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Nan GoldinSelf-portrait on the train, Boston – New Haven

1997

pigment print, 32 x 32 inches (framed) [82 x 82 cm], edition of 15

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Nan Goldin is the subject of All the Beauty and the Bloodshed, the award-winning 2022 film directed by Laura Poitras, which follows the artist’s life and her personal fight to hold the Sackler family accountable for the U.S. opioid crisis. The artist has often pictured herself, documenting her journey with all its pleasure and pain.

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Robert AdamsLongmont, Colorado

ca. 1980

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

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Robert Adams’s celebrated nocturnal landscapes record the newly developed suburbs near his former home along the eastern edge of the Rocky Mountains in Colorado. Made using only the light he encountered on his walks, the images are quiet and dreamy.

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William EgglestonMemphis, Tennessee

1971-1973

dye-transfer print, 15-7/8 x 20 inches (sheet) [40.3 x 50.8 cm]

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Memphis, where William Eggleston was born, is a central subject for the photographer. Writing in William Eggleston’s Guide, John Szarkowski described his images of the city as “sharply incised, formally clear, fictive, and mysteriously purposeful.” His photographs, Szarkowski wrote, endowed the “least pretentious of raw materials with ineffable dramatic possibilities.”

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Lee FriedlanderMontana

1977

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.5 cm]

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Lee Friedlander has photographed his own shadow throughout his career. Imposed over another person or playfully projected onto natural elements, he inserts himself into the scene his camera records—the photographer’s version of breaking the fourth wall.

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Wardell MilanIn a land of great sunshine, No.1

2022

acrylic, aerosol paint, marker, oil pastel, cut-and-paste paper, metalized polyethylene on board, 48-3/4 x 81-3/4 inches (framed) [123.8 x 207.6 cm]

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When Wardell Milan began purchasing emergency blankets, he was initially attracted to their reflective surface. “After the height of the pandemic and the mass Black Lives Matter movements—as well as the on-going migrant crisis,” he writes, “my thoughts around the idea of refuge, liberation, and shelter were (and continue to be), amplified.” The series coalesces around the idea of creating “safe landscapes/safe spaces,” paintings where “anyone in need can find escape and solace.” In the silvery surfaces of the works, the viewer’s own reflection becomes part of the environment. 

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Richard LearoydLargest poppies

2022

unique Ilfochrome photograph, 52-1/8 x 50-7/8 inches (framed) [132.4 x 129.2 cm]

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Richard MisrachSubmerged Clothesline, Salton Sea

1983

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm], edition of 25

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Richard Misrach began his ongoing Desert Cantos series in 1979, exploring the southwest American desert landscape as a wild and primordial place while recording the impact of our human presence on it. As the artist explains, “You look at landscape, but it’s not really landscape, it’s a symbol for our country, it’s a metaphor for our country.”

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Eadweard MuybridgeWrestling, Graeco-Roman

1887

collotype, 19 x 24 inches (sheet) [48.3 x 61 cm]

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This sequence of images is part of Animal Locomotion, Eadweard Muybridge’s ambitious photographic project that aimed to represent human and animal motion rendered across time. The series has influenced generations of artists, and inspired scientific and photographic innovation, including motion picture technology.

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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, approx.) [302.3 x 22.9 x 22.9 cm], unique

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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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Hiroshi SugimotoLightning Fields 232

2009

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

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Sugimoto’s Lightning Fields draw from both Benjamin Franklin’s and Michael Faraday’s pioneering electricity research and William Fox Talbot’s discovery of calotype photography, applying an electrical charge directly to film to create powerful, elemental images.

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Carrie Mae WeemsMissing Link (Justice), from The Louisiana Project

2003

pigment print, 40 x 29 inches (framed) [101.6 x 73.6 cm], edition of 6

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In Carrie Mae Weems’s Missing Link series, the artist delves into the racist histories of New Orleans Mardi Gras traditions. Dressed in a black suit, white gloves, and an animal mask, the artist alludes to a collection of costume design drawings for the 1873 Comus Mardi Gras Parade, originally titled The Missing Links to Darwin’s Origin of Species.

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Richard T. Walkerafter thought #1

2022

pigment print in artist’s frame, modified rock, 24 x 36 inches (overall) [61 x 91.4 cm], edition of 2

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Working in vast, dramatic landscapes or in the studio, Richard T. Walker explores human connections to the natural world. By joining his photograph of the sky with a cut stone culled from the mountainous landscape beneath, Walker reorders the elements of his environment. The result is a playful engagement with the conventions of landscape photography, questioning our emotional attachments to its rocky peaks and endless horizons.

The post FOG Design+Art appeared first on Fraenkel Gallery.

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Richard LearoydCecilia after Weston

2020

unique Ilfochrome photograph, 47-5/8 x 38-7/8 inches (framed) [120.9 x 98.7 cm]

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Learoyd’s meticulous process uses cumbersome technology to make rich, grainless images that are painterly in their nuanced attention to pose, detail, tone, and texture. His botanical still lifes depict vibrant and wilting flowers, subjects Learoyd has called transient and fugitive, “alive and dead at the same time.” Other still lifes feature taxidermied parrots, elephant bones, candles, and mirrors—objects that suggest questions of illusion and mortality.

