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Richard LearoydYosemite IV (BGV)

2018

gelatin silver contact print, 60-5/8 x 89 inches (framed) [154 x 226 cm]

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Watkins’ breakthrough work was made with the largest camera known to exist at the time: a mammoth plate camera producing contact-printed images measuring approximately 16×21 inches. More than 150 years later, Learoyd photographed the park using a structure measuring 8 feet square, creating 4×6-foot contact prints. Working this summer, Learoyd captured the grandeur of the valley two weeks before the Ferguson Fire burned nearly 100,000 acres in the area. The exhibition also includes two large-scale works made in Big Sur, a landscape with a rich history for photographers including Edward Weston, Ansel Adams, and others.

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Richard LearoydBig Sur I

2018

gelatin silver contact print, 59-3/4 x 89-1/2 inches (framed) [151.9 x 227.3 cm]

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Learoyd’s “extended” portraits were made in his London studio, where he uses a room-sized camera built to expose photographic paper directly to light. The resulting photographs—grainless, unique works on Ilfochrome paper, stockpiled before it was discontinued in 2011—explore subjects over repeated sittings, sometimes spanning years.

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Richard LearoydVanessa profile with hands

2018

unique Ilfochrome photograph, 39-5/8 x 33-3/8 inches (framed) [100.6 x 84.8 cm]

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In 2019, Fundación MAPFRE in Barcelona will debut a traveling survey of Learoyd’s work, curated by Sandra S. Phillips. Previous solo museum exhibitions include Richard Learoyd: Dark Mirror, at the Victoria & Albert Museum, London (2015), and Richard Learoyd: In the Studio, at the J. Paul Getty Museum, Los Angeles (2016) and the Nelson-Atkins Museum of Art, Kansas City, Kansas (2017).

The post Work from Two Rooms appeared first on Fraenkel Gallery.

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Robert AdamsAlameda Avenue, Denver

1971

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

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Robert AdamsFirebreak above East Highlands, California

1982

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

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The exhibition features photographs from Adams’ most well-known and treasured series dating from 1968 to 2013, including The New West, Denver, Prairie, From the Missouri West, California, Listening to the River, and An Old Forest Road. Over many years of exploring this theme, Adams has been drawn to writers who contemplate the symbolism of the road, and the potential of any neglected dirt road or byway to be a place of value.

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Robert AdamsEucalyptus alley, Riverside, California

1978

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

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27 Roads will be accompanied by a new, exquisitely printed hardcover catalogue, to be distributed by Artbook/D.A.P. In the book Adams writes, “Roads can still be beautiful. Occasionally they appear like a perfect knife slicing through a perfect apple, the better to show that two halves are one.”

In the fall of 2019, Adams will be the subject of the major traveling retrospective American Silence: The Photographs of Robert Adams, 1965–2015, organized by The National Gallery of Art in Washington, D.C. Through July 29, 2018, The Fondation Henri Cartier-Bresson in Paris is spotlighting Adams’ work in the monographic exhibition, Robert Adams: Our Lives and Our Children.

The post 27 Roads appeared first on Fraenkel Gallery.

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Richard MisrachCrying Woman (for K.A.C.), Bombay Beach, California

2011

pigment print, 10-5/8 x 14-1/4 inches (sheet) [45.1 x 59.1 cm]

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Peter HujarHorse in Harness (I)

1969

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

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Earache, an exhibition of photographs largely but not exclusively drawn from Fraenkel Gallery inventory, began with an invitation to look around. A Peter Hujar portrait of the late John Ashbery was an early anchor, and it was through the poet that I found “earache,” a two-syllable lens through which countless images were surveyed over these last months. While many of Ashbery’s concerns map onto those of photography—exposure and opacity, surface and depth, nostalgia and immediacy—it is the poet’s associative rather than thematic approach that most resonates with regards to constructing this exhibition.

A photographer friend suggested the title be dropped once it lost its utility, but the truth is, it never did. Instead, it became a model symptom of a larger, harder-to-name condition. The poem from which it’s taken, however, did give way to a passage from Tara Jepsen’s remarkable 2017 novel, Like a Dog. In addition to skateboarding, the book has a lot to do with risk, loss, trust, and stability. We printed and posted the extended quotation on the wall, like an image.

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Robert AdamsAn inexpensive prosthetic foot, made for the victims of land mines

ca. 1995

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

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The human balance system provided helpful metaphoric scaffolding, especially the discovery that a small tube in the middle ear maintains equilibrium by matching interior and exterior air pressure. What is the pressure of these pictures under glass, the pressure of the room, the pressure in our bodies, the pressure to sell? Arriving at a single diagnosis for balance dysfunction is cumbersome due to the interconnection of our senses; the same infection that causes an earache, for example, might also bring about persistent vertigo, blurred vision, or cognitive fatigue. In other words, the tools that determine our position in space are capable of sending us across the physical and emotional deck. This exhibition is about that deck, and the notion that perception is an active process of constructing reality.

