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John WatersReconstructed Lassie

2012

chromogenic print, 30 x 20 inches (image) [76.2 x 50.8 cm], edition of 5

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The monster we’ve come to know as Frankenstein was a vegetarian. He is also nameless, though his creator, Dr. Victor Frankenstein, refers to him as “being,” “fiend,” and “daemon.” Over the course of two centuries—the book was first published anonymously in 1818—and in the public imagination, the patient has taken the doctor’s name, and the word “Frankenstein” has been fashioned into a noun, verb, and adjective to signal a uniquely grotesque form of cobbled-togetherness.

The book—its story, subjects, and all around “It’s Alive!” flavor (a line taken from the 1931 Boris Karloff film, not the book)—is often read as a parable about the dangers of unchecked ambition, invention, and so-called progress, and its warning has been applied to the atomic age, climate change, the any-day-now takeover of artificial intelligence, and much more. It’s also a story about fear—a fear of the unknown, and a fear of the real and perceived monsters among and within us. In 2024, the book and its themes remain freakishly relevant, legible through countless lenses and applicable to enumerable blood-curdling prospects.

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Danny McDonaldThe Viewing

2022

Fraenkenstein action figures (plastic, cloth, paint), pedestal, 52-1/4 x 33 x 18-1/2 (overall) [132.7 x 83.8 x 47 cm]

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A proper exhibition tackling the book and the ways in which “Frankenstein” moves through popular culture would require a museum with the staff and resources of the Louvre. This project should therefore be considered entirely improper and radically incomplete, populated by artworks that speak in varied ways to the book’s varied concerns. The initial concept for Fraenkenstein was proposed by Stein to Fraenkel in the spring of 2023. Fraenkel said yes on the spot, and Fraenkenstein is the malfunctioning birthchild of their curiously overlapping sensibilities.

The exhibition features works by Diane Arbus, Hans Bellmer, Janet Cardiff & George Bures Miller, Bruce Conner, Kota Ezawa, Lee Friedlander, Nan Goldin, Brett Goodroad, Katy Grannan, Martine Gutierrez, Whitney Hubbs, Peter Hujar, George Kuchar, Justine Kurland, Christian Marclay, Danny McDonald, Ralph Eugene Meatyard, Wardell Milan, Richard Misrach, BJ Newton, B. Ingrid Olson, Woody De Othello, Hiroshi Sugimoto, John Waters, Lindsey White, and others.

The post Fraenkenstein appeared first on Fraenkel Gallery.

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Peter HujarThek Working on the Tomb Figure

1967

pigment print by Gary Schneider, 16 x 20 inches (sheet) [40.6 x 50.8 cm], edition of 10

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Jeffrey Fraenkel: I would say this project felt fully born from the moment Jordan first proposed it. We both knew the exhibition would be wide ranging and would encompass work in a variety of media. And of course there were two scientists working on this project instead of the single Dr. Frankenstein in the book – the perfect vehicle to meld our sensibilities. 

Jordan Stein: And to echo the nature of Dr. Frankenstein’s creation, it was intuitive to assemble the show from disparate and available parts. The doctor is single-minded in his quest, and it’s clear that he will find a way to animate life. We knew it would come alive. There were certain images and artists that we sent back and forth, and it eventually reached a kind of perfectly manic equilibrium.

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Diane Arbus“Frankenstein’s Daughter” [close up with shoulders] 1958

gelatin silver print / printed by Diane Arbus, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

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JF: My early tagline for the exhibition was “art that’ll scare the shit out of you,” but that evolved over time. Now fear is only one aspect of the show.

The first image I sent you was a Diane Arbus photograph made inside a movie theater in 1958. The theater was screening Frankenstein’s Daughter, and Arbus is, I think, recognizing the film’s tawdry scariness that is not really scary. Well, maybe it’s a little scary, but she pokes a hole through that with the photograph.

