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Carrie Mae WeemsThe North Star

2022

seven archival pigment prints framed with convex glass, 116-1/2 x 37 inches (overall installed) [295.9 x 93.9 cm]

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In Carrie Mae Weems’s The North Star, 2022, the artist explores a painful family story in which her grandfather, Frank Weems, a tenant farmer and union activist, disappeared after being attacked by a white mob in Earle, Arkansas, in 1936. Though he was presumed dead, he narrowly escaped and made his way to Chicago on foot by following the North Star, but was never able to reunite with his family. The work makes an apt metaphor for Frank Weems’s life and the longer history of the bright star, Polaris, which helped guide those escaping slavery. Extended across a long, horizontal plane, the photographs make up an alternative starry night sky, while highlighting the central image, around which the others extend like the branches of a family tree. 

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Hiroshi SugimotoEiffel Tower

1998

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

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The Eiffel Tower remains an iconic element of Parisian architecture, visible even from within the walls of the Grand Palais Éphémère, where this year’s Paris Photo again takes place. In Hiroshi Sugimoto’s photographic reinterpretation, the artist pictures the 1889 monument slightly out of focus and isolated from its urban context. Thus, the details of the iron framework fall away, leaving only the contours of its recognizable shape. The photograph becomes a testament to the timelessness of the tower and the ongoing aims of science, industry, and innovation. 

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Hiroshi SugimotoBrush Impression 0859 (Fire)

2023

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

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In Hiroshi Sugimoto’s Brush Impression, the artist draws upon his study of Japanese calligraphy to record the movement of his brush across the surface of the paper, producing gestural shapes as well as splashes, bubbles, and traces of bristles. Rather than using ink, however, Sugimoto paints with darkroom chemicals on gelatin silver paper to produce striking black and white compositions. Here, the fluidity of the brushstrokes mirrors the kanji character for the elemental expression of water.

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An 1880 photograph of a Siamese theater troupe pictures the stage from across the room, widening its view to encompass also the audience at far left. The slightly long exposure captures the movements of the central figures, along with their delicate gestures of touch, like a foot resting on another’s knee, and a hand pressing against a back.

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Wardell MilanThe Engineer

2022

graphite, oil paste, cut-and-pasted paper on yupo paper, 11-5/8 x 9-3/8 inches (framed) [29.53 x 23.8 cm]

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Wardell Milan’s character study, The Engineer, combines collaged photographs, colored pencil, graphite, and paint to construct an “exquisite corpse” of multiple body parts and their shifting perspectival views. A bit of an engineer himself, the artist playfully combines the pieces of his multi-media works to explore the duality between marginalization and the freedom of expression.

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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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To compose this photograph of friend Chuck Gretsch, Peter Hujar stooped to his level, positioning his camera intimately close to the supine figure. Imbuing his photographs with the intimacy that so often determined his relationships with subjects, Hujar pairs the introspective gaze of his sitter with a column of curling smoke, rising ever so lightly from the cigar gripped between his lips.

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Diane ArbusChrist in a lobby, N.Y.C. 1964

gelatin silver print / printed by Neil Selkirk, 10-7/8 x 10 inches (sheet) [27.6 x 25.4 cm], edition of 75

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This curious photograph of an illuminated portrait of Christ in a New York lobby exhibits the kind of strange dualities that interested Diane Arbus throughout her career. The reflection of the portrait in the marbled surface of the adjoining wall not only duplicates the image in reverse, but projects a ghostly likeness of the holy figure, like the stained record that is the Veil of Veronica.

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Eadweard MuybridgeA: Ascending incline. B: Ascending incline with a 50-lb. dumbbell. C: Descending incline. D: Descending incline with a 50-lb. dumbbell

1887

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

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From 1884 to 1887, Eadweard Muybridge amassed an impressive compendium of photographic studies on human and animal locomotion. Developed as tools for artists and scientists, Muybridge’s photographs documented anonymous figures, clothed or naked, in a variety of movements. Though the title does not suggest it, the figure pictured is Muybridge himself.

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Carleton E. WatkinsNevada Fall, 700 ft., Yosemite

1861

mammoth-plate albumen print, 32 x 36-1/2 inches (framed) [82 x 93 cm]

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From Carleton Watkins’s first Yosemite trip in 1861, this mammoth-plate photograph frames Nevada Falls within a long-exposure look at the Merced River below. This work is signed on the recto by the artist himself and was exhibited in the pivotal Watkins retrospective which took place at the National Gallery of Art, the Metropolitan Museum of Art, and the San Francisco Museum of Modern Art. It is being offered for the first time.

