framed) [161.3 x 210.5 cm]

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Liz DeschenesBlue Wool Scale #1

2019

pigment print on aluminum, 34-1/4 x 24-1/4 inches (framed) [87 x 61.6 cm]

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​​Since the early 1990s, Liz Deschenes​ has made the medium of photography the subject of her work, exploring the meaning inherent in its materials. This work​ is from a series that references the Blue Wool Scale, a standard developed by textile manufacturers to measure lightfastness, and widely used in art conservation.

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Irving PennCigarette No. 037, New York

1972

platinum-palladium print mounted on aluminum, 32 x 26 inches (framed) [81.3 x 66 cm]

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Writing in 1975 about Irving Penn’s platinum-palladium prints of cigarettes, John Szarkowski noted, “The capricious and frankly inconsequential nature of the nominal subject matter, in conjunction with its ambitious and enormously sophisticated handling, constitute a clear statement of intention: these photographs can be considered only as works of art.”

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Martine GutierrezNeo-Indeo, Monochrome Mamacita, p28 from Indigenous Woman

2018

chromogenic print, 54-7/8 x 36-7/8 inches (framed) [139.4 x 93.7 cm]

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Working across mediums, Martine Gutierrez acts as an idiosyncratic cultural producer, blurring the lines between art and advertisement. In Neo-Indeo, a fashion editorial in the self-produced magazine Indigenous Woman, Gutierrez wears Indigenous textiles, some of which belonged to her Mayan grandparents, in a personal, multicultural version of high fashion.

The post Art Basel appeared first on Fraenkel Gallery.

There is a Portuguese word, saudade [pron:saa·deidz], that does not exist in English. More nuanced than melancholy or bittersweet, saudade is a subtle yet enduring desire for something other than the present. Deep inside this word is the sense that the thing for which one longs may never be had again, while acknowledging that longing for the past would detract from the anticipation for the future. Saudade is likely what most of us are feeling right about now.

-Frish Brandt

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Alec SothFacebook, Menlo Park, California

2013

pigment print, 44 x 57 inches (framed) [112 x 145 cm]

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Katy GrannanAlexa

2018

pigment print, 58-1/4 x 44-1/4 inches (framed) [148 x 112.4 cm]

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Hiroshi SugimotoMK2 Biblothéque, Paris

2005

gelatin silver print, 18-7/8 x 22-3/4 inches (sheet) [47.9 x 57.8 cm]

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Diane ArbusLady in a Roominghouse Parlor, Albion, N.Y.

1963

gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

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Alec SothWilliam Eggleston, Memphis, TN, 2000

2018

chromogenic print, 33 x 41 inches (framed) [83.8 x 104.1 cm]

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Richard LearoydFemale nude with mirror

2016

unique Ilfochrome photograph, 80-3/8 x 59-7/8 inches (framed) [204.2 x 152.1 cm]

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Alec SothPark Hyatt Hotel, Tokyo (Mirror)

2015

pigment print, 42 x 32 (framed) [107 x 82 cm]

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Diane ArbusKiss from “Baby Doll,” N.Y.C. 1956

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

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Lee FriedlanderGalax, Virginia

1962

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

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Lee FriedlanderNew York City, 1963

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

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Johnnie ChatmanSelf Portrait, John Ford Point, 2018

2019

pigment print, 37 x 53 inches (framed) [94 x 135 cm]

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Sophie CallePatrick X, Sixteenth Sleeper

1979

8 gelatin silver prints & 1 text panel, 19 x 24-3/4 inches (overall, approximately) [48.3 x 62.9 cm]

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Peter HujarChuck Gretsch (with Cigar)

1981

gelatin-silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

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Peter HujarDavid Wojnarowicz

1981 / printed later

pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

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Wardell MilanEdward

2019

cut and pasted printed paper, 14-3/4 x 12-3/4 inches (framed) [37.5 x 32.4 cm]

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Nan GoldinFrench Chris on the convertible, NYC

1979

pigment print, 31-3/4 x 46-7/8 inches (framed) [80.7 x 119.1 cm]

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Ralph Eugene MeatyardUntitled

1963

gelatin silver print, 8 x 10 inches (sheet) [20.3 x 25.4 cm]

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Janet Cardiff & George Bures MillerI Can’t Remember (World Turning)

2010

telephone, solid state playback device, 6 x 8 3/4 x 5 1/2 inches [15.24 x 22.23 x 13.97 cm]

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Richard MisrachBoy Scouts and Fremont’s Pyramid, Pyramid Lake Indian Reservation, Nevada

1991

pigment print, 61 x 77 inches (framed) [155 x 195.6 cm]

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“To crave and to have are as like as a thing and its shadow. For when does a berry break upon the tongue as sweet as when one longs to taste it, and when is the taste refracted into so many hues and savors of ripeness and earth, and when do our senses know anything so utterly as when we lack it? And here again is a foreshadowing — the world will be made whole. For to wish for a hand on one’s hair is all but to feel it. So whatever we may lose, very craving gives it back to us again. Though we dream and hardly know it, longing, like an angel, fosters us, smooths our hair, and brings us wild strawberries.”

—Marilynne Robinson, Housekeeping

The post I’m Not the Only One appeared first on Fraenkel Gallery.

The title of the exhibition is inspired by Mishka Henner’s 2015 video I’m Not the Only One, in which Henner digitally combines 18 videos sourced from YouTube. Henner combined individual videos of people, alone in their bedrooms and makeshift studios, performing Sam Smith’s hit song of the same title. Stitched together, these solo performances transform the song’s lonely angst into a powerful yet immaterial chorus of solidarity and connection. Ironically, the current Covid-19 climate has treated us to a myriad of similar choirs from around the world, intentionally singing alone together.

