Founded in 1993, First Exposures is a San Francisco-based youth development nonprofit with a focus on photography. The organization provides academic and social support, offering mentorship programs and classes for young people ages 11 to 18.

As one of the earliest supporters of First Exposures, for thirty years Richard Misrach has championed the transformative power of photography in the lives of young people. His gift will contribute to the organization’s vision to empower youth through empathy, creativity, and community, and its impact will be felt for decades to come. 

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Richard MisrachShorebreak Triptych #2

2021

pigment print, 36 x 126 inches (framed), edition of 5

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Shorebreak Triptych #2, from Misrach’s series Notations, is an homage to film. Made during the artist’s shift t​oward working exclusively with a digital camera, the series explores the negative image as an aesthetic experience in its own right.

For further information, please inquire here.

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Drawn by the allure of the traditional silver-based materials and his interest in the science of photography, Sugimoto uses a calligraphy brush to paint developer and fixer onto photographic paper, creating one-of-a-kind prints that proudly display the processes of his craft.

Each work features kanji symbols, the form of Japanese language based on Chinese pictograms, or hiragana, the phonetic characters used in Japanese. Writing about the series, Sugimoto notes that the characters he paints are essentially invisible to him while he works, and describes his process: “In the dim room suffused with pale orange light, I spread out a sheet of photographic paper then dipped my brush into developer. In the darkness, I gropingly drew the characters which I could not actually see.”

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Hiroshi SugimotoBrush Impression 0869 (Nothing)

2023

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

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Hiroshi SugimotoBrush Impression 0867 (Flame)

2023

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

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Hiroshi SugimotoBrush Impression 0866 (Flame)

2023

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

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While painting, Sugimoto draws on his study of calligraphy and focuses on the characters and their definitions, bringing traces of the meaning of each word to the qualities of his markings.

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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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The series experiments with the basic ingredients of black and white photography: light, silver, and photographic chemistry. Using fixer—the chemical mixture that removes unexposed silver—produces bright white marks where the artist’s brush has traveled. When the paper has been pre-exposed to varying amounts of light, the technique creates deep warm tones of red and gold.  

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The heart of the series is a suite of 48 prints which comprise the Iroha, a traditional Japanese poem dating back to the eleventh century. A perfect pangram, the Iroha contains every kana (a syllabic unit of Japanese language) exactly once. The poem has many resonances in modern Japanese culture, from numbering laws and regulations and naming the musical notes of an octave.

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For the works in the Iroha set, Sugimoto paints using developer, the chemical mixture that converts silver in the paper into dark silver metal. Afterward he briefly exposes the paper to light. As he writes, “for a fleeting moment, I expose the paper to a burst of light like a flash. Just the areas which are touched by the brush metamorphose into Japanese characters and float to the surface in black.”

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Hiroshi SugimotoWisteria of Kasuga Grand Shrine

2022

pigment print on Japanese rice paper, mounted to folding screen, 79 x 204 x 16-1/2 inches (installed) [200.7 x 518.2 x 41.9 cm], edition of 3

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Two large folding screens anchor the exhibition. Representing revered locations, these works feature photographic pigment prints made on traditional Japanese Washi paper. An eight-paneled screen, nearly 24 feet long, depicts a view of Tateiwa Rock, a volcanic formation in Kyoto Prefecture that has featured in folkloric legend. An 18-foot, six-paneled screen depicts wisteria vines in bloom at the Kasuga-Taisha Shinto shrine in the ancient city of Nara, where the exhibition Hiroshi Sugimoto – The Descent of the Kasuga Spirit, curated by Sugimoto, took place earlier this year. This screen was included in the exhibition, which paired Shinto and Buddhist antiques, some from the artist’s personal collection, alongside contemporary artworks.

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Hiroshi SugimotoBrush Impression 0831 (Fire)

2023

gelatin silver print, 23-3/4 x 19-3/4 inches (framed) [60.3 x 50.2 cm], unique

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An orange glow suffuses Brush Impression 0810 (Moon), suggesting the rich color of a blood moon, while erratic splatters and drips surround the character for madness. Brush Impression (IROHA Song), a set of 48 smaller works written in hiragana, transcribes an eleventh century Japanese poem. Famous in part for its pangramic inclusion of each symbol that makes up this form of the language, the poem has served as a sort of alphabet.

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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.”

