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Garry Winogrand died in 1984 at the age of fifty-six. His career as a photographer spanned a full generation during which time his work challenged and revised the standards by which ambitious photography is judged. Winogrand is the subject of a traveling retrospective exhibition and monograph entitled Figments from the Real World, organized by the Museum of Modern Art, New York (1988).

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Wessel is the recipient of two Guggenheim fellowships, and three National Endowment of the Arts fellowships. Most recently he has exhibited at the Rhode Island School of Design in Providence and in Japan. His work is included in the collections of the Museum of Modern Art, New York; San Francisco Museum of Modern Art; Seagrams Collection, New York; George Eastman House, Rochester, and others.

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Part II of the exhibition concentrates on Watkins’ work after his groundbreaking Yosemite photographs of 1861 through 1866. His definitive view of San Francisco from Telegraph Hill (c.1868) as well as mammoth-plate images of the Cliff House and Seal Rocks will be included. Among Watkins’ most astonishing photographs are those he made on the uninhabited Farallon Islands (c. 1869), thirty miles off the coast of San Francisco. The very act of transporting his enormous glass plates, chemicals, freshwater, and darktent to these remote islands and back remain an impressive feat even by today’s standards.

In 1867 Watkins photographed along the Columbia River in Oregon, producing some of his most well-known images, such as “City of Portland,” “Cape Horn,” and “Castle Rock.” Watkins later brought the same sensitivity to his photographs of early mining sites that he did to his more classic landscapes. The exhibition concludes with two images made on a trip to Utah in 1873 with the painter WIlliam Keith. Because Watkins’ printer broke several of his glass-plates upon his return from Utah, these images are among his most scarce.

Accompanying the exhibitions is a 230-page clothbound book with 111 laser reproductions entitled Carleton E. Watkins published by Fraenkel Gallery in association with Bedford Arts Publishers.

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Part I of the exhibition concentrates on Watkin’s photographs of Yosemite and of trees in the Mariposa Grove.  The mammoth-plate albumen prints on exhibition are in exceptionally fine condition.  Photographs in the exhibition will include various views of such natural moments as Half Dome, Cathedral Rock, and Three Brothers: places to which Watkins returned to explore photographically over the years.  The pictures which Watkins tooks in 1861 were instrumental in Congress’s 1864 decision to declare Yosemite inviolate.

Accompanying the exhibitions is a 230 page clothbound book with 111 laser Fultone reproductions entitled Carleton E. Watkins published by Fraenkel Gallery in association with Bedford Arts Publishers.

Part II: “Carleton Watkins: The Pacific Coast, Oregon and Utah,” Photographs 1863-1874 will be on exhibit June 28 through August 5, 1989.

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By combining historical facts and photographs of contemporary scenes, Misrach takes poetic – or rather political – license with the representation of events.  These photographs, strangely elegant while sombre and brutal, recall a long history of elegiac art, though these specific photographs serve to forewarn more than to commemorate.

Considered one of the most significant and influential photographers working in color, Misrach in his recent work evidences an extraordinary sensitivity to light and its atmospheric effects on the land.  His use of the cumbersome 8×10” view camera fills the photographs with dense and rewarding detail.  Misrach has received numerous fellowships and awards including three National Endowment for the Arts Fellowships (1973, 1977, 1984), a John Simon Guggenheim Memorial Fellowship, and the International Center for Photography Award for outstanding publication of 1987 (Desert Cantos, University of New Mexico Press).

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Diane Arbus is unquestionably one of the most influential photographers of her generation. Nineteen close-up studies of faces by Diane Arbus will be on view at Fraenkel Gallery, 55 Grant Avenue from March 1 through April 8.

Photographs in the exhibition range from 1965 through 1970 including several rarely seen images such as Girl in a watch cap, New York City, 1966 and a portrait of Mae West, 1965 in her bedroom.

Throughout her career, Arbus often brought her camera perilously close to the faces of her subjects. In the finished prints, the faces frequently filled the frame, making them larger than life and, in turn, dwarfing the face of the viewer. Well-known examples of this include Puerto Rican woman with a beauty mark, New York City, 1965, Woman with a veil on Fifth Avenue, New York City, 1968 and the Buddha-like visage of Anderson Hayes Cooper, 1967. In this way, Arbus brings us closer to her subjects than most everyday opportunities would allow, often to the discomfort of the viewer.

Diane Arbus was a singular and explosive force in photography, reshaping both the ways pictures are made and our response to them. John Szarkowski, Director of Photography at the Museum of Modern Art in New York has written:

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Mapplethorpe has been an innovator in the use of several different photographic processes throughout his career.  The exhibition will include gelatin-silver prints, photogravure, and platinum prints on paper and linen.  Four early related collages will be exhibited, homages to Marlene Dietich, James Dean, Jean Harlow, as well as a self-portrait, all dating from 1971.

Robert Mapplethorpe’s photographs are internationally recognized and widely published.  His most recent books include ROBERT MAPPLETHORPE: A PERFECT MOMENT, published by the Institute of Contemporary Photography, Philadelphia, in conjunction with a traveling retrospective, and the monograph ROBERT MAPPLETHORPE published this past spring by the Whitney Museum of Art.

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Among the earliest photographs on view is a 1953 impressionistic study of the Metropolitan Opera Bar which presages Winogrand’s interest with public events.  The exhibition also includes some very early studies of women which eventually evolved into a body of work known as “Women are Beautiful.”  The photographs on exhibit span Winogrand’s career, ending with his influential documents of peace demonstrations, political protest rallies, Marilyn Monroe, and an unpublished picture of Ali McGraw as she contributes money to a blind man.

From the mid-fifties on, Winogrand’s personal “New Documentary” photographs of densely packed moments won him acclaim as an important chronicler of contemporary American life.  In his photographs, both the world’s extraordinary complexity and the sharp, sensual delights of seeing are as evident as the obsessions of a particular man.

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