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Richard LearoydRed grapes

2022

camera obscura Ilfochrome photograph, 29-1/2 x 25-1/4 inches (framed) [74.9 x 64.1 cm]

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Many of the works feature fine lines criss-crossing the image, created with string suspended in front of the lens or pressed flat against the photographic paper inside the camera obscura—or a combination of these techniques. In Obliteration after Modigliani, a mass of threads partially obscures the figure, pushing the nude into abstraction and suggesting tangles of neurons or blood vessels. Relatedly, in Dahlias, flowers are suspended by a network of fine threads serving as a weightless armature and defining the space around the subject.

The post Richard Learoyd appeared first on Fraenkel Gallery.

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Richard LearoydFound No. 1

2022

unique Ilfochrome photograph, 29-1/2 x 25-1/4 inches (framed) [74.9 x 64.1 cm]

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The subjects of Learoyds photographs are rendered in crisp detail by directly exposing the image onto photographic paper without a negative.

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Richard LearoydNude, red

2019

unique Ilfochrome photograph, 56-1/2 x 46-1/2 inches (framed) [56.5 x 46.5 cm]

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Learoyd’s models suggest a classic timelessness. Often clothed in amorphous fabrics, they are disconnected from fashion. In this new work we find a number of images featuring red, whether in clothing or props which are juxtaposed against the cool backgrounds and shadows. 

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Richard LearoydGirl with Octopus

2021

unique Ilfochrome photograph, 45-1/8 x 40-3/8 (framed) [114.6 x 102.5 cm]

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Animals in Learoyd’s work “are objects of contemplation, reminders of the fragility of life rendered with an admiration for their often strange beauty,” writes Philip Gefter in the catalog which accompanied Learoyd’s recent Fundación MAPFRE survey exhibition.

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Richard LearoydLargest poppies

2022

unique Ilfochrome photograph, 52-1/8 x 50-7/8 inches (framed) [132.4 x 129.2 cm]

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Richard LearoydDrawing

2021

camera obscura Ilfochrome photograph, 40-7/8 x 40-3/4 inches (framed) [103.8 x 103.5 cm]

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In many of Learoyd’s recent works, fine lines criss-cross the image, defining or obscuring the pictorial space, and bringing elements of drawing or etching into the image. The lines are made with string suspended in front of the lens or pressed flat against the photographic paper inside the camera obscura—or a combination of these techniques.

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Richard LearoydDrawing with straight lines

2021

three unique Ilfochrome photographs and photograms, 56-7/8 x 50-3/4 inches (each framed) [144.4 x 128.9 cm]

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Nodding to Henry Moore’s etchings of elephant skulls, Learoyd purposes both fine black and white lines across the surface of this photographic triptych, thus fracturing the space around the subject. In Learoyd’s 2015 monograph Day for Night, curator Martin Barnes writes that these threads are one of Learoyd’s most prominent motifs, acting like “the lines of a drawing within the photographic space,” and implying the existence of “binding connections, the unspoken contracts between the visible and invisible.” 

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Richard LearoydMirror, Eye, Candle, Lemon

2021

unique Ilfochrome photograph, 39 x 33-7/8 inches (framed) [99 x 86 cm]

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Mirrors have been a long-running subject for Learoyd, who photographed deteriorating antique mirrors during his first years working in the studio. In more recent images, they sometimes reflect objects outside the frame, building complicated arrangements that expand the picture beyond its edges. Here, a central mirror seems to be at once reflective and transparent, showing the flame of a candle that may or may not be the one at the center of the plinth.

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Richard LearoydObliteration after Modigliani

2022

unique Ilfochrome photograph and photogram, 41-1/8 x 31-3/4 inches (approx. framed*) [106.3 x 80.5 cm]

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Richard LearoydDahlias

2021

unique Ilfochrome photograph, 41-1/8 x 40-3/8 inches (framed) [104.5 x 102.4 cm]

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In some images, Learoyd uses threads to partially obscure the figure, pushing the nude into abstraction and suggesting tangles of neurons or blood vessels. In others, networks of fine threads serve as a weightless armature.

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Richard LearoydComposer

2021

unique Ilfochrome photograph, 38-3/8 x 35-1/8 inches (framed) [97.4 x 89.2 cm]

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Richard LearoydLarge parrots

2022

unique 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, 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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The post Richard Learoyd appeared first on Fraenkel Gallery.

Christopher Ethelbert Cheyne operated a photographic studio in Hampton, Virginia, starting in 1894. His subjects included local businesses and family portraits, and in 1909, he photographed the graduating men and women of the Hampton Institute (now Hampton University), a historically Black university founded in 1868. The Hampton Institute was the subject of a book published by the Museum of Modern Art in 1966, featuring Frances Benjamin Johnston’s photographs of the school and its students, commissioned for the Paris Centennial Exposition of 1900.

