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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.

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Eadweard MuybridgeLying on a couch and turning over on side.

1887

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

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Getting into bed—or is that out of bed?—becomes a magical process as depicted by Muybridge in 1887.

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Garry WinograndNew York

ca. 1970

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

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Two poodles point the way on a mid-day walk through New York City. 

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T. Glendenning HamiltonThe T’Zan Teleplasm

December 20, 1933

gelatin silver print, 4-1/2 x 3-1/2 inches (image & sheet) [11.4 x 8.9 cm]

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A teleplasmic likeness of T’Zan, long known as a control of great power, manifesting on December 20, 1933 through the mediumship of Mrs. J. Young, now deceased. Clearly.

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Loewy and PuiseuxPhotographie Lunaire: Fabricius – Furnerius – Borda

10 Septembre 1900 12h 9

heliogravure with tissue overlay, 29-1/2 x 22 inches (sheet) [74.9 x 55.9 cm]

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Planning a trip to outer space? Don’t forget your map of the moon, detailed with craters and curve.

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Photographer UnknownGates of Heaven

1978

vintage film poster, 42-1/2 x 30-1/4 inches (framed) [107.31 x 76.83 cm]

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In a strange tale of Napa Valley lore, courtesy of Errol Morris’s classic 1978 film, this poster takes us to the steps at the gates of heaven.

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Photographer Unknown“Energy Can be Seen Beginning to Build Upon the Right of this Photograph of Medium Mrs. E. Bolder”

ca. 1976

two gelatin silver prints, 5 x 5 inches (each sheet) [12.7 x 12.7 cm]

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One of the greatest illusions from the most common of photographic “accidents”: a finger before the lens becomes an otherworldly force mediating the living and the dead. 

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Photographer UnknownGas Explosion at home on the corner of Buchanan and Grove, San Francisco

June 6, 1938

gelatin silver print, 8-5/8 x 12-1/4 (image & sheet) [22.0 x 31.1 cm]

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Going out with a bang: in the aftermath of a San Francisco gas explosion, a simple dashed line retraces the path of everything but the kitchen sink. 

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Lieutenant Colonel Henry DixonViews in Mysore, Yoga Narasimaswami’s Temple, India

c. 1865

albumen print, 10-1/2 x 14 inches (image) [26.7 x 35.6 cm]; 23 x 25 inches (approx framed) [58.42 x 63.5 cm]

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Look closely: in the grottos of this magnificent landscape outside Mysore, India, one may find a thirteenth-century temple dedicated to the Hindu deity, Narasimha, a place of daily devotion.

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Franck (François-Marie-Louis-Alexandre Gobinet de Villecholle)Performer in “Le Chatte Blanche”

1869-70

albumen silver print, 24-1/4 x 18-1/2 inches (mount) [61.6 x 47.0 cm]

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With effortless grace, this nineteenth-century French theatrical performer beckons her viewer into a fantastical world full of texture, pattern, and, of course, great drama in La Chatte Blanche (The White Cat). 

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E.O. GoldbeckBaptizing in San Pedro, San Antonio, Texas

May 25, 1925

gelatin silver print, 16 x 55-1/2 inches (framed) [40.64 x 140.97 cm]

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Even if you’re agnostic, E.O. Goldbeck’s all-consuming panoramic depiction of a Texas baptism makes you one with the spirit.

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Photographer UnknownUntitled

ca. 1852

daguerreotype in brown leather case, 3-5/8 x 3-1/4 inches (case) [9.2 x 8.3 cm]

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Decked out in handsome regalia, the subject of this anonymous daguerreotype apparently came to California during the Gold Rush to seek his fortune.

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E.J. BellocqStoryville Portrait

ca. 1912

printing out paper, gold-toned, 10 x 8 inches (image & sheet) [25.4 x 20.3 cm]

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What to wear today? Contemplating one’s own image in the mirror, why not something to match that perfect wallpaper?

