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Wardell MilanHere the mysterious host— raised in the South, now based in the North curates a gathering of friends seeking sanctuary

2020

charcoal, graphite, oil pastel, pastel, cut and pasted paper on inkjet print, 51 x 60 inches (framed) [129 x 152 cm]

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In several large-scale works, Milan uses enlargements of his own photographs of specific locations—the Lorraine Motel in Memphis, where Martin Luther King was assassinated, or the city of Venice—setting his images in dialogue with historical sites of racist violence or political rebellion. Populating the works are a range of human figures, often nude, whose bodies are pieced together from fractured drawings and photographs, and overlaid with blue and white paint. Some groupings suggest erotic coupling or violent encounters, and many arrangements are based on photographic sources. In 2020, Los Feliz, Los Angeles, Milan positions five figures in white Ku Klux Klan hoods against his own photograph of the city’s hills. The arrangement of bodies is based on a found image of a Klan social gathering, and presents the white nationalists in a bland, contemporary California suburb. In The Parade, the arrangement of figures echoes Diane Arbus’s Untitled (7), from her final body of work made in a home for the developmentally disabled in New Jersey.

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Wardell MilanThe Parade

2020

charcoal, graphite, oil pastel, pastel, cut and pasted paper on hand-dyed paper, 62 x 100 inches (framed) [158 x 255 cm]

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Also on view are a selection of smaller works, including white-on-white cut paper collages depicting hooded Klansmen, and paintings from Milan’s ongoing series of tulips. While earlier flower paintings were inspired by the 17th-century Dutch tulip craze, the new works deconstruct the flowers, transforming them into chaotic arrangements of petals and leaves, hinting at the dissolutions the past year has wrought.

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Wardell MilanUntitled, (Tulip, Tennessee no. 5)

2020

oil, charcoal, graphite, pastel & china marker, 32 x 41-1/2 inches (framed) [81.3 x 105.4 cm]

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Concurrent with the exhibition, in the third gallery, Milan has curated a selection of photographs from the gallery’s archives and beyond. The presentation, which includes works by Diane Arbus, Peter Hujar and George Dureau, is a collection of images that have inspired Milan’s own practice.

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In several large-scale works, Milan uses enlargements of his own photographs of specific locations—the Lorraine Motel in Memphis, where Martin Luther King was assassinated, or the city of Venice—setting his images in dialogue with historical sites of racist violence or political rebellion. Populating the works are a range of human figures, often nude, whose bodies are pieced together from fractured drawings and photographs, and overlaid with blue and white paint. Some groupings suggest erotic coupling or violent encounters, and many arrangements are based on photographic sources.

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Wardell MilanBe a good boy and put this on

2020

charcoal, graphite, acrylic paint, color pencil, pastel, oil pastel, china marker, yupo paper, Polaroid film, cut-and-pasted paper on inkjet print, 43-1/8 x 61-1/8 inches (framed) [109.5 x 155.3 cm]

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In 2020, Los Feliz, Los Angeles, Milan positions five figures in white Ku Klux Klan hoods against his own photograph of the city’s hills. The arrangement of bodies is based on a found image of a Klan social gathering, and presents the white nationalists in a bland, contemporary California suburb. In The Parade, the arrangement of figures echoes Diane Arbus’s Untitled (7), from her final body of work made in a home for the developmentally disabled in New Jersey.

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Also on view are a selection of smaller works, including white-on-white cut paper collages depicting hooded Klansmen, and paintings from Milan’s ongoing series of tulips. While earlier flower paintings were inspired by the 17th-century Dutch tulip craze, the new works deconstruct the flowers, transforming them into chaotic arrangements of petals and leaves, hinting at the dissolutions the past year has wrought. 

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Wardell MilanAmerika: Klansman, Patty

2020

cut and pasted printed paper, 18-5/8 x 14-1/4 inches framed [47.3 x 36.2 cm]

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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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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.

