In the metallic sheen of their surfaces, Deschenes’s mirror-like photograms reflect the architecture of the space around them, as well as the viewer. Carefully positioned in the gallery, their materials, dimension, and arrangements reference early photographic and cinematic techniques, from the illusion of depth proposed by Stereograph #33 to the slits of a zoetrope suggested by Timelines.

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Liz DeschenesLeft / Right (Reversal)

2019

UV laminated chromogenic print mounted on aluminum, 23-1/4 x 38-1/2 inches (framed) [59 x 97.7 cm]

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Liz DeschenesIndicator #1

2022

dye sublimation print, 54 x 44 inches (framed) [137.1 x 111.7 cm]

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Liz DeschenesIndicator #9

2022

dye sublimation print, 54 x 44 inches (framed) [137.1 x 111.7 cm]

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Deschenes has long explored the role of color in connection with processes ranging from video compositing and topographical mapping to art conservation, examining how these systems are used to produce seen and unseen images. On view for the first time will be pink and blue works from her recent Indicator series, which reference the cobalt chloride-based color scale used to measure humidity in art conservation. The exhibition also includes works from her Green Screen series, which focuses on the brightly colored screens used in film and video production and special effects. These monochromatic photographs call attention to usually invisible technologies, and blur the line between photograph and object.

The post Works 1997-2022 appeared first on Fraenkel Gallery.

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Liz DeschenesFPS (120)

2021

120 unique photograms mounted on Dibond, 60 x 1-1/4 inches (each) [152.4 x 3.2 cm]

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FPS (120) was first exhibited in 2021 at the Sprengel Museum in Hanover, Germany, where it was part of True Pictures?, a show that examined the responses of North American artists to the flood of images in photography’s digital age.

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Deschenes created FPS (120) in response to the Soviet artist El Lissitzky’s Cabinet of Abstraction (Kabinett der Abstrakten), a room-size installation that functions as an art piece as well as a background for the paintings and sculptures that would be installed in it. The work was commissioned in 1927 by Alexander Dorner, the director of the Provinzialmuseum in Hanover, Germany (and later director of the Rhode Island School of Design Museum, where Deschenes studied), who advocated for art museums to become places for active participation and immersive engagement.

Today, a recreation of the Cabinet of Abstraction is part of the collection of Sprengel Museum. It is considered a milestone in the development of exhibition architecture.

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In El Lissitzky’s Cabinet of Abstraction, the walls are clad in black and white slats made of iron strips, which appear light or dark depending on the position of the viewer. This “optical dynamic” activates viewers, as Lissitzky wrote.

Deschenes’s choice of silvery photograms, unprocessed vintage chromogenic photo paper (a creamy white), and black, fully exposed and processed chromogenic paper alludes to the tones in of the slats in Cabinet of Abstraction.   

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Liz DeschenesFPS (120)

[detail] 2021

120 unique photograms mounted on Dibond, 60 x 1-1/4 inches (each) [152.4 x 3.2 cm]

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Another point of reference in FPS (120) is the work of Étienne-Jules Marey, which Deschenes first encountered while teaching the history of photography. The 19th-century French scientist invented devices for studying movement over time, and his work measuring and recording bodies in motion is seen as a forerunner to cinema.

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In 1882, Marey developed his first series of chronophotographs, in which he took multiple overlapping exposures of a single subject marching across the frame. To picture the subject’s head, arms, legs, and feet, Marey attached white strips along the edge of the subject’s black suit as he walked before a black backdrop, resulting in an abstracted pattern of dots and lines. Like Deschenes’s installation, Marey’s geometric chronophotographs exhibit otherwise imperceptible expressions of movement through space. 

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Liz DeschenesFPS (120)

2021

120 unique photograms mounted on Dibond, 60 x 1-1/4 inches (each) [152.4 x 3.2 cm]

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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.