The post Paris Photo appeared first on Fraenkel Gallery.

Made this past winter on the Oahu Coast, the image is from Misrach’s ongoing Color Reverse series. Misrach has worked periodically in Hawaii since 1978 and has had a special bond with the place ever since. “Our hearts are with the people of Lahaina. Please join us in offering our support to those tragically impacted by the fires,” says Misrach.

To purchase a print, please click here.

The post Maui Relief Benefit appeared first on Fraenkel Gallery.

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Richard T. Walkerwhat we were (as we are)

2023

six photographs in artist’s frames, embedded with speakers, 115 x 172 inches (overall, installed) [292.1 x 436.9 cm], unique

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what we were (as we are) comprises six photographs of trees made in California during the intense 2020 fire season, when smoke tinted the sky an eerie orange color. A speaker embedded in each photograph plays guitar recordings Walker made at the location, in an arrangement that draws inspiration from the towering banks of speakers in the sound systems of the UK’s Notting Hill carnival celebrations. Together, the music builds into a fractured chorus. The piece acknowledges the feelings of anxiety and loss that the landscape evokes in the era of climate change. Walker notes that when photographing the work, “I had an undeniable sense that the California I felt so connected to and quite frankly in love with—the California that had seduced me with its mythical and mystical appeal, with its drama and undeniable beauty and with its perfect balance of invitation and rejection—was being put into question. It felt like it perhaps no longer existed.”

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Richard T. Walkereternally almost #2

2023

two pigment prints in artist’s frames, 37 x 29 inches (installed) [94 x 73.7 cm], edition of 2

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Richard T. Walkerthe form of a thought as it defers to its past future self #4

2022

two pigment prints in double-sided artist’s frame, bronzed branch, 20 x 19 x 23 inches (overall, installed)

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Richard T. Walkerthe infinity of an intimate distance

2023

two pigment prints in artist’s frames, neon, modified rocks, 80 x 66 x 10 inches (overall, installed) [203.2 x 167.6 x 256.5 cm]

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Richard T. Walkeranywhere, somewhere (multiple)

2023

single channel video, duration: 10 minutes, 59 seconds, edition of 3

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The post NEVER HERE / ALWAYS THERE appeared first on Fraenkel Gallery.

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Richard MisrachCargo Ships (March 5, 2023, 6:39 am)

2023

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

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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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The exhibition also features approximately 10 new works made from negatives spanning 25 years, from 1984 to 2009, many of them previously unseen or unpublished. Returning to his archive, Misrach selected images that hadn’t fit into larger projects but which, when viewed today, have gained new meaning. Many of the works were made as part of Misrach’s Desert Cantos series, which explores the impact of our human presence on the deserts of the American Southwest. The selection features photographs of iconic land art installations including Nancy Holt’s Sun Tunnels and Michael Heizer’s City, and images of the Great Salt Lake Desert and Battleground Point, where Misrach recorded figures among the water and dunes, setting the photograph apart from other work in the series. Other works include a cloud-filled print from the Golden Gate series, and a view of an Oregon beach that was previously featured in the artist’s Color Reverse series. Printed as the camera originally recorded the scene, the image takes on a new life. Together, the photographs serve as a brief and idiosyncratic survey of Misrach’s career.

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Richard MisrachFilm Crew, Battleground Point

1999

pigment print, 62-5/8 x 82-3/4 inches (framed) [159.2 x 210.2 cm], edition of 5

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The post New Old Pictures New New Pictures appeared first on Fraenkel Gallery.

Over the course of the gallery’s nearly 40-year relationship with Misrach, the artist has explored new subjects and approaches, as both a pioneer in the renaissance of large-scale color photography and an innovator in digital production. During this time, his projects have ranged from the many chapters of his ongoing Desert Cantos series to the tension of On the Beach, which presents the human figure against a looming and abstract pattern of sand and ocean waves.

