As Jeffrey Fraenkel explains, “Long Story Short is essentially a sliver of photography’s tasty pie, a tight group of objects that includes works by established masters as well as flea-market finds. Viewers may recognize many of the names, but most of the images will be surprises—and quite a few are anonymous images about which we know almost nothing. Here, in the thick of our digital era, we still believe that the physical presence of artworks can affect a person in the deepest ways.”

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Man RayUntitled [Banjo]

1923

gelatin silver print, 19-3/4 x 15-3/8 inches (image & sheet) [50.2 x 40 cm]

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Long Story Short begins with an anonymous daguerreotype, circa 1849, of a young woman holding a daguerreotype in her lap and continues with pivotal photographs by Charles Aubry, Carleton Watkins, Eugene Atget, and E.J. Bellocq. The story develops with photographs by Berenice Abbott, Alfred Stieglitz, Man Ray, and lesser-known 20th-century works by Helen Levitt, Romare Bearden, Diane Arbus, and William Eggleston. The evaporation of walls separating photography and other media is reflected in more recent works by Sophie Calle, Janet Cardiff & George Bures Miller, Mel Bochner, Wardell Milan, Elisheva Biernoff, and Liz Deschenes—artists whose work is not strictly, or not at all, photography.

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Photographer UnknownUntitled [Dinosaur Balloon]

November 25, 1969

gelatin silver print, 8 x 9-5/8 inches (sheet) [20.3 x 24.5 cm]

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Long Story Short offers a deliberate alternative to the onslaught of disposable imagery now part of everyday experience, and was conceived to reward sustained engagement. Both the exhibition and the book lead the viewer through an abbreviated tour of photography’s 180-year evolution. Fraenkel Gallery president Frish Brandt noted, “The range of artists and images provides for a vibrant first-person experience, whether seen in the gallery or in the book.”

The post Long Story Short: Anniversary Exhibition appeared first on Fraenkel Gallery.

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Carleton E. WatkinsCity of Portland, Willamette River

1867

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

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

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Carleton E. WatkinsCape Horn, Columbia River, Oregon

1867

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

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

The post Carleton Watkins appeared first on Fraenkel Gallery.

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Lewis deSotoEllipse/Tide V.2

1982

pigment print, 42-1/2 x 39-3/8 inches (framed) [108 x 100 cm]

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Mishka HennerLevelland Oil Field #1, Hockley County, Texas

2013

pigment print, 62 x 105 inches (framed) [157 x 267 cm]

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Richard Misrach notes:

Carleton Watkins’s nineteenth-century photographs helped describe and define our notions of the American West. His work recorded early practices of mining and other human-impacted landscapes, but most notably a wilderness beauty like no other. The artists in this show present a different West, or perhaps more accurately, eleven different Wests. From Nancy Holt’s 1972 color series “California Sun Signs,” to Lewis deSoto’s performance-driven long exposures, to Mishka Henner’s appropriated and digitally-composited satellite images of oil derricks, these artists employ photographic strategies and technologies unimaginable in Watkins’s era of the black-and-white mammoth plate. Most significantly, these artists of the late twentieth and twenty-first centuries call our attention to what the West has become.

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David Benjamin SherryRio Grande Gorge, Rio Grande del Norte National Monument, New Mexico

2017

chromogenic print, 90-3/4 x 73 inches (framed) [231 x 185 cm]

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The post Another West appeared first on Fraenkel Gallery.

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Lee FriedlanderNewark, New Jersey

1962

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

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Made in New York, San Francisco, and dozens of cities and small towns in between, Friedlander’s photographs record milk prices, cola ads, neon lights, road signs, graffiti, and movie marquees. Depicting these texts with precision and sly humor, Friedlander’s approach to America transcribes a sort of found poetry of commerce and desire. A large majority of works in the exhibition will be shown for the first time.

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Lee FriedlanderNew Haven, Connecticut

1980

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

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Also on view will be a group of 16 early Friedlander prints, made on the road in the 1970s, on travels across the United States.

The post Signs appeared first on Fraenkel Gallery.