JS: The scariest stuff in our culture becomes a Halloween costume; Frankenstein is popular on October 31st in every neighborhood in this country. Danny McDonald’s piece, which includes more than a dozen different Frankenstein dolls and action figures, is called The Viewing; the largest one is dead and all the other Frankensteins are mourning its loss. Frankenstein is dead! Long live Frankenstein! There’s something funny and inexhaustible about Mary Shelley’s creation. Arbus certainly picked up on that.

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Danny McDonaldThe Viewing

2022

Fraenkenstein action figures (plastic, cloth, paint), pedestal, 52-1/4 x 33 x 18-1/2 (overall) [132.7 x 83.8 x 47 cm]

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JF: I had forgotten how meta the novel is. It is a story within a story, which is all the more astonishing when you realize Mary Shelley was only 19 when she wrote Frankenstein. The diversity of works selected for the show really do address a wide range of the book’s themes.

JS: Right. And it makes good sense to host the show at Fraenkel as the novel was written right alongside the invention of photography – they emerged just a few years apart. The fact that Dr. Frankenstein sets out to understand the otherwise invisible laws of nature is of a piece with the origins of photographic technology.

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Bruce ConnerTHE LATE NIGHT MOVIE ON TV: JUNE 10, 1978 @1:20-1:27 A.M.: STERNS MOTEL IN VENICE, CA, NEG.#10A

1978

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm], edition of 3

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Bruce ConnerTHE LATE NIGHT MOVIE ON TV: JUNE 10, 1978 @1:20-1:27 A.M.: STERNS MOTEL IN VENICE, CA, NEG.#11A

1978

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm], edition of 3

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JF: For me, maybe the central piece in the show is John Waters’s altered portrait of Lassie after cosmetic surgery, to make her appear younger. I mean, it’s hard for an old broad of a collie to get work in Hollywood these days, right? John’s piece strikes me as the ultimate Hollywood horror story about the fear of aging, told in the darkly comic voice that’s uniquely his.

JS: The Hiroshi Sugimoto is a perfect fit because the doctor talks about how his studies of electricity led to the creation of his monster. And the monster, of course, has a mind of its own – there it is looking back at you in these amazing Bruce Conner pictures. You know, you’re just trying to watch a little TV before nodding off, and BOOM – it’s got eyes on you. Similarly in Richard Misrach’s image of the shot-up Andy Warhol ad, there’s the Terminator-esque intersection of the human and the post-human. All in the name of hair spray!

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Hiroshi SugimotoLightning Fields 222

2009

gelatin silver print, 71-3/4 x 60 inches (framed) [182.3 x 152.4 cm], edition of 5

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Richard MisrachPlayboy #038 (Andy Warhol)

1990

pigment print, 29 x 25 inches (framed) [73.7 x 63.5 cm]

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JF: The Misrach is an unexpected image from a body of work made almost 35 years ago. It’s a straightforward photograph of a copy of Playboy magazine Richard found in the desert, a copy that had been used for target practice. As Richard looked through the magazine, he was horrified by the meanings that had been created by the bullet holes. The shot-through Playboy had become a new type of Duchampian found object.

JS: An art studio is in some ways like a laboratory, and there’s a relationship between artistic production and the activation of inanimate materials. In the Peter Hujar and Whitney Hubbs works, an art studio is clearly a place where unpredictable experiments are sanctioned and protected. In both works, the artist becomes the subject–similarly with Martine Gutierrez’s work. It’s hard to tell where the artist and subject stop and start, and it addresses the extraordinary alchemy that can happen in the studio and in an artist’s imagination.

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Whitney HubbsFunny Ha Ha #4

2022

chromogenic prints & archival clear tape on glass mirror, 36 x 60 inches (overall) [91.4 x 152.4 cm]

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Martine GutierrezPlastics, Brigitte

2020

chromogenic print, 24 × 17 inches (framed) [61 × 43.2 cm], edition of 8

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JS: Dr. Frankenstein retreats from his family and from the broader world in an effort to make sense of his secret passion. I know a lot of artists like that. The doctor’s beating a path to do things that have never been done and to materialize visions that have never been seen. BJ Newton was a California artist who was in and out of correctional facilities, painting unearthly visions he conjured from the confines of a prison cell. There’s a play between portraiture, self-portraiture, landscape, and religious iconography that explores a world that is both here and beyond.