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Hiroshi SugimotoPinon Juniper Forest

2012

gelatin silver print, 60 x 80-1/2 inches (framed) [152.4 x 204.5 cm], edition of 5

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The dioramas at the American Museum of Natural History—which transport viewers to far-flung corners of the globe at various moments in history—have long fascinated Hiroshi Sugimoto. During a 2012 visit to the museum, the artist positioned his camera at a particular vantage point before the artificial scene from where the viewer’s illusion of total immersion within the landscape could be achieved.

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Richard MisrachSubmerged Gas Pumps, Salton Sea

1983

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

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The third chapter of Richard Misrach’s series, Desert Cantos, “The Flood,” focuses on the Salton Sea of Southern California, a lake created by an engineering mistake at the beginning of the twentieth century. A popular tourist destination throughout the 1950s and 60s, excessive irrigation flooded the area further, leaving infrastructure like these gas pumps eerily submerged and the water at risk of contamination. The fraught history of the desert landscape, and its political turmoil, remains subtly coded within Misrach’s picturesque depiction.

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Robert AdamsShopping center. Wheat Ridge, Colorado

1968-71

gelatin silver print, 13 x 11 inches (mount) [33.0 x 27.9 cm]

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Apart from the expansive views of Colorado’s Front Range, Robert Adams’s photographic studies of the mid-century suburban expansion outside of Denver captured more intimate scenes of everyday life, like this parking lot outside the local grocery store. A line of cars obfuscates the natural horizon beyond, yet a resilient tree rises into frame alongside the shop signs reflecting America’s car-centric culture.

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Harry DutchyshynMPRTC 8801-1 TSU, Camp Gordon, Georgia, Company C

1953

gelatin silver print, 19-3/4 x 12 inches (sheet) [50.2 x 30.5 cm]

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American military photographer Harry Dutchyshyn emigrated in 1926 from Austria to the U.S., where he worked as the post photographer at Fort Monmouth in New Jersey before transferring to Camp Gordon in Georgia after the Second World War. Dutchyshyn’s 1953 portrait of the 229 soldiers of the camp’s Company C was taken weeks after the end of the Korean War, and just five years after President Harry Truman’s executive order desegregating the United States Military. The changing racial makeup of the armed services in the aftermath of an intense period of global conflict is reflected in the class portrait, which includes the last names and hometowns of the individuals pictured.

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Bernd & Hilla BecherGrain Elevator [Getreideheber], Buffalo, New York, U.S.A.

1982

gelatin silver print, 20-5/8 x 24 inches (sheet) [52.4 x 61 cm], edition of 5

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Grain elevators, which afforded agricultural production the privilege of industrial scale, were a longtime subject for Bernd and Hilla Becher. Approaching this example near Buffalo, New York, the husband and wife duo photographed their subject according to the “impersonal” and “uninflected” style consistent throughout their career. Yet the lettering adorning its surface, as well as the line of railroad tracks and surrounding buildings, imbue the site with a sense for its unique character.

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When Dadaist and Surrealist Man Ray began his renowned series of photograms (i.e., Rayographs) shortly after his arrival in Paris in 1921, he layered atop photosensitive paper everyday objects such as thumbtacks, coils, combs, and more. Here, Kota Ezawa’s reinterpretation further symbolizes the rudimentary forms that have become canonical in the history of photography. Installed as a lightbox, Ezawa’s “remix” re-animates the dreamlike image hovering somewhere between abstraction and representation.

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Carrie Mae WeemsPyramids of Rome – Ancient Rome

2006

digital chromogenic print, 73-1/2 x 61-1/2 inches (framed) [186.7 x 156.2 cm], edition of 5

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In the 2006 series of self-portraits, Carrie Mae Weems situates herself within monumental landscapes and sweeping vistas in and around Rome. Dressed in a long black dress with her back turned toward the camera, Weems confronts iconic architectural sites dotting the city and, in turn, the structures of power they symbolize. As Weems states, “You are always aware that you are sort of a minion in relationship to this enormous edifice—the edifice of power.”

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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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Carleton E. WatkinsCity of Portland, Willamette River

1867

mammoth plate albumen print, 21-1/2 x 26-7/8 inches (mount) [54.6 x 68.3 cm]

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The exhibition includes dramatic views of a still little-known Yosemite Valley, the Columbia River in Oregon, and a near-surreal depiction of Mission San Luis Rey in Southern California, situated in an empty expanse. Other images include an overview of the burgeoning city of Portland, Oregon in 1867, and deer grazing on the grounds of a Menlo Park estate in the late 1870s. Watkins’s large-format albumen prints, each measuring approximately 15 x 20 inches, were among the largest photographs of their time.

