Visitors to The Shop can discover signed posters by Nan Goldin, Katy Grannan, Alec Soth, Richard Learoyd, and Adam Fuss, as well as favorite Fraenkel Gallery books. For art-lovers looking for particularly unique gifts, The Shop will offer a curated array of anonymous and vernacular photographs. The Shop will also feature limited-edition publications and artworks, including Lee Friedlander’s large-format book America by Car; beautifully-printed broadsides of poetry accompanied by Robert Adams’ photographs; and San Francisco Panoramas, 1878 and 1990, by Eadweard Muybridge and Mark Klett.

Join us on Saturdays in December, when FraenkelLAB, The Thing Quarterly, The California Sunday Magazine, TBW Books, and Little Big Man Books will host a series of events and surprise visits with artists, including book signings. Follow @fraenkelLAB on Instagram for sale announcements and more news of special offers.

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Lee FriedlanderGrand Canyon National Park, Arizona

1997

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Lee Friedlander: Western Landscapes focuses on the photographs the artist made during a series of road trips through the 1990s and 2000s.

Friedlander’s black-and-white landscapes incorporate a panoply of natural forms: swooping mountain ridges, mirrored lakes, twisting trees, and tufted grasses. Even in daylight, Friedlander frequently employs flash to create densely layered compositions melding foreground and background.

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Lee FriedlanderLake Louise, Alberta, Canada

2000

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David Benjamin SherrySunrise on Mesquite Flat Dunes, Death Valley, California

2013

Traditional color darkroom photograph, 52 x 40 inches

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In an era of ubiquitous digital manipulation, David Benjamin Sherry is a dedicated analog photographer pushing color photography into new territory. Sherry works with a large-format 8×10-inch or 4×5-inch camera, and many of the artist’s photographs depict iconic landscapes of the West, made in national parks such as Zion Canyon, Yosemite, Death Valley, and Point Reyes National Seashore.

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David Benjamin SherryWinter Storm, Zion Canyon, Utah

2013

Traditional color darkroom photograph, 40 x 50 inches

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Although his choice of camera and subject matter may initially call to mind photographers such as Edward Weston, Ansel Adams, and Minor White, Sherry’s unorthodox approach to the medium challenges the tradition of the straight male gaze.

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David Benjamin SherryCanyon de Chelle, Chinle, Arizona

2013

Traditional color darkroom photograph, 52 x 40 inches

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FraenkelLAB, spearheaded by Frish Brandt and Jeffrey Fraenkel, is Fraenkel Gallery’s new venue for adventurous artwork in any medium.

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Hiroshi SugimotoPalais de Tokyo, Paris

2014

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As in the artist’s earlier photographs of movie houses, the exposure time is the entire length of the film being projected. However, for his recent work, the artist has personally chosen the specific films and brought them to these derelict theaters in which movies are no longer screened. To create his photograph of the Paramount Theater in Newark, New Jersey, for example, the exposure time was 134 minutes while Sugimoto projected On the Beach (1959), the post-apocalyptic film about nuclear war directed by Stanley Earl Kramer.

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Hiroshi SugimotoParamount Theater, Newark

2015

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In instances when there was no existing movie screen, a stage curtain becomes a subtly textured backdrop to the projection. For other deserted theaters, Sugimoto brought his own screen and placed it on the stage or proscenium in order to project the film. In each resulting photograph, the movie is seen only as a glowing white rectangle that appears suspended in space, illuminating the mysterious effects of the passage of time.

Over the past 40 years, time itself has been the overarching subject explored by Sugimoto through his photography. The artist recently commented, “I feel that I’m in a very interesting position, where I’m standing back to look at this change, at this moment in history of human beings… I want to witness how this big story of humans ends. It may keep running, or there might be a turning point to going backward. I don’t know whether the future or 2018 exists or not…”

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Hiroshi SugimotoEverett Square Theater, Boston

2015

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In a number of Sugimoto’s major exhibitions from the past 10 years, such as The History of History (Japan Society, New York and Arthur M. Sackler Gallery, Washington, D.C.) and Aujourd’hui, le monde est mort [Lost Human Genetic Archive] (Palais de Tokyo, Paris), the artist has placed his work in a context that extends from ancient history to the end of time. Among his other recent museum exhibitions are Past Tense at The J. Paul Getty Museum, Los Angeles, and Past and Present in Three Parts, at Chiba City Museum of Art, Japan, and Multimedia Museum of Art, Moscow. Sugimoto’s exhibition Lost Human Genetic Archive will be on view at Tokyo Photographic Art Museum in fall 2016.

The post Remains to Be Seen appeared first on Fraenkel Gallery.

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Hiroshi SugimotoTri City Drive-In, San Bernardino

1993

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In his new book Hiroshi Sugimoto: Theaters, the artist has written:

To watch a two-hour movie is simply to look at 172,800 photographic afterimages….My dream was to capture 170,000 photographs on a single frame of film. The image I had inside my brain was of a gleaming white screen inside a dark movie theater.

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Hiroshi SugimotoTeatro dei Rozzi, Siena

2014

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The presentation at FraenkelLAB is a complement to Hiroshi Sugimoto: Remains to be Seen at Fraenkel Gallery, which marks the U.S. debut of the artist’s photographs of abandoned theaters.