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Richard MisrachGolden Gate, 5.15.00 7:32 am

2000

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

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Richard MisrachCargo Ships (January 14, 2022, 7:16am)

2022

pigment print, 63-1/2 x 82-7/8 inches (framed) [161.3 x 210.5 cm], edition of 5

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Richard MisrachNancy Holt, Sun Tunnels #22

1988

pigment print, 61 x 76-3/4 inches (framed) [151.1 x 190.5 cm], edition of 5

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Richard MisrachHeizer Column With Clouds

1988

pigment print, 60-3/4 x 75-3/4 inches (framed) [154.3 x 192.4 cm], edition of 5

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Misrach also photographed James Turrell’s Roden Crater in Arizona’s Painted Desert, Michael Heizer’s Double Negative, cut into a Nevada mesa, and City, Heizer’s mile-and-a-half-long collection of abstract forms made from sand, cement, and other materials. In Misrach’s view of the site, a structure with sharp right angles casts precise shadows on the ground, in contrast with the soft shapes of clouds in the bright sky.

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Richard MisrachNebulous Theorem II

1992

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

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Richard MisrachTriceratops, Wheel Inn Truck Stop (For Steve Fitch)

1984

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

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Misrach has often focused on the signs of civilization emerging in curious and colorful ways. In contrast to the Sierra Club photographers of the 1960s, who portrayed the Western American landscape in all its untouched glory, Misrach pictures elements of human habitation and transportation in ways sometimes subtle, sometimes vivid. At the Wheel Inn Truck Stop in Southern California, the artist captures the warm glow of a sunset as a pair of dinosaur murals is re-animated by a neon green light.

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Richard MisrachGas Station Signs (With Moth Trails), Texas

1991

pigment print, 60-3/4 x 75-3/4 inches (framed) [154.3 x 192.4 cm], edition of 5

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In some rare instances, the horizon of the desert landscape disappears, veiled under the shadow of the night in which Misrach also works. While his long exposures of the 1980s and 90s have recorded satellites, air traffic, and military activities of the nocturnal desert sky, this newly printed photograph studies a solitary gas station. The stillness of this darkened scene is broken only by the movement of insects in the light of the lone street lamp.

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Richard MisrachBandon Beach # 1, Oregon Coast

2009

pigment print, 62-5/8 x 82-3/4 inches (framed) [159.2 x 210.2 cm], edition of 5

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Martine GutierrezAphrodite from ANTI-ICON: APOKALYPSIS

2021

chromogenic print, hand-distressed welded aluminum frame, 55-1/2 x 38-3/4 inches (framed) [141 x 98.4 cm], edition of 7

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“Still a patriarchal language, a determinative frame. Still a divisional boundary of womanhood, a categorization of the icon, a spiritual reality in mass production. The same face of currency made over and over again. What is an icon, a cult image?

If the icon shows humanity’s spiritual ideal, it is the anti-icon who refuses the delusion of man, his inflated self-conception. For the icon makes real the image, anti-icon must break through to reveal reality. ”

—Martine Gutierrez

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Martine GutierrezGodiva from ANTI-ICON: APOKALYPSIS

2021

chromogenic print, hand-distressed welded aluminum frame, 55-1/2 x 38-3/4 inches (framed) [141 x 98.4 cm], edition of 7

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Martine GutierrezArdhanarishvara from ANTI-ICON: APOKALYPSIS

2021

chromogenic print, hand-distressed welded aluminum frame, 55-1/2 x 38-3/4 inches (framed) [141 x 98.4 cm], edition of 7

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Martine GutierrezSheba from ANTI-ICON: APOKALYPSIS

2021

chromogenic print, hand-distressed welded aluminum frame, 55-1/2 x 38-3/4 inches (framed) [141 x 98.4 cm], edition of 7

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Gutierrez is the sole performer in the series, portraying all 17 groundbreaking figures. The exhibition includes Aphrodite, ancient Greek goddess of love, desire and beauty, identified by the Romans as ‘Venus’; Ardhanarishvara, composite male-female figure of the Hindu god Shiva together with his consort Parvati; Cleopatra, Egyptian ruler famed for her influence on Roman politics; Joan of Arc, sainted heroine of France, revered as a holy person for her faithfulness and bravery in battle, burned at the stake by the church; Lady Godiva, bold noblewoman from the Medieval period who fought for justice for everyday people; La Madonna, Italian for ‘Lady, Virgin Mary’, central figure of Christianity, celebrated as the ‘Virgin Queen’ in processions of Semana Santa, throughout Spain and Latin America; and Queen of Sheba, Ethiopian queen, known for her wit, power and wealth, her romance with King Solomon is documented in the Kebra Nagast.