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Katy GrannanSchatzi, Gerlach, Nevada

2018

pigment print, 29 x 39 inches (image, sheet & mount) [73.7 x 99.1 cm]

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In the second gallery, Nan Goldin’s French Chris on the convertible, NYC, 1979, presents a figure lost in his own swoon, suggesting an ecstatic kind of solitude. Also on view are images that alternately highlight the physical and emotional space between subjects. In Richard Misrach’s Boy Scouts, Pyramid Lake Indian Reservation, Nevada, 1991, children stand in waist-deep water, dispersed in an arrangement that suggests the complexity of adolescent friendships. Janet Cardiff and George Bures Miller’s interactive piece was inspired by a time when the couple was apart, and often talked by phone. In it, a vintage telephone has been installed in the gallery. Picking up the receiver, a woman’s voice recounts her disjointed dream.

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Christian MarclayTelephones

1995

single-channel video with sound, 7 minutes, 30 seconds

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Christian Marclay’s seminal 1995 video Telephones is the gravitational force in the final room of the exhibition. This skillfully edited arrangement of clips from movies shows people using telephones the way they were originally intended to be used: dialing, ringing, greeting, and listening. The carefully sequenced fragments coalesce into a conversation between speakers who never seem to connect. In the same room, Johnnie Chatman’s series I Forgot Where We Were… depicts the artist alone in the grand vistas of the West. Set in the romantic and expansive American landscape, Chatman’s silhouette presents a stark image of individuality and isolation.

The post I’m Not the Only One appeared first on Fraenkel Gallery.

For almost forty years, Calle has made work that exposes intimate experience to public view, using still images, video, film, books, performance and text. Her work has often drawn from difficult moments in her personal life. “In the process of turning these experiences into art, they somehow become a type of fiction,” she has said.

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Sophie CalleJosé Tomás

2018

pigment print, embroidered woolen cloth, wooden box, 19 x 15 x 3 inches (overall) [49 x 38 x 7 cm], edition of 3 in English & 3 in French

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Subjects include the North Pole depicted in blue darkness, in a picture Calle made “Because that’s what you do when you are at the ends of the earth,” the text explains. She photographed the Spanish bull fighter José Tomás “Because for the first time in my life, I’m about to ask for an autograph,” she confesses. In Without Child , 2018, Calle quotes a description of herself that she found online: “‘Sophie Calle, artist without child by choice,’” pairing it with a photograph of herself holding a baby to her open blouse, as if to nurse. She posed with the infant “By pure mischief, because one happens to be around,” her text states.

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Sophie CalleDavid

2018

pigment print, embroidered woolen cloth, wooden box, 17 x 23 x 3 inches [43 x 58 x 7 cm]

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Concurrent with Because, Fraenkel Gallery will present a selection of work from the gallery’s archives, curated by Sophie Calle. The presentation, which includes work by Diane Arbus, Sophie Calle, Lee Friedlander, Nan Goldin, Katy Grannan, Ralph Eugene Meatyard, Alec Soth and Garry Winogrand, focuses on images that highlight complicated relationships between couples and pairs.

The post Because appeared first on Fraenkel Gallery.

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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The exhibition begins with Pablo Picasso’s depiction of a white dove, printed directly onto the surface of Paul Robeson’s Songs of Peace in 1949, and continues with works by artists as wide-ranging as Josef Albers, Tauba Auerbach, Jean-Michel Basquiat, Joseph Beuys, Sophie Calle, Jean Dubuffet, Marlene Dumas, Yves Klein, Barbara Kruger, Sol LeWitt, Chris Ofili, Ed Ruscha, Cindy Sherman, and Andy Warhol. Included are works by supreme outliers such as Richard Hamilton, whose indelible un-artwork forever defined The Beatles’ white album; Christian Marclay, whose non-sleeve allowed his Record Without a Cover to accumulate a lifetime of scratches; and Gerhard Richter, whose 1984 oil painting on the surface of Glenn Gould’s revered Goldberg Variations leaves Bach’s composition see-able but forever unplayable.

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The exhibition will be accompanied by a 464-page hardcover catalogue, available in the gallery and on our website in January 2018, and distributed internationally by D.A.P.

The post Art & Vinyl: Artists & the Record Album from Picasso to the Present appeared first on Fraenkel Gallery.

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Sophie CalleAutobiographies (Morning)

[detail], 2016

pigment print mounted on aluminum, text panel, 20 x 20 inches (framed) [51 x 51 cm]

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My mother, my cat, my father, in that order follows upon the deaths of Calle’s aforementioned loved ones, examining loss and absence from the artist’s characteristically unsentimental perspective. Several of Calle’s Autobiographies are inspired by her own and her mother’s diaries, such as this text from Autobiographies (My Mother Died):

On December 27, 1986, my mother wrote in
Her diary: “My mother died today.”
On March 15, 2006, in turn, I wrote in mine:
“My mother died today.”
No one will say this about me.
The end.

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Sophie CalleSilence

2012

inkjet print on fine art cotton Hahnehühle paper, mounted on aluminum, in brass-hinged wooden box

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The Autobiographies series combines the artist’s sly, sardonic sense of visual humor with stories that are too peculiar to have been invented. As with much of her work, Calle’s unique form of autobiography can be seen as a form of performance. Forgoing a sense of nostalgia, the artist puts seemingly private events into the public eye, recounting emotional parent-child interactions that are seldom described.