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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Sol LeWittWall Drawing #786

1995

black pencil, black crayon, dimensions variable. A 36-inch grid covering the wall. All two-part combinations of arcs from corners and sides. Black pencil grid, black crayon lines.

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Gallery II will be installed with Wall Drawing #669, an irregular twelve-pointed star drawn with India ink and filled in solid, first executed in 1991.

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Sol LeWittWall Drawing #340A

1993

black crayon, dimensions variable. A six-part drawing. The wall is divided horizontally and vertically into six equal squares, bordered and separated by 6-inch white bands. Within each square a geometric figure, outside of which are black horizontal parallel lines and within which are black vertical parallel lines. All lines are one inch apart, and the horizontal lines do not enter the figures. Drawn in black crayon.

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Wall Drawing #340A, first exhibited at the Addison Gallery of American Art in 1993, will be installed in Gallery III. The wall will be divided horizontally and vertically into six equal squares, each containing a geometric figure comprised of vertical, parallel lines.

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Liz DeschenesUntitled (Étienne-Jules Marey #1)

2017

thirteen unique gelatin silver photograms, 85-7/8 x 85-7/8 inches (overall installation) [218 x 218 cm]

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Her photograms are a direct record of atmospheric conditions during the process of their production: light, humidity, and the outside temperature, among other factors, determine the surface of the final works.

Learn more about Liz Deschenes’ camera-less photography from SFMOMA & ICA Boston in the video below.

The post Sol LeWitt & Liz Deschenes appeared first on Fraenkel Gallery.

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Miguel Abreu Gallery‘s influential program has been instrumental in establishing New York City’s Lower East Side as an important destination for viewers interested in contemporary art. The gallery first opened in 2006 and represents artists working in a range of media based in New York, the west coast, and Europe.

FraenkelLAB, spearheaded by Frish Brandt and Jeffrey Fraenkel, is Fraenkel Gallery’s new venue for adventurous artwork from any era and in any medium. Follow @fraenkelLAB on Instagram for the latest news and announcements of upcoming events at the gallery.

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More than a century of attempts to depict, through photographs, a reality beyond appearances is testament to a stubborn conviction that what can be seen is not all there is. In the book’s introduction Jeffrey Fraenkel writes, “From the moment of its invention almost 175 years ago, photography has proven adept at depicting the photographable: the solid, the concrete, that which can be seen. […] But another tradition exists, a parallel history in which photographers and other artists have attempted to describe by photographic means that which is not so readily seen: thought, time, ghosts, god, dreams. A vast array of strategies has been employed to bring such pictures about, tactics that have intersected and enriched the strains of modern art.”

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The exhibition will be installed in all three of the gallery’s spaces. Visitors will encounter Jakob Ottonowitsch’s Spark captured on the surface of the body of a well-washed prostitute, Tom Friedman’s Caveman, T. Glendenning Hamilton’s portrait of The T’zan Teleplasm, and Bruce Conner’s ethereal depiction of an angel. Among other works included are Wolfgang Tillmans’s Mental Picture from 2001, Frederick Sommer’s portrait of Max Ernst as a vanishing spirit, and Gerhard Richter’s attempt to depict the incomprehensibility of 9/11, titled simply September.

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Artists participating in the exhibition include Robert Adams, Diane Arbus, F. Baldet & F. Quénisset, Walead Beshty, Mel Bochner, Sophie Calle, Bruce Conner, Jay DeFeo, Liz Deschenes, Kota Ezawa, Tom Friedman, Adam Fuss, Paul Graham, Idris Khan, Clarence John Laughlin, Richard Learoyd, Glenn Ligon, Adrien Majewski, Man Ray, Christian Marclay, Chris McCaw, Ralph Eugene Meatyard, Richard Misrach, Jakob Ottonowitsch von Narkiewitsch-Jodko, Gerhard Richter, Frederick Sommer, Alfred Stieglitz, Hiroshi Sugimoto, and Wolfgang Tillmans.

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