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Richard T. Walkerrotational relevance

2019

two inkjet prints, cast acrylic, guitars, amplifiers, cables, motors, 117 x 87 x 7-1/2 inches (installed) [297.2 x 221 x 19.1 cm]

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In outside repetition, 2018, Walker jumps on a trampoline set in a field of sagebrush, and reaches as if to touch the peak of the mountain in the distance, never quite reaching it. The video installation, which is projected onto the trampoline itself, explores the way meaning is constructed from nature, referencing the Romantic tradition of artists such as Caspar David Friedrich and self-questioning Walker’s own earnest enactment of that tradition. In an acquiescence of meaning, 2018, an image of Mount Shasta is split into two parts that are joined together by a photograph of a long, thin, pink cloud, “a hyphen-like connector,” as Walker writes about the piece.

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Richard T. Walkeran acquiescence of meaning

2018

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“I was thinking about how images relate to language, how components of an image are brought together to create visual meaning. Just as words within a sentence juggle for meaning to expose the fluidity of one’s perceived truth, I want to doubt landscape, but also remain true to the awe and fascination that it evokes.”

Richard T. Walker

The post Richard T. Walker appeared first on Fraenkel Gallery.

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Alec SothLeyla and Sabine. New Orleans.

2018

pigment print, 43-3/4 x 35-3/4 inches (framed) [111.1 x 90.8 cm]

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Often the result of extended engagements with the people he photographs, the large-scale portraits and interiors were made in the U.S. and Europe, and often depict artists, writers and choreographers, among others. Intimate and quiet, the images reveal something otherwise unknowable about both the sitter and the photographer. Soth commented:

“After the publication of my last book about social life in America, Songbook, and a retrospective of my four, large scale American projects, Gathered Leaves, I went through a long period of rethinking my creative process. For over a year I stopped traveling and photographing people. I barely took any pictures at all.”

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Alec SothSonya and Dombrovsky. Odessa.

2018

pigment print, 35-3/4 x 43-3/4 inches (framed) [90.8 x 111.1 cm]

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“When I returned to photography, I wanted to strip the medium down to its primary elements. Rather than trying to make some sort of epic narrative about America, I wanted to simply spend time looking at other people and, hopefully, briefly glimpse their interior life. In order to try and access these lives, I made all of the photographs in interior spaces. While these rooms often exist in far-flung places, it’s only to emphasize that these pictures aren’t about any place in particular.”

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Alec SothYuko, Berlin.

2018

pigment print, 53-3/4 x 43-3/4 inches (framed) [136.5 x 111.1 cm]

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I Know How Furiously Your Heart Is Beating will have concurrent presentations at Sean Kelly Gallery, New York, from March 21 to April 27, 2019; Weinstein Hammons Gallery, Minneapolis, from March 15 to May 4, 2019; and Loock Galerie, Berlin, from March 15 to April 18, 2019.

The post I Know How Furiously Your Heart Is Beating appeared first on Fraenkel Gallery.

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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.

The post The Street Philosophy of Garry Winogrand appeared first on Fraenkel Gallery.

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Wardell MilanMusic for Men

2018

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Wardell MilanA Zulu Love

2018

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Incorporating drawing, painting, photography and collage, Milan’s Parisian Landscapes: Blue in Green introduces the artist’s figurative works in a variety of media. Milan’s blue also alludes to the historical use of lapis lazuli: from Egyptian tomb paintings to illuminated Renaissance manuscripts, as well as to the Taliban’s current control of lapis lazuli mines in Afghanistan. Other intensely hued works inspired by the 17th-century Dutch tulip craze reflect Milan’s long-running obsession with the flower’s form and layered symbolism.

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Wardell MilanMichael Ross

2018

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Milan’s collages often incorporate cut-out photographs from works by Diane Arbus and Robert Mapplethorpe, as well as Charles Hoff’s images of boxers in The Fights. He has been inspired by such varied sources and artists as Francis Bacon, Robert Gober, the films of Federico Fellini, bodybuilding magazines, the plays of Eugène Ionesco, and E.J. Bellocq’s photographs of the Storyville district of New Orleans.

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