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Louis-Emile DurandelleOrnamental Sculpture of the New Paris Opera: Amortissement des Frontons des Pavillons, Façade Principale

1865-72

albumen print from wet collodion-on-glass negative, 17-1/2 x 24-3/4 inches (mount) [44.5 x 62.9 cm]

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Before they find their final resting place high above the streets of Paris, take some time to study the perfect curves of the Palais Garnier’s ornamental sculptures. 

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August SanderEye of an Eighteen-Year-Old Young Man

1925-26

gelatin silver print, 7 x 9-3/8 inches (image & sheet) [17.8 x 23.8 cm]

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Staring into Sander’s eye of an eighteen-year-old, the fading freckles of youth outline a curious reflection on the young man’s future.

The post Darling, How Could You 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.

Each artist approaches history differently, whether through the particular pain of racist imaginaries, the humor in surprising juxtapositions, or the deep reverence for monumental forms. Yet the works pictured here remind us of the complex ways in which art’s past continues to shape our present.

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Carrie Mae WeemsMissing Link (Despair), 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 varying animal masks, 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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The illustrations served as plans for the parade’s papîer-maché costumes. Their grotesque combinations of human and animal features co-opted the theory of evolution to satirize political figures in the aftermath of the American Civil War, when Union forces occupied Louisiana and African American citizens gained greater political representation. 

By picturing herself in these roles, Weems refracts the racist visual history of Mardi Gras for a contemporary audience, upending the power hierarchies aimed at subjugating African American men and women. As the artist stated at the 2013 LOOK3 Photo Festival, “I’m interested in the historical past as well as the historical present and how the past has a hold on the present, and how it shapes us.”

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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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Carrie Mae WeemsMissing Link (Sheep), 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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Christian MarclayUntitled (from “Imagined Records”)

1990

record cover collage, 16-3/4 x 16-3/4 inches (framed) [42.5 x 42.5 cm]

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In a collage featuring a record album, Christian Marclay juxtaposes the gestures of a classical conductor with Edvard Munch’s iconic Scream. Since the 1990s, Marclay has incorporated record albums and other fragments from pop culture and art history in his work, creating collages that continue his exploration of the visualization of sound and music.

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The figure of Munch’s Scream appears repeatedly within Marclay’s work, as a sort of time-traveler who makes an appearance in often distorted or fragmentary forms. In Marclay’s 2021 publication, Index, for example, the artist uses a Xerox machine to make new and varied compositions from the canonical painting, in effect “sketching” with the copy machine. Sequential pages within the book, when flipped through, emerge as manual animations through viewer participation. 

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Hiroshi SugimotoPast Presence 026, Head of a Woman, Pablo Picasso

2014

gelatin silver print, 71-3/4 x 60 inches (framed) [182 x 152.5 cm], edition of 5

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Hiroshi Sugimoto was inspired to begin his Past Presence series during a 2013 visit to the Museum of Modern Art in New York. Photographing the famed sculpture garden designed by Philip Johnson, the artist found himself in the company of works by Giacometti, Brancusi, and Picasso. 

In the series, the artist revisits some of the 20th century’s most significant modernist artworks, in this case Picasso’s Head of a Woman. By photographing the sculpture slightly out of focus, and thereby obscuring the detail of its plaster surface, the artist disrupts the familiar perception and attempts to present the well-known image as it might have first appeared in the artist’s mind: a monumental, classicized depiction of his young lover, Marie-Thérèse Walter.

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Hiroshi SugimotoMoMA, Bauhaus Stairway

2013

gelatin silver print, 71-3/4 x 60 inches (framed) [183 x 152.5 cm], edition of 5

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The post Paris Photo appeared first on Fraenkel Gallery.

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Peter HujarDana Reitz’s Feet

1979

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Known worldwide as one of the most revered and exhilarating performers of our era, Elton John is also a seasoned collector of photographs, and brings an acute and highly personal understanding of Peter Hujar’s achievement to his selection. As he writes in the catalogue, “Hujar’s humanity, depth, and sensual insights aren’t for everyone, and don’t need to be, but once his pictures get into your bloodstream they are impossible to shake.”

