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Find a couple.
Have each of them tell me a secret.
Install two safes in their home.
Lock each secret up in its own safe.
Keep the codes to myself.
The lovers will have to live with the other’s secret
close at hand but out of reach.

Writing is often integral to Calle’s work, as in her 2014 triptych Suicide (also on view), in which photographs of dark ripples on the surface of black water are accompanied by text sandblasted on glass: “They say the police can distinguish between people who drown themselves for love and those who drown themselves for money…”

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Sophie CalleCash Machine

1991/2003

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Featured in this exhibition will be two series incorporating portraits from ‘ready-made’ sources and addressing themes of privacy and violence. Calle’s Cash Machine photographs are made from ATM video surveillance footage, and each work is exhibited as a sequence of two to eleven images.

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Sophie CalleCollateral Damage. Targets (4) (Dommages collatéraux, Coeur de Cible)

1990 – 2003

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Nicholas NixonBebe, Cambridge

1980

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To present the world as he sees it Nixon has consistently used large, unwieldy cameras, with negatives measuring 8 x 10 inches or 11 x 14 inches, to describe life in precise, compelling detail.

His recurring themes—portraits of the very young and the very old, cities seen up close and afar, people on their porches, etc.—at first may appear to be unrelated strands. But, in retrospect, the photographs are woven together by the artist’s singular sensibility: a feeling of intimacy gained by clear-eyed, lucid description.

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Nicholas NixonElm Street, East Cambridge

1981

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Whether photographing landscape, couples making love, extreme close-ups of hair and skin, or family groups, Nixon’s work captures fleeting moments and gestures in an extended pause. His photographs seem to suspend time while evidencing a palpable consciousness of its passage.

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Nicholas NixonView of Essex Street, Near the Massachusetts Turnpike, Boston

1976

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Though well known for The Brown Sisters, the continuing annual portrait of his wife, Bebe, and her three sisters, Nixon’s wider body of work has been less well documented. The new book About Forty Years features 100 exquisitely reproduced images and will present the most thorough view yet of Nicholas Nixon’s expansive contributions to photography.

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The title of the exhibition refers to Carson McCullers’ novel, The Heart is a Lonely Hunter, and the poem that inspired it, The Lonely Hunter, written by Fiona MacLeod (aka William Sharp).

The Heart is a Lonely Hunter will feature works by: David Alekhuogie, Zak Arctander, Elizabeth Bick, Matthew Connors, Dru Donovan, J.W. Fisher, Curran Hatleberg, Fumi Ishino, Dwight Mackintosh, Christopher Miner, Bryson Rand, Heather Rasmussen, Judith Scott, David M. Stein, Ray Vickers, Didier William, Alice Wong, and Ying Gee Zhou.

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The artists’ ages and backgrounds vary widely; likewise, the works presented in the exhibition will encompass a wide range of media, including contemporary color and black-and-white photography, figurative and abstract painting, line drawing, mixed-media works, artists’ books, video, and sculpture made with found materials.

The post The Heart is a Lonely Hunter: Curated by Katy Grannan appeared first on Fraenkel Gallery.

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Richard MisrachNight Fishing, near Bonnet Carré Spillway, Louisiana

1998

pigment print, 20 x 24 inches (sheet & mount) [50.8 x 61 cm]

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The exhibition includes a number of works that have never before been exhibited or published: a 1976 self-portrait in White Sands, New Mexico; disorienting new images from his Color Reverse series; large-format photographs from the On the Beach project, and a remarkable 14-foot panorama of the U.S. border fence separating Tijuana, Mexico, from California.

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Richard MisrachUntitled (January 17, 2015, 6:32PM)

2015

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Fraenkel Gallery has exhibited and published Richard Misrach’s work for more than three decades. He is perhaps best known for his multi-decade Desert Cantos project; his documentation of the industrial corridor along the Mississippi River known as “Cancer Alley”; and On The Beach, which was the subject of a major traveling exhibition in 2007-09.

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Richard MisrachTourists, Utah

1994

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Coinciding with the exhibition is the release of his newest book, The Mysterious Opacity of Other Beings, published by Aperture ($80). Since his acclaimed publication On the Beach, Misrach has continued to make remarkably detailed depictions of the sea, seen from a viewpoint above. This is Misrach’s first book to focus exclusively on the human figure adrift in the shifting waters.

The post Being(s) 1975-2015 appeared first on Fraenkel Gallery.

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Alec SothBree, Liberty Cheer All-Stars, Corsicana, Texas

2012

pigment print, 43 x 56 inches (sheet) [109.2 x 142.2 cm]

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Celebrated for his haunting and influential portraits and landscapes in such acclaimed books as Sleeping by the Mississippi, Broken Manual, and NIAGARA, Alec Soth has recently turned his lens toward community life in the country. To aid in his search, Soth assumed the increasingly obsolescent role of community newspaper reporter. From upstate New York to Silicon Valley, he attended hundreds of meetings, dances, festivals and family gatherings.

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Alec SothMiss Model Contestants

2012

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Alec SothThe Key Hotel. Kissimmee, Florida

2012

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Soth has been represented by Fraenkel Gallery since May 2013. In conjunction with his exhibition at Fraenkel Gallery, photographs from Songbook will be presented concurrently at Sean Kelly, New York, and Weinstein Gallery, Minneapolis. To accompany the exhibitions, Mack Books in London has published the hardcover book Alec Soth: Songbook, featuring 75 tritone plates.

As a complement to the exhibition, Alec Soth will post new cameraphone photos on Fraenkel Gallery’s Instagram feed (@fraenkelgallery).

The post Songbook appeared first on Fraenkel Gallery.

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The earliest work in the exhibition is Charles Clifford’s moody study of the Alhambra, circa 1858; the most recent is Lee Friedlander’s bullet-riddled “NO SHOOTING” sign, made in June 2014. Photographic objects by Sol LeWitt, Jess, Christian Marclay, and Bernd & Hilla Becher find affinities with Charles Sheeler, Helen Levitt, Thomas Eakins, and William Eggleston. A found snapshot of an all-female wedding, dated 1930, appears near Nan Goldin’s 1978 self-portrait as a dominatrix and an 1860 daguerreotype of two girls holding an image of their deceased mother.

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Eadweard Muybridge and Diane Arbus—two very different artists whose work contains seemingly inexhaustible achievements—are among the photographers who make repeat appearances throughout The Plot Thickens. Other artists included are: Mel Bochner, Katy Grannan, Alfred Stieglitz, Kota Ezawa, and Ralph Eugene Meatyard, the Louisville optician who left behind an unforgettable body of work at his death in 1972, at the age of 46.

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Fraenkel Gallery opened in San Francisco in September 1979 with an exhibition of recently discovered albumen prints by the nineteenth-century photographer Carleton Watkins. Since then, the gallery has presented more than 300 exhibitions exploring photography and its connections to the other arts, and published 55 books on subjects ranging from Edward Hopper’s influence on photography to the sculptor David Smith’s multi-decade involvement with photographs, as well as the complete library of Diane Arbus and nine monographs by Lee Friedlander.

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