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Adam FussUntitled

1988

gelatin-silver photogram, 47-3/4 x 52-1/4 inches (framed)

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Liquids, and their infinite variety of forms, have been a central preoccupation for Fuss since his earliest works made in the 1980s. This exhibition, through an in-depth focus on this single element so essential to human life, explores the expressive potential of liquids in a variety of dynamic states.

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Adam FussUntitled

2017

unique chromogenic photogram, 71 x 118-1/4 inches (framed)

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From its beginnings, Fuss’s work has evoked the essential and spiritual elements of the natural world. Fuss magnifies the versatile and transitional nature of liquids when in motion, and when acted upon, in varied photographs of glycerin drops, waterfalls, and snakes rippling along the surface of still water.

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Filmed in the Black Rock desert, an occasionally related occurrence #1 starts with a cymbal in the center of the screen. Rocks and stones interrupt the frame, hitting and missing the cymbal, as if the landscape is playing for and to itself. Eventually the cymbal succumbs to the inertia of the desert, silenced as it falls to the ground.

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Richard T. Walkeran occasionally related occurrence #1 [detail]

2017

single channel HD video, dimensions variable, 7 minutes 30 seconds

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For an occasionally related occurrence #2, the artist produced a record of a chorus of keyboards playing a looped chord progression. The record is a ‘picture disk’ of an 19th-century etching of mount Shasta in Northern California. The etching is placed in front of a mountain in the eastern Sierra Nevada mountains, creating a strange visual space that plays with notions of distance in real and fabricated, geographical and historic terms.

FraenkelLAB, opened in April 2016 and spearheaded by Frish Brandt and Jeffrey Fraenkel, is Fraenkel Gallery’s venue for adventurous artwork from any era and in any medium. Follow @fraenkelLAB on Instagram for the latest news about upcoming events.

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Alec SothUntitled

2017

pigment print

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FraenkelLAB, opened in April 2016 and spearheaded by Frish Brandt and Jeffrey Fraenkel, is Fraenkel Gallery’s venue for adventurous artwork from any era and in any medium. Follow @fraenkelLAB on Instagram for the latest news about upcoming events.

The post Seesaw: Portraiture and Play with Alec Soth & Friends appeared first on Fraenkel Gallery.

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Sol LeWittWall Drawing #786

1995

black pencil, black crayon, dimensions variable. A 36-inch grid covering the wall. All two-part combinations of arcs from corners and sides. Black pencil grid, black crayon lines.

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Gallery II will be installed with Wall Drawing #669, an irregular twelve-pointed star drawn with India ink and filled in solid, first executed in 1991.

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Sol LeWittWall Drawing #340A

1993

black crayon, dimensions variable. A six-part drawing. The wall is divided horizontally and vertically into six equal squares, bordered and separated by 6-inch white bands. Within each square a geometric figure, outside of which are black horizontal parallel lines and within which are black vertical parallel lines. All lines are one inch apart, and the horizontal lines do not enter the figures. Drawn in black crayon.

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Wall Drawing #340A, first exhibited at the Addison Gallery of American Art in 1993, will be installed in Gallery III. The wall will be divided horizontally and vertically into six equal squares, each containing a geometric figure comprised of vertical, parallel lines.

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Liz DeschenesUntitled (Étienne-Jules Marey #1)

2017

thirteen unique gelatin silver photograms, 85-7/8 x 85-7/8 inches (overall installation) [218 x 218 cm]

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Her photograms are a direct record of atmospheric conditions during the process of their production: light, humidity, and the outside temperature, among other factors, determine the surface of the final works.

Learn more about Liz Deschenes’ camera-less photography from SFMOMA & ICA Boston in the video below.

