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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Robert Adams’s early, unpublished image of a Colorado commercial strip is from his seminal body of work, The New West, a photographic essay about our imprint on the landscape of the American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.

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Adam FussUntitled

1988

gelatin-silver photogram, 47-3/4 x 52-1/4 inches (framed)

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Liquids, and their infinite variety of forms, have been a central preoccupation for Fuss since his earliest works made in the 1980s. This exhibition, through an in-depth focus on this single element so essential to human life, explores the expressive potential of liquids in a variety of dynamic states.

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Adam FussUntitled

2017

unique chromogenic photogram, 71 x 118-1/4 inches (framed)

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From its beginnings, Fuss’s work has evoked the essential and spiritual elements of the natural world. Fuss magnifies the versatile and transitional nature of liquids when in motion, and when acted upon, in varied photographs of glycerin drops, waterfalls, and snakes rippling along the surface of still water.

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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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The largest works in the exhibition, measuring 8 x 4 feet, appear to be abstract tangles of colorful pigments, but which derive instead from animal intestines placed directly upon photo-sensitive paper and exposed to light. The lush hues are the result of light passing through the intestines as well as the chemical reaction of the organs in physical contact with the paper. Some of the images assume the form of columns, others dense “allover” skeins of lines. All are clearly concerned with mysteries of the organic.

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In a separate gallery a series of ethereal daguerreotypes will be on view, in all likelihood the largest daguerreotypes ever made. The images center on an unmade mattress in an ambiguous space, the bed either empty or topped with snakes. In two of the images lies a prone, naked woman.

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Fuss’s imagery, which in the past has depicted babies, water droplets, christening dresses, moving light, sunflowers, rabbit entrails, and human skulls, has long been recognized as rich in a universal symbolism. 

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This is the nineteenth installation of the exhibition known for its eclectic group of artists, some familiar and others unknown.  The exhibition provides an opportunity to study a provocative range of photographs that encompasses both flea market finds and historic treasures.

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The exhibition includes new and never before seen work by several of the gallery’s primary artists.  Among this year’s highlights is Idris Khan’s new, color photograph created by layering images of the fifteen paintings Caravaggio made in the last four years of his life.  A unique, large scale photograph of the Nevadian night sky by Richard Misrach will be exhibited as well as two newly acquired photographs by Nan Goldin.  A dazzling new photogram of pansies by Adam Fuss will be included, as well as a rare print of Robert Frank’s Mary & Pablo, N.Y.C.  Also on view will be Garry Winogrand’s timely image of a Central Park peace demonstration from 1970; a nighttime seascape by Hiroshi Sugimoto; a selection of early photographs by Diane Arbus; and a striking group of photographs of trees from the parks of Frederick Law Olmstead made by Lee Friedlander.

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Several Exceptionally Good Recently Acquired Photographs XIX can be seen concurrently with the exhibition The Book of Shadows.

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For over twenty years, British-born artist Adam Fuss has reconsidered the devices traditionally utilized in the pursuit of making a photograph.  His most recent series, entitled Ark, recovers the 19^th century daguerreotype process to create his photograms.  In this process, Fuss creates his images on polished copper plates after being exposed to mercury and chemical vapors.  With his photogram work Fuss draws upon one of the early photographic traditions used by such pioneers as William Henry Fox Talbot.  Adam Fuss has combined the two primal photographic processes of daguerreotype and photogram to achieve a 21^st century end.  In this way, Fuss subverts the primacy of the camera and celebrates the print as an independent object.  By its very nature, the daguerreotype captures an aspect of reality often inaccessible by more traditional means.  This series marks a culmination in Fuss’s investigation of these alternative photographic methods.

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Adam Fuss’s dozen photograms included in the show each define a unique moment.  Made over a limited period of time, the artist recorded the successive effects on a pool transformed by a droplet of water.  Each varying image of induced ripples created through this process comes to exemplify a transcendental moment.  Fuss’s waves expand infinitely.  These waves embody a metaphorical moment that contains all life.  Fuss’s series is defined by the ephemeral, each moment marking a fleeting revelation.  Fuss’s large snake powder photograms also included in the show compliment the Ark series.  These large-scale works offer a sense of the infinite movement and creative energy of life.  One senses in Fuss’s work that he does not try to manipulate these subjects that are, by their nature, ambiguous.  Rather, he resolves himself to their inherent mystery. This is largely accomplished through Fuss’s photographic method that hinges on chance occurrence.

Adam Fuss was the subject of a solo retrospective at the Museum of Fine Arts Boston and the Kunsthalle Bielefeld in Germany in 2002-2003.  His photographs are included in the collections of the Museum of Modern Art, New York, the Metropolitan Museum, the Whitney Museum of American Art and San Francisco Museum of Modern Art among many other public institutions.

