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.

There is a Portuguese word, saudade [pron:saa·deidz], that does not exist in English. More nuanced than melancholy or bittersweet, saudade is a subtle yet enduring desire for something other than the present. Deep inside this word is the sense that the thing for which one longs may never be had again, while acknowledging that longing for the past would detract from the anticipation for the future. Saudade is likely what most of us are feeling right about now.

-Frish Brandt

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Alec SothFacebook, Menlo Park, California

2013

pigment print, 44 x 57 inches (framed) [112 x 145 cm]

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Katy GrannanAlexa

2018

pigment print, 58-1/4 x 44-1/4 inches (framed) [148 x 112.4 cm]

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Hiroshi SugimotoMK2 Biblothéque, Paris

2005

gelatin silver print, 18-7/8 x 22-3/4 inches (sheet) [47.9 x 57.8 cm]

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Diane ArbusLady in a Roominghouse Parlor, Albion, N.Y.

1963

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

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Alec SothWilliam Eggleston, Memphis, TN, 2000

2018

chromogenic print, 33 x 41 inches (framed) [83.8 x 104.1 cm]

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Richard LearoydFemale nude with mirror

2016

unique Ilfochrome photograph, 80-3/8 x 59-7/8 inches (framed) [204.2 x 152.1 cm]

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Alec SothPark Hyatt Hotel, Tokyo (Mirror)

2015

pigment print, 42 x 32 (framed) [107 x 82 cm]

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Diane ArbusKiss from “Baby Doll,” N.Y.C. 1956

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

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Lee FriedlanderGalax, Virginia

1962

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

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Lee FriedlanderNew York City, 1963

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

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Johnnie ChatmanSelf Portrait, John Ford Point, 2018

2019

pigment print, 37 x 53 inches (framed) [94 x 135 cm]

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Sophie CallePatrick X, Sixteenth Sleeper

1979

8 gelatin silver prints & 1 text panel, 19 x 24-3/4 inches (overall, approximately) [48.3 x 62.9 cm]

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Peter HujarChuck Gretsch (with Cigar)

1981

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

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Peter HujarDavid Wojnarowicz

1981 / printed later

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

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Wardell MilanEdward

2019

cut and pasted printed paper, 14-3/4 x 12-3/4 inches (framed) [37.5 x 32.4 cm]

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Nan GoldinFrench Chris on the convertible, NYC

1979

pigment print, 31-3/4 x 46-7/8 inches (framed) [80.7 x 119.1 cm]

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Ralph Eugene MeatyardUntitled

1963

gelatin silver print, 8 x 10 inches (sheet) [20.3 x 25.4 cm]

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Janet Cardiff & George Bures MillerI Can’t Remember (World Turning)

2010

telephone, solid state playback device, 6 x 8 3/4 x 5 1/2 inches [15.24 x 22.23 x 13.97 cm]

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Richard MisrachBoy Scouts and Fremont’s Pyramid, Pyramid Lake Indian Reservation, Nevada

1991

pigment print, 61 x 77 inches (framed) [155 x 195.6 cm]

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“To crave and to have are as like as a thing and its shadow. For when does a berry break upon the tongue as sweet as when one longs to taste it, and when is the taste refracted into so many hues and savors of ripeness and earth, and when do our senses know anything so utterly as when we lack it? And here again is a foreshadowing — the world will be made whole. For to wish for a hand on one’s hair is all but to feel it. So whatever we may lose, very craving gives it back to us again. Though we dream and hardly know it, longing, like an angel, fosters us, smooths our hair, and brings us wild strawberries.”

—Marilynne Robinson, Housekeeping

The post I’m Not the Only One appeared first on Fraenkel Gallery.

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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Garry WinograndNew York

1972

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

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The exhibition largely emphasizes lesser-known works from the 1960s and 1970s: New York street scenes as well as photographs from sports events, zoos, national parks, beaches, airports and other places where Winogrand explored the chaotic and surreal social interactions that make up everyday life.

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Garry WinograndNew York

1961

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

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Winogrand, who died in 1984, was exhibited as part of Fraenkel Gallery’s second season in 1980. The Street Philosophy of Garry Winogrand will be the gallery’s 12th Winogrand exhibition, each of which has emphasized a different aspect of the artist whom John Szarkowski of the Museum of Modern Art called “the central photographer of his generation.” The Street Philosophy of Garry Winogrand precedes the broadcast premier of Sasha Waters Freyer’s award-winning documentary Garry Winogrand: All Things Are Photographable, which will be shown on PBS’s American Masters in April 2019.

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Garry Winogrand began photographing in 1948 at the age of 20. His inclusion in the landmark 1967 exhibition New Documents, curated by John Szarkowski at the Museum of Modern Art, heralded the arrival of a major talent. That exhibition, which also included the work of Diane Arbus and Lee Friedlander, traveled extensively throughout the U.S. and influenced an entire generation of photographers.

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Though Winogrand’s career is widely acclaimed, the scope and complexity of his achievements remain only tentatively explored. He famously worked with unstoppable energy and a peerless hunger for image-making. Throughout the 1960s he had received many accolades for his work, yet the last year of that decade was unparalleled. He received a second Guggenheim Fellowship, to study “the effect of the media on events”; The Animals was exhibited and published by the Museum of Modern Art, New York; he traveled and photographed extensively in Europe; and he met the woman who would become his third wife. Winogrand died of cancer in 1984.

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Major publications of Winogrand’s photographs include Woman Are Beautiful (1975), Public Relations (1977), Figments from the Real World (1988), The Man in the Crowd (1999), and Arrivals and Departures (2009). His photographs can be found in depth in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the San Francisco Museum of Art, the National Gallery of Art, and numerous other museums.