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Katy GrannanNicole, Sunnydale Avenue (II)

2006

pigment print, 41-1/4 x 51-1/4 inches (framed) [104.8 x 130.2 cm]

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Grannan’s debut film, The Nine, will be screened for one night only at the Roxie Theater in San Francisco on September 19 at 7pm. The Nine is a visual elegy to a childlike drifter named Kiki, whose only means of escape is through her imagination. The film, made over the course of five years, is an intimate and at times disturbing view into an America that most would rather ignore. Raw, poetic, direct, and unnerving, the film is less a window into a foreign world than a distorted mirror reflecting our own shared existence. The screening will be followed by a Q&A with the director and members of the community featured in The Nine. To learn more and to purchase tickets, click here.

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FraenkelLAB, opened in April 2016 and spearheaded by Frish Brandt and Jeffrey Fraenkel, is Fraenkel Gallery’s venue for adventurous artwork from any era and in any medium. Follow @fraenkelLAB on Instagram for the latest news about upcoming events.

The post Lady Into Fox appeared first on Fraenkel Gallery.

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Sophie CalleAutobiographies (Morning)

[detail], 2016

pigment print mounted on aluminum, text panel, 20 x 20 inches (framed) [51 x 51 cm]

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My mother, my cat, my father, in that order follows upon the deaths of Calle’s aforementioned loved ones, examining loss and absence from the artist’s characteristically unsentimental perspective. Several of Calle’s Autobiographies are inspired by her own and her mother’s diaries, such as this text from Autobiographies (My Mother Died):

On December 27, 1986, my mother wrote in
Her diary: “My mother died today.”
On March 15, 2006, in turn, I wrote in mine:
“My mother died today.”
No one will say this about me.
The end.

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Sophie CalleSilence

2012

inkjet print on fine art cotton Hahnehühle paper, mounted on aluminum, in brass-hinged wooden box

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The Autobiographies series combines the artist’s sly, sardonic sense of visual humor with stories that are too peculiar to have been invented. As with much of her work, Calle’s unique form of autobiography can be seen as a form of performance. Forgoing a sense of nostalgia, the artist puts seemingly private events into the public eye, recounting emotional parent-child interactions that are seldom described.

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Sophie CalleAutobiographies (My Mother, My Cat, My Father, in that order)

2017

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My mother, my cat, my father, in that order coincides with the exhibition Sophie Calle: Missing, curated by Ars Citizen, to be presented at Fort Mason Center for Arts and Culture, San Francisco, June 29–August 20, 2017.

In the 2007 Venice Biennale, Calle represented France with the exhibition Take Care of Yourself, which subsequently traveled to museums in ten countries and was accompanied by a major publication. Among Calle’s many other acclaimed photobooks are Suite Vénitienne, Double Game, The Address Book, and True Stories (2016), which features several of the Autobiographies in the FraenkelLAB exhibition.

FraenkelLAB, opened in April 2016 and spearheaded by Frish Brandt and Jeffrey Fraenkel, is Fraenkel Gallery’s venue for adventurous artwork from any era and in any medium. Follow @fraenkelLAB on Instagram for the latest news about upcoming events at FraenkelLAB.

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Richard MisrachSwastika, Barstow, California

2017

pigment print, 62-3/4 x 82-3/4 inches (framed) [159.4 x 210.2 cm]

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Richard Misrach“Trump Loves American People,” North of Reno, Nevada

2016

pigment print, 62-3/4 x 82-3/4 inches (framed) [159.4 x 210.2 cm]

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In his travels through desolate areas of southern California, Arizona, and Nevada, the artist found countless signs of despair, protest, and anger scrawled on derelict buildings and rocky outcrops. His images of spray-painted graffiti record messages of desperation, hatred, grief, and hopelessness for the country’s future. The new work builds on Misrach’s photographs of related inscriptions made during the Obama years, images that now can be seen as unwitting omens of the abrupt shift in public discourse that was to come.

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Richard Misrach“You are here,” Desert Center, California

2017

pigment print, 23-1/2 x 17-3/4 inches (framed) [59.7 x 45.1 cm]

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The Writing on the Wall is accompanied by a 16-page publication illustrating 25 photographs from the series. This artist’s book will be available free of charge to visitors during the exhibition.