The post Theaters appeared first on Fraenkel Gallery.

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Among the highlights of the exhibition are striking and inventive posters from the mid-20th century, including the classic films Gilda, Niagara, The Searchers, and All About Eve; Alfred Hitchcock’s Notorious, Rear Window, and Psycho; and B movies Cover Girl Killer, Captive Wild Woman, and Girl with an Itch. On view will be many significant posters from the 1960s, such as Russ Meyer’s cult exploitation film Faster Pussycat! Kill! Kill!; Michelangelo Antonioni’s Blow-Up; a 1968 poster for the first theatrical release of Un Chien Andalou (Dir. Luis Buñuel and Salvador Dalí, 1928); and a vintage Japanese poster for Buñuel’s Belle de Jour. The exhibition also features sensational posters for popular movies set in San Francisco: the 1947 film noir Dark Passage (starring Humphrey Bogart and Lauren Bacall); Steve McQueen as Bullitt (1968); and Clint Eastwood as Dirty Harry (1971).

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Other rare works to be exhibited are posters for art-house and experimental films, including A Bigger Splash, featuring artists David Hockney and Peter Schlesinger and curator Henry Geldzahler, and The Killing of a Chinese Bookie (Dir. John Cassavetes, 1976). The exhibition also will feature iconic posters for several acclaimed films of the 1980s-1990s: Platoon (Dir. Oliver Stone), The Crying Game (Dir. Neil Jordan) and Reservoir Dogs (Dir. Quentin Tarantino).

FraenkelLAB, spearheaded by Frish Brandt and Jeffrey Fraenkel, is Fraenkel Gallery’s new venue for adventurous artwork in any medium.

The post Bullitt, Blow-Up, & Other Dynamite Movie Posters of the 20th Century appeared first on Fraenkel Gallery.

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Alec SothRiverview Motel

2005

pigment print, 49-1/8 x 41-1/8 inches (framed) [124.8 x 104.5 cm]

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How I Learned to See is organized by six sections or “chapters” on the subjects of loneliness, love, aging, solitude, beauty, and discovery. Yanagihara has selected an idiosyncratic mix, with iconic and less familiar works by 12 artists: Robert Adams, Diane Arbus, Elisheva Biernoff, Harry Callahan, Lee Friedlander, Nan Goldin, Katy Grannan, Peter Hujar, Ralph Eugene Meatyard, Richard Misrach, Nicholas Nixon, Alec Soth, and Hiroshi Sugimoto.

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Robert AdamsColorado Springs, Colorado

1968

gelatin silver print, 14 x 11 inches (sheet) [36.5 x 27.9 cm]

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As a preface, the exhibition begins with an early work by Peter Hujar, Girl Throwing Ball, Southbury (I), 1957, which depicts a girl playing in a field at a state facility for adults with intellectual disabilities.

The first chapter, on loneliness, features The Backwards Man in his hotel room, N.Y.C. 1961 by Diane Arbus; a photograph of a desolate motel at night by Alec Soth; Robert Adams’s picture of a solitary figure in a suburban home; a Nicholas Nixon photograph of an AIDS patient; and an affecting recent portrait by Katy Grannan.

The second section of How I Learned to See explores love, including couples by Arbus; erotic works by Nan Goldin; Elisheva Biernoff’s painting based on a found photograph; and two pictures from Ralph Eugene Meatyard’s Lucybelle Crater series (1970-72), showing pairs posing contentedly in humorous and disfiguring masks.

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Nan GoldinClemens and Jens embracing in my hall, Paris

2001

Cibachrome print, 28-1/2 x 41 inches (framed) [72.4 x 104.1 cm]

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Chapter 3, on aging, begins with a photograph by Arbus of a former beauty, heavily made up while smoking in bed (Brenda Diana Duff Frazier, 1938 Debutante of the Year, at home, Boston, Mass. 1966). Another highlight of this section is a group of eight works from Nixon’s series The Brown Sisters, for which he has photographed his wife, Bebe, and her three sisters annually over the course of 41 years.

The following section explores solitude through works by Harry Callahan, Lee Friedlander, and Arbus, as well as Adams’ celebrated photograph of an illuminated gas station at night (Pikes Peak, Colorado Springs, 1969).

Beauty is the theme of the Chapter 5, for which the curator has selected two seldom seen portraits by Hujar from the late 1950s; Callahan’s iconic portrait of his wife in the water, with her eyes closed and hair floating on the surface (Eleanor, Chicago, 1949); and a luminous work by Goldin (Pawel on the beach laughing, Positano, 1996).

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Richard MisrachUntitled (Hawaii XV)

1978

pigment print, 56-1/2 x 69-1/2 inches (framed) [143.5 x 176.5 cm]

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The final chapter features work that suggests the position of an outsider coming upon an unfamiliar subject and milieu, including Hiroshi Sugimoto’s Mandrill, 1980, from his Diorama series; Soth’s photograph of a single light bulb hanging above a mysterious clearing in the trees; as well as a pair of pictures by Richard Misrach, shot in Hawaii at night, in which a harsh flash captures the odd tangle of vegetation against the shadowy background of a dense tropical forest.

