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Khan has consistently mined the history of art and literature for inspiration and source material. In this new body of work, a simple documentary photograph—Cy Twombly’s own snapshot of an unfinished blackboard painting in his studio in the 1960s—is his point of departure. Inspired by this photograph, Khan built a large chalkboard in his studio and documented the process of creating his own images triggered by Twombly’s famous scrawls and scribbles. The resulting accretion of moments depicts both the nearly-readable marks, as well as their immediate erasure, superimposed upon each other in numerous layers.

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In previous works, Khan has referenced the Bechers, Turner, Beethoven, and Rembrandt, among others; here he draws additional inspiration from John Cage, Agnes Martin, childhood poems, and ritual texts from the Islamic hajj. In recent years, sculpture and drawing have played a more pronounced role in his artistic practice as he blends homage and appropriation with his own mark-making.

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This exhibition is presented in association with DC Moore Gallery, New York.

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Garry Winogrand began photographing in 1948 at the age of 20. His inclusion in the landmark 1967 exhibition New Documents, curated by John Szarkowski at the Museum of Modern Art, heralded the arrival of a major talent. That exhibition, which also included the work of Diane Arbus and Lee Friedlander, traveled extensively throughout the U.S. and influenced an entire generation of photographers.

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Though Winogrand’s career is widely acclaimed, the scope and complexity of his achievements remain only tentatively explored. He famously worked with unstoppable energy and a peerless hunger for image-making. Throughout the 1960s he had received many accolades for his work, yet the last year of that decade was unparalleled. He received a second Guggenheim Fellowship, to study “the effect of the media on events”; The Animals was exhibited and published by the Museum of Modern Art, New York; he traveled and photographed extensively in Europe; and he met the woman who would become his third wife. Winogrand died of cancer in 1984.

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Major publications of Winogrand’s photographs include Woman Are Beautiful (1975), Public Relations (1977), Figments from the Real World (1988), The Man in the Crowd (1999), and Arrivals and Departures (2009). His photographs can be found in depth in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the San Francisco Museum of Art, the National Gallery of Art, and numerous other museums.

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Friedlander [b. 1934] is one of the rare artists in any medium to have sustained a body of influential work over five decades. To make the photographs in Mannequin, he returned to the hand-held, 35-mm camera that he used in the earliest decades of his career. Friedlander roamed the sidewalks of New York City, Los Angeles and San Francisco, focusing on storefront windows and reflections, which speak to marketplace notions of sex, fashion and consumerism, while recalling Atget’s surreal photographs of Parisian windows made one-hundred years earlier. Thoroughly straightforward, their unsettling and radical new compositions suggest photographs that have been torn up and pasted back together again in near-random ways.

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Friedlander first came to public attention in the landmark exhibition New Documents, at the Museum of Modern Art in 1967. The range of his work since then—including portraits, nudes, still lifes, and studies of people at work—is anchored in a uniquely vivid and far-reaching vision of the American scene.

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Lee Friedlander began photographing in 1948. More than forty books about his work have been published since the early 1970s. His career was the focus of a major traveling retrospective organized by the Museum of Modern Art, NY, in 2005. His work can be found in depth in the collections of the Museum of Modern Art, the Metropolitan Museum of Art, the San Francisco Museum of Art, and the National Gallery of Art, among many others.

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The largest works in the exhibition, measuring 8 x 4 feet, appear to be abstract tangles of colorful pigments, but which derive instead from animal intestines placed directly upon photo-sensitive paper and exposed to light. The lush hues are the result of light passing through the intestines as well as the chemical reaction of the organs in physical contact with the paper. Some of the images assume the form of columns, others dense “allover” skeins of lines. All are clearly concerned with mysteries of the organic.

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In a separate gallery a series of ethereal daguerreotypes will be on view, in all likelihood the largest daguerreotypes ever made. The images center on an unmade mattress in an ambiguous space, the bed either empty or topped with snakes. In two of the images lies a prone, naked woman.

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Fuss’s imagery, which in the past has depicted babies, water droplets, christening dresses, moving light, sunflowers, rabbit entrails, and human skulls, has long been recognized as rich in a universal symbolism. 

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Working from Talbot’s original paper negatives, Sugimoto’s vastly enlarged prints are arresting in their detail and atmosphere. The artist’s collaboration with Talbot encompasses the panoply of subject matter that has formed the backbone of photographic history—still-lifes, landscapes, architectural views, and portraits.

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By returning to, and enlarging, these traces from the origins of photography, Sugimoto’s Photogenic Drawings re-examine the magical effects of these first ‘drawings with light’.

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