JF: Newton’s painting in the show seems end-of-the worldish, fiery, apocalyptic.

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B.J. NewtonOne Sow, One Reap

1969

oil on canvas, 21-1/4 x 34 inches (framed) [53.97 x 86.36 cm]

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JS: The doctor sets out to animate life, but some bits of human creation are too micro for him to construct. So he makes an oversized version of a person: it’s like the opposite of making a model. It gets bigger, like the kind of enormous animal foot in Brett Goodroad’s painting The Club.

JF: In the Goodroad, the very way it’s painted feels like a roiling of all the energies coming together in Dr. Frankenstein’s studio. If they could be depicted, they would look like this.

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Brett GoodroadThe Club

2015

watercolor on paper stretched over canvas, 24-1-2 x 35-1/2 inches [62.2 x 90.2 cm]

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JS: There are serious warnings in this book. I wrote down artificial intelligence a dozen times as I was reading this thing.

JF: Yeah. It feels as if Mary Shelley directly anticipated the potential consequences of artificial intelligence. What we created may soon be out to destroy us.

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Janet Cardiff & George Bures MillerGenie

2023

mixed media with electronics, magnet, 11 x 10 x 5 inches (overall) [27.9 x 25.4 x 12.7 cm]

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JS: It’s pretty uncanny. The monster finds a stack of books outside his hovel, and he begins to understand the complexity of the world by reading them. He’s learning through the construction of a data set.

JF: In a way, Christian Marclay’s works feel as if they are screaming with a warning to wake up, pay attention and save ourselves before it’s too late. Christian’s works were all made during the shutdown and convey that existential undercurrent of anxiety we felt then and continue to feel now.

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Christian MarclayUntitled (Cut Throat)

2020

comic book and magazine cutouts on paper, 19 x 18-1/2 inches (framed) [48.3 x 47 cm]

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JS: There’s an annotated version of Frankenstein for engineers and scientists published by MIT, but there’s no annotated Frankenstein for artists. It’d be my hope that maybe this exhibition kicks up some ideas around just how powerful and compelling artists’ visions have been, and will continue to be.

JF: One thing is for sure, if Mary Shelley came to see this show, she would love it.

JS: Mm-Hmm. It might even scare the shit out of her.

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Kota EzawaThe Scream

2016

transparency in lightbox, 33-3/4 X 26-3/4 inches (overall) [83.8 x 67.9 cm], edition of 5

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The post Fraenkenstein appeared first on Fraenkel Gallery.

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Janet Cardiff & George Bures MillerCosmic Disco

2024

mirror balls, acrylic paint, rotating motors, DMX lights, chains & miscellaneous hardware, dimensions variable, edition of 3

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In Cosmic Disco, tiny points of light reflected from altered mirrorballs fill a darkened room to create the illusion of slowly moving galaxies, accompanied by a soundtrack drawn from recordings of planets and moons made by NASA’s Voyager I and II. The piece immerses viewers in illusory reflections and otherworldly sounds, encouraging contemplation of the universe and humans’ place in it. In another room, Ambient Jukebox repurposes a familiar-looking 1960s jukebox. Rather than playing pop hits, it has been reprogrammed to spin drone-like tunes created by Bures Miller during the disorienting months of the global pandemic. As in many of their pieces, Cardiff and Bures Miller invite the viewer to activate the piece—selecting the tracks creates a singular experience of the work and transforms the iconic object into something unfamiliar and surprising.