The post How I Learned to See: An (Ongoing) Education in Pictures, Curated by Hanya Yanagihara appeared first on Fraenkel Gallery.

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Richard T. Walkeran is that isn’t always

2015 (video still)

video projection, 9 min., 16 sec.

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In the video an is that isn’t always (2015), the artist lies alone in the white sands of the New Mexico desert, recording his thoughts about how to begin to comprehend the expansive space of his surroundings. As the tableau changes, a mountain peak is replaced by a black-and-white image of a different summit. The focus moves from vast expanses of natural beauty to close-ups of unassuming rocks with simulated mountain peaks. An acoustic and electronic accompaniment is synchronized to the shifting views, creating a choreography of music and images.

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Richard T. Walkeran elusive equivalence

2016

archival pigment print collage, 18 x 14 1/2 inches

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Also featured in the exhibition are sculptures in which angular neon tubes pierce and wrap around rocks and branches, creating lines of bright light that envelope rough natural forms. Several other works incorporate sound elements, in the form of keyboards, guitars, microphones and amplifiers that appear to be capturing the frequency of stones and mountains.

FraenkelLAB, spearheaded by Frish Brandt and Jeffrey Fraenkel, is Fraenkel Gallery’s new venue for adventurous artwork in any medium.

The post Contingency of an Afterthought appeared first on Fraenkel Gallery.

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Christian MarclayChewing Gum (video still)

2016

Single-channel projected animation, silent

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Each animation focuses on a particular object, commonly discarded: cigarette butts, bottle caps, chewing gum, cotton swabs, plastic lids and straws. Countless photographs, taken at different times and on different streets, constitute the frames of each animation.

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Christian MarclayCigarettes

(video still), 2016

single-channel animation, silent

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These static photographs are then edited into sequences which, played back in rapid succession, give the illusion of motion: burnt cigarettes grow back; colorful bottle caps flash and blend; hairy cotton swabs wiggle; blobs of chewing gum divide and multiply like cells; and plastic straws rotate like clockwork.

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Christian MarclayLids and Straws (One Minute)

(video still), 2016

single-channel animation, silent

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Unlike traditional animation in which the setting is consistent and spatial continuity is maintained, in this work the background changes frantically. The flickering images recall flip-books, early cinema, and animation devices of the late nineteenth century, such as the zoetrope used by Eadweard Muybridge.

The post Six New Animations appeared first on Fraenkel Gallery.

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These twelve artists’ humble but surprisingly imperious paintings, sculptures, photographs and drawings will hopefully make any serious property owner want to throw caution to the wind, pack up their living space, and start over.”

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Other works reveal unexpected aesthetic pleasure in overlooked fixtures of the home, such as a light switch, a floor mat, stereo equipment, a breaker box, toilet paper, and kitchen sponges.

The post Home Improvements: Curated by John Waters appeared first on Fraenkel Gallery.

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Robert AdamsAstoria, Oregon

2015

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 36.5 cm]

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Robert AdamsAstoria, Oregon

2015

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 36.5 cm]

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Looking intently at the house in Astoria, Oregon, that he and his wife Kerstin have shared for almost 20 years, Adams focuses on the details that define “home”: a kitchen table, books and paintings, wooden carvings and calligraphy (created by both Adams and his wife), flowers in vases, and the darkroom with its tools of the artist’s trade. Periodically shifting to porch or garden, as one might step outside over the course of a day, Adams’s photographs convey appreciation of the nearly imperceptible changes in familiar surroundings: the view of the Columbia River, the play of light on leaves, and most especially the ever-shifting clouds.

In his earlier series such as Prairie, Denver, Our Lives and Our Children, and California, Adams has often explored the larger question of the places we call home.

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Robert AdamsAstoria, Oregon

2015

gelatin silver print, 14 x 11 inches (sheet) [36.5 x 27.9 cm]

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The exhibition coincides with Fraenkel Gallery’s publication of a new monograph, Around the House. This 84-page publication features 71 illustrations, and is available in bookstores and at fraenkelgallery.com ($40).

The post Around the House & Other New Work appeared first on Fraenkel Gallery.

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Peter HujarLower Manhattan from the Harbor

1976

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

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Looking beyond Hujar’s most celebrated works, 21 Pictures will also feature a number of less familiar photographs, such as gritty scenes of city life in the 1970s and 1980s, dramatic seascapes, poignant still lifes, and penetrating “portraits” of animals, in which he conveys the vulnerability and individuality of his subjects.

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Peter HujarBouche Walker (Reggie’s Dog)

1981

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

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Hujar’s work is also notable for its candid exploration of sexuality, death, and life. The exhibition will include openly erotic portraits, as well as a haunting photograph of the Capuchin Catacombs in Palermo, Sicily.

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Peter HujarSelf-Portrait Jumping (I)

1974

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

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21 Pictures will be Fraenkel Gallery’s fourth solo exhibition of Hujar’s work, and it follows two years after the gallery’s publication Peter Hujar: Love & Lust.

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