The tenor of the times affected the checklist, in many cases represented literally as the writing on the wall. The torrential bad-news cycle and its attendant anxieties inspired the more discomfiting and surreal elements and the exhibition begins and returns to a number of narrators, all of them unreliable. Take Atget’s stone faun. Once thought to inspire fear in travelers far from home, fauns were also capable of guiding those in need. Which is it? Pictures are by definition without narrative, and with no narrative comes no expectations. That said, I was surprised that the tone grew more sentimental and melancholic over time— animals and flowers accumulated, as pillows or markers.

I hope Earache carries like a sentence, with varied punctuation, spacing, abstraction, and intent, and that the intuition and free association at the helm of this process is visible.

—Jordan Stein

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Janet Cardiff & George Bures MillerThe Poetry Machine

2017

interactive installation, words and voice by Leonard Cohen, dimensions variable

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Says Janet Cardiff, it “creates new connections through all of the poems,” and gives participants the ability “to create new poems out of his words.” The installation debuted in an exhibition devoted to Cohen at the Musée d’art contemporain de Montréal this winter. This will be its first U.S. presentation.

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Janet Cardiff & George Bures MillerRoad Trip

[detail], 2004

computer controlled slide projector with audio

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Also on view is Road Trip, an installation of slides made by Bures Miller’s grandfather in the 1950s, during a drive from Vancouver to New York City. Projected from a computer controlled carousel onto a standing screen, the slides show mostly empty landscapes, their color often changed by time. Accompanying them is a two-speaker recording of Cardiff and Bures Miller. In it, the artists consider what the enigmatic photographs might have meant to Anton Bures, who was traveling to New York to see a doctor for the cancer he was fighting.

In Sad Waltz and the Dancer who couldn’t dance, a robotically controlled marionette appears to play piano while a long-haired puppet dances erratically to music by Armenian composer Edward Mirzoyan. The piece premiered at the 14th Istanbul Biennial in 2015.

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Janet Cardiff & George Bures MillerSad Waltz and the Dancer who couldn’t dance

2015

robotic marionettes with sound

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On view concurrently at the UC Santa Cruz Arboretum and Botanic Garden from April 7 to June 30 is FOREST (for a thousand years…), an audio installation set in a redwood grove that purposes more than 30 speakers to blend natural and manmade sounds. Commissioned for dOCUMENTA 13 in Kassel, Germany, this will be the West Coast debut of the piece, which is presented by UC Santa Cruz’s Institute of the Arts and Sciences, the San Jose Museum of Art, and UCSC’s Arboretum and Botanic Garden.

The post The Poetry Machine and Other Works appeared first on Fraenkel Gallery.

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Hiroshi SugimotoMediterranean Sea, Cassis

1989

gelatin-silver print, 60 x 71-5/8 inches (framed)

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On view from March 8 – April 25, 2018, Hiroshi Sugimoto B.C. includes work from the artist’s earliest series Dioramas, depicting scenes of ancient sea life and primitive humanoids, and from Seascapes, with calm horizons “little changed visually from the sea of millions of years ago, when humans first gained self­‐awareness.”

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Hiroshi SugimotoGalapagos

1980

gelatin-silver print, 60 x 96 inches (framed)

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A long-­exposure photograph of a single burning candle from the series In Praise of Shadows alludes to the role of fire in “humankind’s ascendancy over other species,” while images from the series Lightning Fields record marks emitted by primordial electrical charges on photographic paper. Also included are works from Sea of Buddha, in which sculptures in a 13th century shrine stare back at the viewer as they did more than 800 years ago, and views of ancient landscapes such as Japan’s prehistoric Kegon Waterfall shrouded in mist, and Newspaper Rock in the American southwest, covered in petroglyphs made by Native Americans more than 2,000 years ago.

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Hiroshi SugimotoLightning Fields 6

2006

gelatin-silver print, 71-3/4 x 60 inches (framed)

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The exhibition begins with Pablo Picasso’s depiction of a white dove, printed directly onto the surface of Paul Robeson’s Songs of Peace in 1949, and continues with works by artists as wide-ranging as Josef Albers, Tauba Auerbach, Jean-Michel Basquiat, Joseph Beuys, Sophie Calle, Jean Dubuffet, Marlene Dumas, Yves Klein, Barbara Kruger, Sol LeWitt, Chris Ofili, Ed Ruscha, Cindy Sherman, and Andy Warhol. Included are works by supreme outliers such as Richard Hamilton, whose indelible un-artwork forever defined The Beatles’ white album; Christian Marclay, whose non-sleeve allowed his Record Without a Cover to accumulate a lifetime of scratches; and Gerhard Richter, whose 1984 oil painting on the surface of Glenn Gould’s revered Goldberg Variations leaves Bach’s composition see-able but forever unplayable.

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The exhibition will be accompanied by a 464-page hardcover catalogue, available in the gallery and on our website in January 2018, and distributed internationally by D.A.P.

The post Art & Vinyl: Artists & the Record Album from Picasso to the Present appeared first on Fraenkel Gallery.