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Diane ArbusA Puerto Rican housewife, N.Y.C. 1963

gelatin silver print, titled and outlined by Diane Arbus in ink, 10 x 10-7/8 inches (sheet) [25.4 x 27.6 cm]

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This print, made by Arbus between 1963 and 1965, includes a hand-drawn border with the name of the subject inscribed below. The image was included in the landmark exhibition New Documents, at the Museum of Modern Art in 1967.

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Martine GutierrezHit Movie Poster

2022

chromogenic print, 43-1/2 x 73-1/4 inches (framed) [109.8 x 186.0 cm], edition of 5

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“All you need for a movie is a gun and a girl,” according to the French New Wave film director Jean Luc Godard. Known for her complex critiques of popular culture and gender archetypes, the transdisciplinary artist Martine Gutierrez stages her own movie, assuming a diverse cast of femme fatales in Hit Movie. The photograph—a still from her video piece—alludes to the posters used to promote the 1990s action blockbuster films from which her heroines are drawn. Picturing herself as the Hollywood bombshells, she confronts the industry’s hyperfixation on feminine sexuality, revising Godard’s trope: “whether or not she is born with one, give a girl a gun and you’ve got a hit movie.”

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Lee FriedlanderMobile, Alabama

1966

gelatin silver print, 7 x 11 inches (sheet) [17.8 x 27.9 cm]

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In this self-portrait by Lee Friedlander, the artist’s shadow stands beneath a small sign noting the shop owner’s partial retirement—a sly image made early in Friedlander’s own career. Known for his playful layering of stylistic elements, Friedlander has often included his own shadow in photographs, inserting himself into the scene with mischievous humor.

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Robert AdamsSouth of Burns, Oregon

1999

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

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Robert AdamsUntitled

2020

ink on wood, 8-3/4 x 8-1/4 x 3/4 inches [22.2 x 20.9 x 1.9 cm]

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In 2020, Robert Adams began making painted woodblocks—simplified compositions that draw on the stillness and grandeur he remembers from his time spent on the Colorado prairie. Modest in size and painted in springlike hues with block-printing ink, the wooden works sometimes echo forms found in his photographs. Robert Adams: The Plains, from Memory, collects these works in a catalogue published recently by Steidl.

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Richard MisrachCargo Ship (January 14, 2022 6:51 am)

2022

pigment print, 63 x 82-1/4 inches (framed) [160 x 208.9 cm], edition of 5

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Bernd & Hilla BecherCooling Towers [Kühltürme] 1968-1999

2005

nine gelatin silver prints, 56-1/4 x 68-1/4 inches (installed) [142.9 x 173.4 cm]

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Bernd and Hilla Becher’s ambitious nine-part typology pictures a series of cooling towers with an eye toward precision, clarity, and consistency. Seen from the front, each photograph depicts the facade of a tower, with large turbine fans peeking out from the base. With their rigorous photographic practice, the Bechers composed complex typologies allowing for comparative analyses of the shifting industrial landscapes of Western Europe and North America.

Such a project was only possible through the Bechers’ passion and technique. Writing about the recent exhibition of the artists’ work at The Metropolitan Museum of Art, Blake Gopnik observes that “the preternatural level of detail on view, and its glorious range of grays and blacks, require negatives the size of a man’s hand, a tripod as big as a sapling, lens filters and an advanced darkroom technique.”

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Garry WinograndUntitled

1960

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

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Garry WinograndGreece

1978

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

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Peter HujarFran Lebowitz

1975

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

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Fran Lebowitz was a close friend of Peter Hujar’s, and talks about their relationship in an interview published in Hujar’s monograph Love & Lust. “He was an insider,” says Lebowitz. “What connects all his photographs is that every single person he photographed, every single person that he was interested in, each of his friends, was a misfit. Peter was a misfit.” 

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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 and safety are often at the forefront of his works, especially as they apply to the marginalized body.

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Richard AvedonDick Hickock, murderer, Garden City, Kansas, April 15, 1960 and Walter Hickock, father of Dick Hickock, murderer, Garden City, Kansas, April 15, 1960

two gelatin silver prints, 20 x 16 inches (each sheet) [50.8 x 40.6 cm], edition of 13

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Richard Avedon photographed Dick Hickock and his father Walter at the request of Truman Capote, who was gathering material for In Cold Blood, his groundbreaking non-fiction novel about the murder of the Clutter family in Holcomb, Kansas in 1959. 

From Avedon, the younger Hickock, “gets the soft-focus celebrity treatment, the line between notoriety and fame as blurred as ever,” Alexandra Schwartz writes in The New Yorker. “Hickock, according to Capote, had always been self-conscious about his long, lopsided face. His nose juts out at a Picasso angle, and while his right eye meets Avedon’s lens straight on, his smaller left one seems to look inward. The result is a double portrait, part persona, part awkward, vulnerable self.”

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Richard LearoydSkate wing

2012

camera obscura Ilfochrome photograph, 46-7/8 x 46-7/8 inches (framed) [119.0 x 119.0 cm]

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The post Paris Photo 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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