Adam Fuss is presented concurrently with the exhibition Lee Friedlander: Apples and Olives.

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This is the seventeenth installation of the exhibition known for its eclectic group of artists, some familiar and others unknown.  This exhibition provides the gallery with an opportunity to present a lively showing of recently acquired photographs that span a range inclusive of both flea market finds and historic treasures.

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Among this year’s highlights is Eugene Atget’s surrealist Fête du Trône, made in 1926, the year before his death.  This print’s history includes possession by Tristan Tzara, the poet and essayist best known as a founder of Dada.  Lee Friedlander, whose work is currently the subject of a major retrospective at the Museum of Modern Art, will be represented in a group of early and recent pictures.  Also on view will be several little-known imperial plate photographs by Carleton Watkins, made in California and Oregon circa 1880; an extraordinary study of clouds over Santa Monica by Edward Weston, from 1936; a curious selection of anonymous photographs from both the 19th and 20th centuries and two new portraits by Katy Grannan, one of the most noted artists in last year’s Whitney Biennial.  Other works from Grannan’s series Mystic Lake will be exhibited at Fraenkel Gallery this coming January.

Several Exceptionally Good Recently Acquired Pictures XVII can be seen concurrently with the exhibition, JOHN GUTMANN at 100.

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“The Eye Club,” unofficially founded around 1975, was the nickname given to the loose conglomeration of pioneering individuals who found themselves among the first new collectors of photography. Operating purely on instinct and the love of seeing, these few dozen people (including Sam Wagstaff, Andre Jammes, and other now-legendary collectors) shared a distaste for established pantheons and veered instead toward the lesser-known, the anonymous, the outré, or any photograph emanating sparks of electricity. Photography was their perfect vehicle, and they were startled to find themselves in so much uncharted territory.

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The little-known images in THE EYE CLUB have been assembled in a related spirit of adventure. An elastic web of connections replaces chronological order. Many of the pictures, but by no means all, are by artists who have been central to the gallery’s history, but when images by well-known photographers appear they are rarely among their creator’s most celebrated works. The identity of several of the picture-makers remains unknown, or virtually so. Photography persists as an unruly medium, and this book and exhibition are comprised of an unruly group of photographs, brought together in the open-eyed spirit of The Eye Club to mark the gallery’s twenty-fifth year.

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Since 1985, the photographs of Adam Fuss have been made primarily without a camera. While technology has facilitated a trend toward large, digitally enhanced color photographs, Fuss makes images pared down to the most essential elements of the medium: light and paper.  Frequently referred to as a contemporary master of the photogram, Fuss creates images by positioning objects directly onto a photographic medium and then exposing the whole to light, a process practiced by early pioneers in photography such as Fox Talbot and Anna Atkins.  The present survey is comprised of photograms, daguerreotypes, and pinhole photographs created over the past 17 years.  Though the subject of each image differs from the next, the works are connected by the presence of a simple yet poignant visual element, the circle.

Often Fuss’s cyclical forms are recognizable; a web of ripples caused by a vibration on water’s surface or a luminous sunflower bloom.  Other subjects, such as his large spiral light pieces, are ambiguous, produced by a flashlight suspended from a ceiling and allowed to swing in ever decreasing circles towards the center of a large sheet of photographic paper.  Hued gels covering the lens of the flashlight determine the colors of the spirals.  Fuss’ photographic methods, frequently contingent on chance occurrence, are analogous to his perceptions of the inherent mysteries in life, death, and birth.

Fuss’s work is currently the subject of a major survey at the Museum of Fine Arts, Boston and is included in the collections of major museums throughout the world.

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As it has from the beginning, this new work by Fuss deals with issues of life and death, birth, love and its loss. One gets the sense from Fuss’s work that he does not try to direct or manipulate these subjects which are, by their nature, ambiguous. Rather, he resolves himself to the their inherent mystery. This is largely accomplished through Fuss’s photographic method which hinges on chance occurrence. In the case of his photograms, which will be on view, the enigma of smoke is stilled and recorded directly on paper by a flash of light. These photographs each convey their subject in a different way; some with articulate edges and defined shapes, others with a hazy, translucent airiness.

Fuss also recovers the 19^th century daguerreotype process in his work. Using this form, which was largely used historically for portraiture, he portrays disparate subject matter, focusing on five main topics: the body of a swan with wings extended, images of the poems of Tarkovsky (whose work has been of great import to Fuss), baptism dresses, butterflies, and self-portraits. Fuss’s daguerreotype work is illustrated in a recent monograph by the same name, My Ghost.

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