Robert Adams has been awarded two Guggenheim Fellowships and the Photographer’s Fellowship from the National Endowment for the Arts. In 1989 he was the subject of a major retrospective organized by the Philadelphia Museum of Art. His work and writings on photographs have appeared in numerous books and monographs.

Robert Adams: West from the Columbia will be on view at Fraenkel Gallery concurrently with Carleton Watkins: Recent Acquisitions.

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Bucklow’s Guest comprise the silhouettes of his friends and fellow artists (including Matthew Barney, Adam Fuss and Ross Bleckner, among others) – faceless portraits, glimpses of the subjects’ spiritual, or natural selves. Bucklow takes as his concern the relationships that exist between nature and man, the organic and the cultural. He says:

Bucklow lives and works in London. His work is in the collections of the Museum of Modern Art, New York and the Metropolitan Museum of Art, New York, among others.

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Clark’s portfolio, Untitled (KIDS), is made up of 15 cibachrome prints related to his current film, Kids. Again taking adolescence as his subject matter, Clark’s pictures are full of the fear, bravado, violence and vulnerability that mark that age.

Larry Clark is one of the seminal observers of our time. His images document the dispossessed, the socially deviant, the ignoble identity seekers. Influenced in the early 1960s by Bob Dylan and Lenny Bruce, Clark was also encouraged by the work of Robert Frank and W. Eugene Smith.

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Virtually the entire history of photography is represented by the approximately seventy-five photographs on view. All works have been acquired by the gallery within the last year. Pictures range from Nadar’s 1864 woodburytype of Georges Sand to an unpublished Diane Arbus, South Bay Singles Club Couple on a Couch, 1970, to a recent Christopher Bucklow photogram from his series Guest.

An apparently unique print by Edward Steichen, View into 40^th Street at Night, 1925, addresses the texture of light between two Manhattan skyscrapers at the end of the day. An anonymous nineteenth century photographer observes the oddity of enormous hail stones from “the great storm June 20, 1870.” And the forms and characteristics of gates, door and passageways is made evident by Eugene Atget in six recently acquired albumen prints, made in Paris in the first two decades of the century.

Among the quirkier photographs in the exhibition are several anonymous works: a picture of a placard announcing the rules to follow at Camp Razzle Dazzle, and the headless forms of menswear lined up in a tailor’s shop display.

Also featured are recent images by Larry Clark, Adam Fuss, Nan Goldin, Jack Pierson and Hiroshi Sugimoto, among many others.

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Witkin is concerned with the physical realm, the spiritual realm and the structures- specifically religion, literature and the visual arts- with which humans have tried to understand those worlds. His frequent allusions to the themes and iconography of Western high art are both continuations and revisions of that tradition. The grotesque, the bizarre and the shocking figures that populate Witkin’s pictures are the means with which Witkin examines themes common throughout art history. The focus on various conditions and states of the physical–both human and animal–forces us to consider the relative nature of beauty and hideousness, as well as laying bare our common mortality.

Witkin controls all aspects of photographic production. Often beginning with sketches and drawings, he creates complicated scenes with backdrops and props before bringing his subjects into a highly choreographed studio environment. After shooting, Witkin scratches and draws on the negatives, then prints them through a tissue selectively toning and bleaching the final prints, thereby producing a rich, baroque aesthetic.

Joel-Peter Witkin’s photographs have been exhibited in museum and gallery exhibitions around the world. He is the recipient of numerous awards and fellowships including four photography fellowships from the National Endowment for the Arts.

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Gutmann says of the work:

John Gutmann, who turns ninety this May has been quietly working on the current exhibition for many years. Known as an assiduous collector himself, Gutmann will include here several works from his collection of African art, as well as graphics and other objects relating to the theme of death.

Born in Germany and trained as a painter, Gutmann took up photography shortly before he departed for the United States in 1933. With a European’s cultural background and an eye trained in the German avant-garde, Gutmann observed aspects of American culture that eluded most American artists of his time.

Gutmann has been the subject of a number of important museum exhibitions internationally, including a traveling retrospective organized by the San Francisco Museum of Modern Art in 1989.

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Until now, all of Sugimoto’s Still Lifes have been made in natural history museums, questioning the nature of photograph “as witness,” as well as the way in which the medium represents the world in two dimensions. This ideology continues in the current exhibition which is comprised not only of natural history museums (including the Academy of Sciences, San Francisco) but also Madame Tussaud’s Wax Museum, London and the Movieland Wax Museum in Buena Park, California. Sugimoto has expanded his study to include the mysteries of prehistoric marine life, the majesty of Queen Victoria, the methods of the Boston Strangler, and the glamour of Elizabeth Taylor.

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Originally appropriated from life, dioramas are abstracted further by means of black-and-white translation and careful cropping until they appear nearly resuscitated. Upon closer inspection, the artificial aspect of their content becomes apparent. The organic turns inorganic; all is artifice. The photograph, like the diorama, is a theater of spectacles, a simulacrum.

Currently the focus of a retrospective at the Kunsthalle, Basel, Sugimoto’s work is exhibited internationally. His photographs are included in countless private and public collections including the Metropolitan Museum of Art, the Museum of Modern Art, New York, the San Francisco Museum of Modern Art and the Museum of Contemporary Art, Chicago among others.

This exhibition is concurrent with Lee Friedlander: The Little Screens.

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Lee Friedlander is the recipient of countless awards and fellowships including a MacArthur grant (1990) and the MacDowell Colony Award (1986). His work is widely exhibited and published including most recently Letters from the People, The Jazz People of New Orleans, LIke a One-Eyed Cat, and Maria.

This exhibition is concurrent with Hiroshi Sugimoto: Still Life.

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