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Peter HujarJune Newton, Paris

1980

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Peter Hujar documented the vibrant cultural scene in downtown New York throughout the 1970s and 1980s, photographing artists, musicians, writers, and performers. He died of AIDS in 1987, leaving behind a complex and profound body of photographs. While Hujar’s talent was recognized during his lifetime by a small but influential group of friends and admirers, his work has reached a wider audience in the years since his death. Elton John began collecting photographs in the early 1990s, and writes that “it wasn’t until 2011 that I acquired my first photograph by Peter Hujar. His work was not well known back then, and it took a while before I came across it.”

Among Elton John’s selections are portraits of acclaimed performers including Stevie Wonder, Peggy Lee, and Edgar Winter. Other photographs depict subjects from Hujar’s creative orbit, such as drag performer Ethyl Eichelberger and Warhol superstar Jackie Curtis. Along with the portraits are examples of Hujar’s deeply empathetic pictures of animals, and landscapes including austere views of the ocean and a New Jersey forest at night.

The post Curated by Elton John appeared first on Fraenkel Gallery.

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Peter HujarEthyl Nude (I)

1979

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Throughout the 1970s and 80s, New York’s East Village was home to a flourishing culture of artistic experimentation and sexual liberation. With daring vulnerability, Hujar’s photographs captured a community of emerging artists, performers, and playwrights.

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Peter HujarRobert Wilson, Vestry Street (III)

1975

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Among the circles of Hujar’s friends were the renown theater director, Robert Wilson, the dancer and dramaturg, Sheryl Sutton, and the composer and pianist Philip Glass, who together staged the influential 1976 opera, Einstein on the Beach.

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Peter HujarEdgar Winter

1970

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Peter HujarBeauregard’s Dog Pilar

1983

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Peter HujarTrees with Flash, New Jersey

1975

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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The liberation of gay life in 1970s America sparked the vibrant sexual and artistic exploration visible in Hujar’s portraits of drag queens. Yet the landscapes he captured at night and in dilapidated locales still offered a feeling of loneliness, alienation, and quiet intimacy familiar to many marginalized queer persons. As the art critic Bob Nickas writes, “the night is a space in which to immerse oneself, or lose oneself, and for a gay man it is always to some degree a libidinal space.”

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Peter HujarCockette Link Martin

1971

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Drawing upon his short-lived career as a fashion photographer for Harper’s Bazaar and GQ, Hujar pictured the San Francisco-based psychedelic drag troupe The Cockettes when they arrived in New York in November 1971 for a string of performances at the Anderson Theater. Commissioned by Steve Lawrence for the photographic periodical Newspaper, Hujar’s newsprint portraits were passed out by wheelbarrow during the performance’s intermission.

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Peter HujarNude from Behind

date unknown

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Many of Hujar’s most radical works combine the softness of his iconic portraits with the intimacy of eros and eroticism. Nude figures appeared before Hujar’s camera in varying states: in whole and in detail, young and old, covered in tattoos and caught in arousal.

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Peter HujarRuined Armchair (with Record), Newark

1985

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Throughout the 1980s, Hujar took spontaneous trips to New Jersey and upstate New York with friend and former lover David Wojnarowicz. In an abandoned building in Newark, they found a room littered with broken dishes, a ruined armchair, and garbage. Hujar’s flash illuminates every surface, filling the picture with pattern and texture.

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Peter HujarJackie Curtis in Coffin

1985

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Hujar lived and worked in an apartment on Second Avenue previously occupied by the underground performer and Warhol superstar, Jackie Curtis. Its large, white wall became the backdrop against which he photographed his wider network of friends, including the performer and playwright Ethyl Eichelberger. Throughout the 1970s and 80s, Eichelberger starred in a series of East Village plays based on the lives of great women like “Medea,” “Lucrezia Borgia,” “Klytemnestra,” and “Auntie Belle Emme.”