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Janet Cardiff & George Bures MillerDoppler Dance

2023

mixed media, electronics, audio, motor, battery, wooden pedestal, 52 x 12 x 12 inches (overall) [132.1 x 30.5 x 30.5 cm]

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Janet Cardiff & George Bures MillerSuitcase theater

2020-23

mixed media & air-dry clay, suitcase, smart phone, charger, clamp, wooden shelf, 22 x 18 x 15 inches (overall) [55.9 x 45.7 x 38.1 cm], edition of 3

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Suitcases appear in several works. A vintage suitcase is transformed into a theater, replete with curiously crafted doll-like characters and a range of scenarios that play on a small screen facing the ‘stage.’ Another suitcase is modified with a gramophone speaker through which Cardiff’s dreamlike voice quavers the World War I marching song Pack Up Your Troubles in Your Old Kit Bag, and Smile, Smile, Smile by George and Felix Powell, a song which in time has been sung by forces on all sides of many conflicts.

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Janet Cardiff & George Bures MillerSuperman

2023

mixed media with sound & electronics, 20-1/2 x 12 x 6 inches (overall) [52.1 x 30.5 x 15.2 cm]

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The post Ambient Jukebox & Other Stories appeared first on Fraenkel Gallery.

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Janet Cardiff & George Bures MillerAmbient Jukebox

2024

interactive jukebox with tracks of ambient guitar music composed by the artists, 55-1/8 x 29-5/8 x 43-3/8 inches (overall) [140 x 75 x 110 cm], edition of 3

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As the title of the exhibition suggests, a repurposed 1960s jukebox provides not a selection of classic rock-and-roll hits but a series of vinyl ambient tracks recorded by Bures Miller at the start of the covid-19 pandemic. Visitors to the exhibition may be surprised by this discord between the ambient music and the object’s original intention, yet the droning sounds of an electric guitar inspire within viewers’s imaginations new associations resembling cinematic scenarios.

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Janet Cardiff & George Bures MillerSuitcase theater

2020-23

mixed media & air-dry clay, suitcase, smart phone, charger, clamp, wooden shelf, 22 x 18 x 15 inches (overall) [55.9 x 45.7 x 38.1 cm], edition of 3

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A suitcase theater provides all the necessary materials for a traveling play, complete with curtains and a cast of collaged characters. Inspired by Cardiff and Bures Miller’s pivotal sound and video walks, in which viewers retrace the artists’ pre-recorded steps in a variety of locations, a mobile screen affixed to the front of the suitcase both records and replays a series of short and often comedic performances.

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Janet Cardiff & George Bures MillerConversations with my Mother

2023

wooden shelf, telephones, electronics, audio, 81-1/2 x 39 x 21-1/2 inches (overall) [207 x 99.1 x 54.6 cm], edition of 3

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Over the years, the artists have acquired an impressive collection of not just antique jukeboxes and vintage suitcases but also rotary and retro phones, which serve as the more subdued speakers in Conversations with my Mother. Like the custom-built cabinet that appears to be plucked from a private, domestic space, the nine lines offer visitors special access into the lived experience of the artist’s intergenerational relationships, namely intimate and everyday phone conversations between Cardiff and her mother. 

Building upon their 2015 commission for Houston’s Menil Collection, Cardiff and Bures Miller’s Cosmic Disco integrates audio harmonies captured by NASA’s Voyager I and II spacecraft with a choreographed light sequence projected by rotating, augmented mirrorballs. The immersive installation transports viewers into an otherworldly space, wherein roving specks of light and strange ambient sounds could symbolize a macrocosm of interplanetary rotations or a microcosm of cells within a petri dish. As the artists explain, surprising transitions within the projected sequence encourage viewers to question the security of their experience: “What happened to the world? Did we blow it up? Did we blow up the galaxy? […] Something major has happened and then it makes you think about your current situation in the world.”