Fifty percent of all exhibition proceeds will be donated to Human Rights Watch.

Opening June 28 at Pace and Pace/MacGill Gallery in New York is Misrach’s Border Cantos, a collaboration with experimental composer Guillermo Galindo. Border Cantos traveled to the San Jose Museum of Art; Amon Carter Museum of Art, Fort Worth; and Crystal Bridges Museum of American Art in 2016-17. The exhibition and the accompanying publication explored complex issues surrounding the US-Mexico border through Misrach’s photographs of landscape and objects left behind by migrants, together with Galindo’s haunting musical instruments, sound installations, and scores.

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Elisheva Biernoff’s hypnotically detailed works are based on found, anonymous photographs which are painted to exact scale as faithfully as possible. The paintings are made on thin sheets of sanded wood measuring approximately 3-1/2 inches in height or width.

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The subjects of Biernoff’s paintings are typically strangers and landscapes that evince an atmosphere of uncertainty and melancholy. The images frequently depict figures in enigmatic settings, and the relations among the people are likewise ambiguous. An example is Exposure (2017), a faded portrait of an American soldier posing in a jungle; inscribed on the verso are the words “Me. Wish I was Home.”

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Her paintings are displayed on small, handmade stands that allow the viewer to glimpse the reverse sides, which are painted with equal detail and finesse. The backs of the photographs often carry industrial markings (for example, “THIS PAPER MANUFACTURED BY KODAK”) or personal inscriptions such as “Gary + Paul 1951,” all rendered by the artist in paint.

On occasion of the exhibition Fraenkel Gallery has published Elisheva Biernoff, the first monograph devoted to the artist’s work. The book has 45 illustrations reproducing fourteen of the artist’s paintings—front and back—at actual scale and in extraordinary detail. More information about the catalogue is available here.

The post Paintings appeared first on Fraenkel Gallery.

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The exhibition will feature Kallmyer’s project Commonfield Clay, in which soil was made into sound. Through a residency at the Pulitzer Arts Foundation in St. Louis, Kallmyer created ceramic chimes from clay collected from the banks of the Mississippi River. At FraenkelLAB, the earthenware instruments in Commonfield Clay will be activated with performances by Kallmyer and a number of Bay Area artists during the opening reception on May 18 and on Friday evenings from May 26 through June 16.

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For Listening is a Luxury, Kallmyer also will debut All Possible Music, an oversized book of musical scores reflecting different conceptualizations of what music could be—including music that could never happen. The book, created through a process similar to exquisite corpse drawings, aims to conceive of music in an expansive context, including the following scores:

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FraenkelLAB, opened in April 2016 and spearheaded by Frish Brandt and Jeffrey Fraenkel, is Fraenkel Gallery’s venue for adventurous artwork from any era and in any medium. Follow @fraenkelLAB on Instagram for the latest news about upcoming events.

The post Listening is a Luxury appeared first on Fraenkel Gallery.

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For the artist’s project Dominique Lambert (2004-2010), she sought to catalog the identity of every man and woman in France who shares this very common name. Solinas began by contacting 191 persons named “Dominique Lambert,” and sent questionnaires to the participants in order to find myriad ways to define them as individuals. Each person’s answers were interpreted by a committee comprised of a psychologist, a statistician, a police inspector, and an attorney. The resulting individual profiles were used by the police to create computer-generated portraits. Solinas then sought out and photographed real people who resembled these likenesses. Ultimately, the artwork compiles all these perspectives into a set of 21 books dedicated to a search for identity and questioning the official tools of representation of the individual.

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Using a large-format camera, the artist photographed young men face-on and in profile, similar to the conventions used in identity cards and mugshots. Solinas then subtly transformed each image by hand to highlight certain facial characteristics by which a person is commonly classified, accentuating and distorting the realistic image to near caricature.

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She delves into the history of identity photographs in Sans Titre (M.Bertillon), inspired by Alphonse Bertillon, who invented a systematic method for using portrait photography to recognize individuals in criminal and forensic investigations. In one of her works, Solinas uses facial analysis software to transform Bertillon’s 1893 photographic portrait into a mask-like three-dimensional image in paper.