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Martine GutierrezLa Madonna from ANTI-ICON: APOKALYPSIS

2021

chromogenic print, hand-distressed welded aluminum frame, 55-1/2 x 38-3/4 inches (framed) [141 x 98.4 cm], edition of 7

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Martine GutierrezJoan from ANTI-ICON: APOKALYPSIS

2021

chromogenic print, hand-distressed welded aluminum frame, 55-1/2 x 38-3/4 inches (framed) [141 x 98.4 cm], edition of 7

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The post ANTI-ICON: APOKALYPSIS appeared first on Fraenkel Gallery.

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Lee FriedlanderTokyo

1994

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

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Lee FriedlanderAloha, Washington

1967

gelatin silver print, 7 x 11 inches (sheet)

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Lee FriedlanderNashville

1963

gelatin silver print, 14 x 11 inches (sheet) [35.6 x 2.79 cm]

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Lee FriedlanderMaria, Minneapolis

1966

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

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Maria Friedlander, New City, New York

1971

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

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Lee FriedlanderNew City, New York

2003

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

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Whether under a thick blanket of wintry snow or full with leaves and fruit at the end of summer, the apple trees in New City, New York test Friedlander’s skilled compositions with their density of form.

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Lee FriedlanderNew City, New York

2003

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

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Lee FriedlanderTokyo

1979

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

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Lee FriedlanderKyoto

1977

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

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Lee FriedlanderDetroit

1963

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

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Rather than picture the new cars in seductive locales, Friedlander had them delivered around Detroit to parking lots near burger joints, cheap furniture stores, beauty parlors, and even a used-car lot. His focus was on the strange mundanity of the American landscape, despite the allure of the new. As Friedlander asks, “Can you imagine a new car looking like an old car in a service station? And then the same car being in an ad with luscious young people around it?”

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Lee FriedlanderNew York City

1963

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

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Lee FriedlanderLos Angeles, California

1970

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

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We find dogs playing in parks, sitting in cars, or waiting, as in Washington, D.C., 1962, to be framed and photographed. In typical Friedlander fashion, the images are both lighthearted and profound, speaking not only to the special qualities of his canine subjects, but also to the human condition motivating his work.

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Lee FriedlanderWashington, D.C.

1962

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

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This collection of Friedlander books and images is inspired by Friedlander First Fifty, published by SPQR Editions and Haywire Press. We are indebted to Giancarlo Roma for his support. 

The post Lee Friedlander by the Book  appeared first on Fraenkel Gallery.

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Lee FriedlanderCincinnati, Ohio

1963

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

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Friedlander, Coen, and McDormand, admirers of each other’s work, met in the spring of 2022 at Friedlander’s home outside of New York City. During the day-long visit the artists studied hundreds of photographs, ultimately leading to the selection that constitutes the book and exhibition.

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Lee FriedlanderDetroit

1963

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

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Coen’s selection focuses on photographs that are dense and off-kilter, often bisected by stop signs and utility poles, car doors and windshields, trees and shadows. “As a filmmaker, I liked the idea of creating a sequence that would highlight Lee’s unusual approach to framing—his splitting, splintering, repeating, fracturing, and reassembling elements into new and impossible compositions,” Coen writes.

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Lee FriedlanderSweden

2005

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

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Lee FriedlanderDallas

1977

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

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Lee FriedlanderMemphis

2003

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

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Fraenkel Gallery will host a public reception with Lee Friedlander and Joel Coen on Saturday, May 6, from 2-4pm. Luhring Augustine will host a reception with both artists in New York on Saturday, May 13.

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Lee FriedlanderVictor, Colorado

2001

gelatin silver print, 20 x 16 inches (sheet) [50 x 40.6 cm]

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The post Lee Friedlander Framed by Joel Coen appeared first on Fraenkel Gallery.

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Christian MarclaySound Rays (Mmmmmmmmm)

2020

comic book cutouts on paper, 16-1/2 x 11-3/4 inches (sheet) [42 x 29.7 cm]

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The cut pieces of Christian Marclay’s comic book collage burst out from the center of the paper page, like a series of waves emanating from an explosion. Each of the “sound rays” carry their onomatopoeia as a set of colorful letters, giving shape and form to such expressions as “mmmmmmmmm” and “vrrooomm.”

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Carrie Mae WeemsBlue Sky, See Fellini

2016

two pigment prints, 20-1/4 inches diameter (each framed) [51.4 cm], edition of 3

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