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Cardiff’s unique vocal performances appear regularly throughout the exhibition, whether through conversations with the artist’s mother or childlike performances with toy figures. But in Pack Up Your Troubles, the artist’s whispering song emanates from within an elongated horn plucked from an antique gramophone and fastened atop a vintage suitcase. The artist softly sings a famous 1915 World War One marching song cherished for its cheerful reassurance, yet the lullaby-like tone and pacing of Cardiff’s voice recall those very “troubles” she encourages her listener to “pack up.”

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Janet Cardiff & George Bures MillerLost at night

2023

mixed media, electronics, audio & battery on wooden pedestal, 48 x 12 x 12 inches (overall) [121.9 x 30.5 x 30.5 cm]

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Janet Cardiff & George Bures MillerLOVE

2023

photographs, electronics, audio, 27 x 23 x 2 inches (overall) [68.6 x 58.4 x 5.1 cm], edition of 3

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A grid of framed photographs brings together a diverse selection of London’s street signage to repeat the titular LOVE. Replacing an L, an O, and a V with small speakers activated by a hanging red button, the artists vocalize the missing phonetic syllables. When all three speakers sound simultaneously, their harmonies conjure memories of The Beatles’ All You Need is Love, just as the colorful, graphic typefaces allude to Robert Indiana’s iconic sculptures.

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Janet CardiffWhite House Night

2023

oil paint on Birch panel with shelf & found text, 9 x 9 x 5-1/2 inches (overall) [22.9 x 22.9 x 14 cm]

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Cardiff’s small-scale oil paintings often invoke ethereal nocturnal scenes, like this white house nestled within a wintry landscape. While the artists maintain a personal connection to the subject of this scene, inspired by the couple’s first home in British Columbia, they invite viewers to play with interpretations through cut-and-paste captions. In this case, an adjustable caption provides two short texts culled from their collection of paperback crime novels, transporting viewers into a mysterious scene.

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Janet CardiffIt’s not my fault

2023

mixed media, 14 x 3 x 2 inches (overall) [35.6 x 7.6 x 5.1 cm]

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Janet Cardiff & George Bures MillerGenie

2023

mixed media with electronics, magnet, 11 x 10 x 5 inches (overall) [27.9 x 25.4 x 12.7 cm]

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A mischievous darkness imbues many pieces made from odds and ends. A wall-mounted collage combines peeling scraps of wood, a noirish illustration of a woman with her eyes closed, a line of found text, and string of wooden beads that spell out an expletive. Do these words belong to the woman, or are they aimed at her? Another piece presents a tiny disembodied head pasted to a spoon that rests in an old bourbon jar. A hidden magnet pulls the spoon, causing the face to mysteriously sway as the genie is summoned from its bottle.

The post Ambient Jukebox & Other Stories 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.

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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.

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.

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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Janet Cardiff & George Bures MillerThe Poetry Machine

2017

interactive installation, words and voice by Leonard Cohen, dimensions variable

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Says Janet Cardiff, it “creates new connections through all of the poems,” and gives participants the ability “to create new poems out of his words.” The installation debuted in an exhibition devoted to Cohen at the Musée d’art contemporain de Montréal this winter. This will be its first U.S. presentation.

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Janet Cardiff & George Bures MillerRoad Trip

[detail], 2004

computer controlled slide projector with audio

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Also on view is Road Trip, an installation of slides made by Bures Miller’s grandfather in the 1950s, during a drive from Vancouver to New York City. Projected from a computer controlled carousel onto a standing screen, the slides show mostly empty landscapes, their color often changed by time. Accompanying them is a two-speaker recording of Cardiff and Bures Miller. In it, the artists consider what the enigmatic photographs might have meant to Anton Bures, who was traveling to New York to see a doctor for the cancer he was fighting.

In Sad Waltz and the Dancer who couldn’t dance, a robotically controlled marionette appears to play piano while a long-haired puppet dances erratically to music by Armenian composer Edward Mirzoyan. The piece premiered at the 14th Istanbul Biennial in 2015.

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Janet Cardiff & George Bures MillerSad Waltz and the Dancer who couldn’t dance

2015

robotic marionettes with sound

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