The artist also considers how photography may be used as an investigative tool, and her recent work researches hidden worlds and unseen realities. Le Pourquoi Pas? (“Why Not?) is a new body of work that includes a video of a conversation between an Icelandic medium and his client’s deceased friend. In related cyanotype photographs, titled Equivalences, Solinas draws on Icelandic lore to search for creatures in the lava fields.

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FraenkelLAB, spearheaded by Frish Brandt and Jeffrey Fraenkel, is Fraenkel Gallery’s new venue for adventurous artwork from any era and in any medium. Follow @fraenkelLAB on Instagram for the latest news about upcoming events for the exhibition.

The post Identité appeared first on Fraenkel Gallery.

American Mystic includes a number of photographs in which Meatyard cast family members and friends in central roles, often masked and enacting symbolic dramas, such as Romance (N.) from Ambrose Bierce #3, 1962.

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Ralph Eugene MeatyardRomance (N.) from Ambrose Bierce # 3

1962

gelatin silver print, 13 x 10 inches (mount) [33.0 x 25.4 cm]

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Meatyard also experimented with multiple exposures, motion blur, distortion, and other methods of abstraction, as in the blurred landscapes of his “Motion-Sound” images. In addition, American Mystic will present a group of shimmering photographs of Kentucky’s Red River Gorge, which were featured in the 1971 book The Unforeseen Wilderness, accompanied by text by his friend Wendell Berry.

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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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In the gallery’s accompanying publication Ralph Eugene Meatyard: American Mystic, Alexander Nemerov examines Meatyard’s creative process through a series of short texts paired with 48 of Meatyard’s photographs. The 100-page, fully illustrated hardcover book will be available at the gallery and at fraenkelgallery.com ($45). Fraenkel Gallery will host a reading and book signing with the author on Saturday, March 11, at 2pm.

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Jason Fulford: High Anxiety is a multi-part exhibition featuring 12 eclectic color photographs, a slideshow titled 33 Questions from a Mad-House, and an installation for the artist’s opening night performance. Fulford is known for the playful, enigmatic quality of his photographs, books, and performances, which provide more questions than answers. Using subtle humor and open-ended narrative, Fulford’s exhibition will explore the emotional state of the country and our communal feelings of anxiety.

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Jason FulfordDeming

2013

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The photographs in High Anxiety are drawn from Fulford’s recent monograph, Contains: 3 Books, which includes the volumes I Am Napoleon, Mild Moderate Severe Profound, and &&. In the gallery, Fulford’s photographs will be interspersed with texts from various sources that were included from the volume I Am Napoleon, such as this quote from Nietzsche’s Human, All Too Human: “remember that dancing is not the same thing as staggering weakly back and forth between different impulses.”

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Jason FulfordSt. Louis

2007

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The slideshow, a collaboration with curator Jordan Stein, is an unconventional interview in which questions, drawn from Nellie Bly’s 19th-century exposé on insane asylums, are followed by responses in the form of photographs by Fulford. In addition, throughout the exhibition, visitors will be able to request copies of “case studies” related to notions of madness, which Fulford published in his book Mild Moderate Severe Profound.

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Jason FulfordRoquebrune-Cap-Martin

2014

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The works in the exhibition were partly inspired by Mel Brooks’ 1977 satirical psycho-comedy High Anxiety, which parodies iconic films by Alfred Hitchcock. On February 27 at 8pm, Fulford and Fraenkel Gallery are pleased to join with The Roxie Theater in San Francisco to present a special screening of High Anxiety in conjunction with the exhibition. For the screening, Fulford will present selected shorts and a raffle of homemade items.

FraenkelLAB, spearheaded by Frish Brandt and Jeffrey Fraenkel, is Fraenkel Gallery’s new venue for adventurous artwork from any era and in any medium. Follow @fraenkelLAB on Instagram for the latest news about other upcoming events.

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