The post Circa 1969 appeared first on Fraenkel Gallery.

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Katy Grannan’s own work in photography examines the desire of her subjects to offer themselves up to the camera lens. The exhibition she has assembled for Fraenkel Gallery includes the work of painters, sculptors, and photographers such as Robert Adams, Richard Avedon, Robert Bechtle, Diane Arbus, E.J. Bellocq, Jim Dine, Lee Friedlander, Peter Hujar, Jordan Kantor, Henri Matisse, Barry McGee, Nathan Oliveira, Richard Misrach, Linda Ridgway, William Wiley, Garry Winogrand, and several works by unknown photographers. Grannan lives in Berkeley, California.

Other artists whose work will be on view across the four galleries include Lutz Bacher, Bernd and Hilla Becher, Alighiero e Boetti, Miriam Bohm, Vija Celmins, Gregory Crewdson, Maureen Gallace, Charlie Harper, Matt Keegan, Los Carpinteros, Henry Wessel, Tom McKinley, Richard McLean, Manuel Neri, Trevor Plagen, Mitzi Pederson, Robert Rauschenberg, Will Rogan, Ed Ruscha, Iran Do Espirito Santo, Sara VanDerBeek, Garth Weiser, Rachel Whiteread, Steve Wolfe and many others.

The post They Knew What They Wanted, Curated by Katy Grannan appeared first on Fraenkel Gallery.

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Fraenkel Gallery is pleased to present Garry Winogrand: The Sixties, an exhibition examining Winogrand’s perceptions of one of America’s most turbulent decades. The exhibition will be view from September 11th through November 1st, 2008.Garry Winogrand was one of the most influential photographers of the last half-century, the artist whom John Szarkowski of the Museum of Modern Art called “the central photographer of his generation.” Though many of his photographs from The Sixties depict the juncture where politics, media and the public collided, his images serve as far more than a record of the events that defined an era. Reflecting as they do Winogrand’s unparalleled observations of the complexities of life, the pictures broke open new possibilities for how a “documentary” photograph might be defined.  Among the subjects Winogrand chose as mirrors for his own doubts and uncertainties were John F. Kennedy at the 1960 Democratic National Convention, a “be-in” at Central Park, a group of dancers at the Metropolitan Museum’s Centennial Ball, and the Apollo 11 moon shot.

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Aside from these public ceremonies, Winogrand reveled in the drama of the street itself, requiring no ostensible “event” for his subject. His frames are filled with twitchy, restless motion and agitated faces; seen together his images represent an authentic and original response to an evolving age of anxiety.

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Winogrand’s photographs are included in the collections of the Museum of Modern Art, New York, the Metropolitan Museum of Art, the National Gallery of Art, the San Francisco Museum of Modern Art, and numerous other museums. His career was examined in a monumental survey at the Museum of Modern Art in 1988, and in several other exhibitions since then.

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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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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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Garry Winogrand’s The Animals was first exhibited at the Museum of Modern Art in 1969. It was Winogrand’s first one-man exhibition and had a legendary impact on an entire generation of photographers that continues until this day. The catalog the museum published to accompany the exhibition has long since been out of print. MoMA has recently republished this classic from the history of photography. The gallery has gathered prints from a number of sources in order to convey the spirit of the original exhibition.

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Before his untimely death in 1984 Garry Winogrand was working on a book of photographs that he had made in airports over the prior two decades. The project sat in limbo until recently, when Lee Friedlander (Winogrand’s good friend and a monumental artist in his own right) selected the photographs for the book Arrivals and Departures: The Airport Pictures of Garry Winogrand. Apart from a few airport photographs that were included in Winogrand’s 1988 MoMA retrospective, this is the first time the photographs have been exhibited together.

Garry Winogrand began photographing in 1948, when he was twenty. He received many major awards for his photography including a grant from the NEA and two Guggenheim fellowships, and his work is included in virtually every major museum collection of photography around the world.

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This year’s highlights include a hitherto unpublished photograph by Diane Arbus: New York Skyline in a Lobby, NYC, from 1971; two vintage prints by Eugene Atget that have recently been acquired from the Museum of Modern Art; a group of photographs by Ralph Eugene Meatyard, whose Estate is now represented by the gallery; and a remarkable “simulated” image of breaking icebergs constructed by a stir crazy seaman whose ship was frozen ice in the Sea of Tchoukotka in 1934.

This year’s Several Exceptionally Good Recently Acquired Pictures XV also includes a particularly strong contingent of anonymous photographs, several of which are included in the new book, I’m Still Living (Chronicle Books), co-authored by Gallery Director, Frish Brandt.

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Public Relations is a distillation of a photographic project begun by Winogrand in 1969 when he was awarded a Guggenheim Fellowship to photograph what he called “the effect of media on events.” With his characteristic zeal, passion, spontaneity, and intensity, Winogrand photographed an array of public events including museum openings, press conferences, sports games and demonstrations. The photographs depict our emerging dependence on the media as well as how the media changes and sometimes even creates the event itself. In the catalog for the 1977 MoMA exhibition, Tod Papageorge wrote that what Winogrand “has given us in these photographs is a unilateral report of how we behaved under pressure during a time of costumes and causes, and of how extravagantly, outrageously, and continuously we displayed what we wanted.”

Garry Winogrand began photographing in 1948, when he was twenty. He received many major awards for his photography including a grant from the NEA and two Guggenheim fellowships. He died in 1984.

This exhibit runs concurrently with DIANE ARBUS: A Box of Ten Photographs and LEE FRIEDLANDER: The Little Screens.

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