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Hiroshi SugimotoOpticks 053

2018

chromogenic print, 60 x 60 inches (framed) [152 x 152 cm], edition of 1 + 1 AP

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Sugimoto describes his process, which began before sunrise and depended on the clarity of the winter light: “First thing, I would check for hints of light dawning above the eastern horizon. If the day promised fair weather, next I would sight the ‘morning star’ shining to the upper right of the nascent dawn. Depending on how bright Venus appeared, I could judge the clarity of the air that day—Tokyo is clear almost every day in winter thanks to the prevailing seasonal west-high east-low pressure patterns. Only then did I ready my old Polaroid camera and start warming up a film pack from the long winter night chill,” he writes. In his studio, he used a mirror outfitted with a special micro-adjusting tilting mechanism, and projected light from the prism onto the mirror. By adjusting the mirror’s angle, he could separate individual colors of light. “I could split red into an infinity of reds,” he explains.

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Hiroshi SugimotoOpticks 156

2018

chromogenic print, 60 x 60 inches (framed) [152 x 152 cm], edition of 1 + 1 AP

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Inspired by the writings and research of Sir Isaac Newton and Johann Wolfgang von Goethe on the science and experience of light, the works in Opticks examine the infinite nature and dual status of color as a physical phenomena and an emotional force. Sugimoto titled Opticks after Newton’s 1704 book of the same name, which presented his groundbreaking experiments with prisms and light. More than 100 years later, in 1810, Goethe published Zur Farbenlehre (Theory of Colors), a study of the physical basis of colors and human responses to them, which found Newton’s “impersonal scientific exposition wanting on artistic grounds,” Sugimoto writes.

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Hiroshi SugimotoOpticks 138

2018

chromogenic print, 60 x 60 inches (framed) [152 x 152 cm], edition of 1 + 1 AP

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Looking at light through his own prism, he notes:

I too had my doubts about Newton’s seven-colour spectrum: yes, I could see his red-orange-yellow-green-blue-indigo-violet schema, but I could just as easily discern many more different colours in-between, nameless hues of red-to-orange and yellow-to-green. Why must science always cut up the whole into little pieces when it identifies specific attributes? The world is filled with countless colours, so why did natural science insist on just seven? I seem to get a truer sense of the world from those disregarded intracolours. Does not art serve to retrieve what falls through the cracks, now that scientific knowledge no longer needs a God?

The exhibition will also include a sculptural rendering of a mathematical model from Sugimoto’s series of conceptual forms, along with work from other series.

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Looking at light through his own prism, Sugimoto notes:

“I too had my doubts about Newton’s seven-colour spectrum: yes, I could see his red-orange-yellow-green-blue-indigo-violet schema, but I could just as easily discern many more different colours in-between, nameless hues of red-to-orange and yellow-to-green. Why must science always cut up the whole into little pieces when it identifies specific attributes? The world is filled with countless colours, so why did natural science insist on just seven? I seem to get a truer sense of the world from those disregarded intracolours. Does not art serve to retrieve what falls through the cracks, now that scientific knowledge no longer needs a God?”

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For almost forty years, Calle has made work that exposes intimate experience to public view, using still images, video, film, books, performance and text. Her work has often drawn from difficult moments in her personal life. “In the process of turning these experiences into art, they somehow become a type of fiction,” she has said.

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Sophie CalleJosé Tomás

2018

pigment print, embroidered woolen cloth, wooden box, 19 x 15 x 3 inches (overall) [49 x 38 x 7 cm], edition of 3 in English & 3 in French

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Subjects include the North Pole depicted in blue darkness, in a picture Calle made “Because that’s what you do when you are at the ends of the earth,” the text explains. She photographed the Spanish bull fighter José Tomás “Because for the first time in my life, I’m about to ask for an autograph,” she confesses. In Without Child , 2018, Calle quotes a description of herself that she found online: “‘Sophie Calle, artist without child by choice,’” pairing it with a photograph of herself holding a baby to her open blouse, as if to nurse. She posed with the infant “By pure mischief, because one happens to be around,” her text states.

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Sophie CalleDavid

2018

pigment print, embroidered woolen cloth, wooden box, 17 x 23 x 3 inches [43 x 58 x 7 cm]

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Concurrent with Because, Fraenkel Gallery will present a selection of work from the gallery’s archives, curated by Sophie Calle. The presentation, which includes work by Diane Arbus, Sophie Calle, Lee Friedlander, Nan Goldin, Katy Grannan, Ralph Eugene Meatyard, Alec Soth and Garry Winogrand, focuses on images that highlight complicated relationships between couples and pairs.

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