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Carleton E. WatkinsCape Horn, Columbia River, Oregon

1867

mammoth plate albumen print, 27-3/4 x 21-1/2 inches (mount) [70.5 x 54.6 cm]

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As the gallery’s original 1979 press release noted, it is “especially appropriate that the photographs are to be seen in San Francisco. In the 1860s and 1870s Watkins’s photographs could be viewed at his own ‘Yosemite Art Gallery’ only two blocks away from the current exhibition.” The photographer’s archives, negatives, and the collection of photographs he considered to represent his life’s work were destroyed in the San Francisco earthquake and fire of 1906. A large-scale exhibition of his work was organized by the San Francisco Museum of Modern Art in 2000, and traveled to the Metropolitan Museum of Art, New York, and National Gallery of Art, Washington, D.C., soon after. In 2014, the Cantor Arts Center at Stanford University exhibited Carleton Watkins: The Stanford Albums, and in 2014-2015, the Metropolitan Museum of Art presented Watkins’s mammoth plate photographs of Yosemite. The latter exhibition marked the 150th anniversary of the Yosemite Valley Grant Act, legislation inspired by Watkins’s photographs. In 2018, Watkins was the subject of the biography, Carleton Watkins: Making the West American, by Tyler Green.

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In the fall of 1979, Fraenkel Gallery opened with an exhibition of photographs by Carleton Watkins. Those works had been discovered a short time before and placed at auction, setting a world-record price for photographs. Prints from the gallery’s first exhibition were acquired by the Metropolitan Museum of Art, the Art Institute of Chicago, the J. Paul Getty Museum, and the San Francisco Museum of Modern Art, among other institutions. Now, thirty years later, the gallery is pleased to announce Carleton Watkins: Discoveries, a group of twenty-four recently discovered photographs in uncommonly rich condition, made between the years 1865 and 1881. The photographs will be on view from November 5 to December 30, 2009.

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Watkins is widely considered to be the most important American photographer of the nineteenth century. He spent the majority of his working years in San Francisco, where his “Yosemite Gallery” on Montgomery Street presented his photographs to the public. Much of his life’s work, including all of his glass-plate negatives, was destroyed in the San Francisco earthquake and fire of 1906, and thus any discovery of rare Watkins photographs is a notable event. The majority of the albumen prints on view were discovered in early 2008 in a small New England library. Several of these astonishing images are the only prints known to exist, and constitute a significant addition to the Watkins canon.

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All of the photographs on view are contact albumen prints made from glass negatives that measured approximately 17 x 21 inches each.  To achieve such images, Watkins hauled his cameras, tripods, darktents, glass plates and chemicals through difficult terrain and into treacherous situations, making exposures up to one hour long. The exhibition will include a strong selection of the Yosemite photographs that established Watkins’s reputation in the 1860s, and which played a role in the setting aside of Yosemite as a national treasure. Other works include a unique diptych panorama of San Francisco made from Telegraph Hill (circa 1875); a portrait of a majestic oak in Menlo Park (1874); and a heretofore unknown photograph of deer grazing beneath a grove of trees in San Mateo County (1874), all the more astonishing for the fact of being arrested in time before the lens of the unwieldy mammoth-plate camera.

Four years after the earthquake and the loss of his life’s work, Watkins was committed to the Napa State Hospital for the Insane. He died there six years later, a pauper, at the age of eighty-seven.

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This is the eighteenth 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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Included in this year’s selection is an ethereal Carleton Watkins mammoth-plate view of the Mendocino coastline circa 1863, as well as a group of Loewy and Puiseux heliogravures of the moon made at the end of the nineteenth century.  These pictures come from The Photographic Atlas of the Moon, considered the astronomers’ greatest achievement.  Helen Levitt, typically known for her black and white street scenes, is represented by her later, color pictures, recently published in the book Slide Show.  Four of Peter Hujar’s black and white portraits will be included as well as an early diptych from the German artists Bernd & Hilla Becher.  Another highlight is a group of Mechanical Forms, a pristine study of form and structure by Hiroshi Sugimoto. Six pictures from Diane Arbus’s radical Untitled series will be on view.  The portraits made during 1970 and 1971, at a residence for the mentally handicapped in New Jersey, represent a courageous body of work made during the last year of the artist’s life.

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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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The exhibition will include an exceptionally rare four-part panorama of San Francisco, dated circa 1879. Watkins’ obsessively detailed images persuasively convey the visual texture of the rapidly expanding city. The exhibition will also include several mammoth-plate photographs from Watkins’ first trip to Yosemite in 1861, and a dramatic view of people on the ferry boat “Solano,” as it readies to depart the dock in Pt. Costa, circa 1876.