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Peter HujarEthyl Eichelberger as Auntie Belle Emme

1979

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Peter HujarWill: Shar-Pei (I)

1985

pigment print / printed by Gary Schneider, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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His subjects also included dancers, writers, artists, and composers, such as Edgar Winter, Peggy Lee, Susan Sontag, Fran Lebowitz, and Robert Wilson. Many of these portraits were included in his first and only book published during his lifetime, Portraits in Life and Death, released in 1976.

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Peter HujarPeggy Lee

1974

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Hujar developed his ideas about portraiture by referring to classical paintings, in which the sitter looks directly at the artist or just out of frame. His portrait sessions fostered connection through the lens, leaving open opportunities for profound introspection and genuine fragility. As Gary Schneider recalls, “everybody thought they were his best friend, so all of a sudden you were inside his camera with him.”

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Peter HujarBouche Walker (Reggie’s Dog)

1981

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Growing up on his grandparents’ farm in New Jersey, Hujar developed a profound connection with animals—his first and most enduring photographic subjects. Throughout his life, the artist returned to farms in New Jersey and upstate New York, seeking communion with farm animals through his camera’s lens. Back in his Second Avenue studio, he turned his camera to his friends’ pets. Through these pictures, Hujar managed to evince the individuality of animals rather than reduce them to more generic species. 

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Peter HujarDon Mahoney and Peter Hujar Painting 189 Second Avenue

1983

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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As Hujar’s friend Steve Turtell recalled, he sought out subjects with “a certain kind of isolation built into their personalities.” Behind the scenes of a circus performance, for example, Hujar stumbled upon a clown’s trunk stuffed with miscellaneous supplies. At the center of the image is a wistful portrait of the comic film actor Buster Keaton. Beneath the facade of a clown’s cheerful persona, he implies, may lie a more somber expression.

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Peter HujarClown’s Trunk

1973

gelatin silver print / printed by Peter Hujar, 22-3/4 x 22-3/4 inches (framed) [57.8 x 57.8 cm]

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Hujar was diagnosed with AIDS on January 1, 1987 and passed away on Thanksgiving day that year. Even in his death, his photographs hold onto the beauty of his life. “Hujar’s photographs,” writes the curator Joel Smith, “monumentalize moments, beings, lifetimes, and subcultures that might otherwise have disappeared into time. His subject is those who live—at the speed of life, in present tense, undistracted by hope, anxiety, or nostalgia.”

The post Peter Hujar Curated by Elton John appeared first on Fraenkel Gallery.

In the metallic sheen of their surfaces, Deschenes’s mirror-like photograms reflect the architecture of the space around them, as well as the viewer. Carefully positioned in the gallery, their materials, dimension, and arrangements reference early photographic and cinematic techniques, from the illusion of depth proposed by Stereograph #33 to the slits of a zoetrope suggested by Timelines.

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Liz DeschenesLeft / Right (Reversal)

2019

UV laminated chromogenic print mounted on aluminum, 23-1/4 x 38-1/2 inches (framed) [59 x 97.7 cm]

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Liz DeschenesIndicator #1

2022

dye sublimation print, 54 x 44 inches (framed) [137.1 x 111.7 cm]

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Liz DeschenesIndicator #9

2022

dye sublimation print, 54 x 44 inches (framed) [137.1 x 111.7 cm]

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Deschenes has long explored the role of color in connection with processes ranging from video compositing and topographical mapping to art conservation, examining how these systems are used to produce seen and unseen images. On view for the first time will be pink and blue works from her recent Indicator series, which reference the cobalt chloride-based color scale used to measure humidity in art conservation. The exhibition also includes works from her Green Screen series, which focuses on the brightly colored screens used in film and video production and special effects. These monochromatic photographs call attention to usually invisible technologies, and blur the line between photograph and object.

The post Works 1997-2022 appeared first on Fraenkel Gallery.

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Liz DeschenesFPS (120)

2021

120 unique photograms mounted on Dibond, 60 x 1-1/4 inches (each) [152.4 x 3.2 cm]

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FPS (120) was first exhibited in 2021 at the Sprengel Museum in Hanover, Germany, where it was part of True Pictures?, a show that examined the responses of North American artists to the flood of images in photography’s digital age.

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