Carleton Watkins is generally viewed as the most important American photographer of the nineteenth century.  The images he produced helped shape Americans’ understanding of the then-unfamiliar landscape of the American West, to such an extent that they contributed to the establishment of the national parks system. Watkins often hauled his cameras, tripods, darktents, glass plates and chemicals through difficult terrain and into treacherous situations, making exposures up to one hour long. What resulted were photographs of consummate craftsmanship that illuminated Watkins’ passion for his subject and the particular intelligence he brought to it.

Carleton Watkins spent the majority of his working years in San Francisco. His “Yosemite Gallery”, located on Montgomery Street, first presented his photographs of the West to the public. Much of his life’s work, including all of his original glass negatives, was destroyed in the earthquake and fire of 1906.

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This year’s highlights include Paul Strand’s Bowls and Apples, Twin Lakes, Connecticut, a unique platinum investigation of Cubism from a high moment in early modernist photography; a series of Andy Warhol’s photo-booth studies of socialite and soon-to-be art dealer Holly Solomon from 1963-64; a large-scale study of the craters of the moon by French astronomers Loewy & Puiseux, circa 1900; an astonishing double-mammoth print study of the river boat “Nemo” near Ormond, Florida, circa 1895 by William Henry Jackson; and Carleton Watkins’ recently discovered four-part panorama of San Francisco made atop California Street in 1879.

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Also to be exhibited are recent photographs by Nan Goldin, Richard Misrach, and Lee Friedlander’s remarkable close-up studies of telemarketers at work.

Finally, the exhibition would not be complete without its own selection of eclectic, ragtag, and semi-loony images by unknown photographers.

This exhibit runs concurrently with Nicholas Nixon: Lovers.

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Moving backward, forward, and sideways through the past 160 years, the works on view interweave in unexpected ways themes that photographers have addressed since the invention of the medium.  The exhibition begins with Thomas Eakins’s rare platinum-print of The Swimming Hole (1883), an intensely subtle study of aspects of the human form.  The image concentrates on a group of Eakins’s students on a field trip to Mill Creek, near Bryn Mawr, Pennsylvania and was used as a study for his painting of the same name at the Amon Carter Museum, Forth Worth.

Photography’s ability to imbue an object with metaphysical power is felt in Edward Weston’s unique platinum print of a woman’s back, Francis Frith’s view of the pyramids at Dashoor, and Brancusi’s heretofore unknown study of an orchid placed on a glass pedestal.  The varying ways artists have used the medium as a tool for investigating aspects of the self are seen in Andy Warhol’s early photobooth self-portrait, the Countess of Castiglioni’s extravagantly formal studio display from 1860, and Florence Henri’s intense self-study in a mirror dated 1928.  Photography’s innately surrealist aspects are vividly demonstrated in Hans Bellmer’s La Maitrailleuse en Etat de Grace (1937), a disturbing triptych in which the artist has isolated aspects of his well-known sculpture with white gouache, Eugene Atget’s study of a group of headless mannequins, and Diane Arbus’s vintage print of the Albino Sword Swallower at a Carnival, MD, from 1970.

The exhibition and book conclude with a suite of photographs that acknowledge photography’s absolute dependency on the eye itself, with Man Ray’s undisputed masterwork Glass Tears (1933), Walker Evans’s never-before-published portrait of Berenice Abbott, whose stare bores directly into the center of his camera’s lens, and John Gutmann’s 1939 fragment of a face, entitled Memory.

A 184-page hardcover catalog illustrating every work in 20Twenty is being published to accompany the exhibition.  The book includes a complete exhibition history spanning the gallery’s first twenty years, and an afterword by Jeffrey Fraenkel.

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One of the highlights of the exhibition will be the sensuous Edward Weston print, Nude (Miriam Lerner), 1925. In this picture of a carefully cropped woman’s torso, Weston deftly explores the subtle inflections of light over folds of skin. Also on view for the first time in the United States will be the work of South Korean photographer Byung-Hun Min whose photographs of markings left by weeds growing on walls and a foggy view of Seoul exude quiet humility. By contrast, the British artists Gilbert & George take a gleefully satiric look at Western values in their postcard sculpture, Gold World, 1989.

Among the more unusual photographs in the exhibition are several anonymous works, especially two related pictures, the first of several Namoa pirates lined up before their execution, and the second, taken immediately afterward, of their decapitated heads mounted on pikes.

Also featured are recent images by Adam Fuss, Nan Goldin, Richard Misrach, Nicholas Nixon, Jack Pierson, J. John Priola, Hiroshi Sugimoto, and Catherine Wagner among others.

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