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Hiroshi SugimotoLake Superior, Esrey

2003

gelatin silver print, 60 x 71-3/4 inches (framed) [152.4 x 182.2 cm]

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Hiroshi Sugimoto’s Seascapes span more than four decades, recording the most elemental scene—sky and water bisected by the constant line of the horizon, a view that Sugimoto associates with the dawn of consciousness. In Lake Superior, Esrey, from a 2003 trip to the Great Lakes, an minimalist expanse of white water mirrors the white sky above, encouraging focus on the point where they meet. Such a monochromatic scene proved harder to print than seascapes with more visual contrast, and few images of this view were released by the artist.

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Carrie Mae WeemsPainting the Town #17

2021

pigment print, 61-1/8 x 90 inches (framed) [155.3 x 228.6 cm]

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Carrie Mae Weems’s series of large-scale color photographs titled Painting the Town records swathes of paint used by local authorities to cover up anti-racist graffiti in Portland, Oregon, the city where she was born.

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Hiroshi SugimotoIn Praise of Shadows 980001

1998

chromogenic print, 71-3/4 x 60 inches (framed) [182.3 x 152.4 cm]

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“Domesticating fire marks humankind’s ascendancy over other species,” writes Hiroshi Sugimoto about his series In Praise of Shadows. “For tens of thousands of years, we have illuminated the night with flames. Reflecting upon this, I decided to record ‘the life of a candle.’” 

Many works in the series are long-exposure black and white photographs of candles burning for hours. This rarer color image was made in connection with a 1998 exhibition of the series at the Center for Contemporary Art Kitakyushu in Japan. A variant appears on the cover of the show’s catalogue.

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Richard LearoydTree near Lacock

2025

multi-layered pigment print, hand-applied gesso on canvas, 55-1/4 x 60-1/4 inches (framed) [140.3 x 153 cm]

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To create a new series of photographs depicting massive, bare-branched trees in the English countryside, Richard Learoyd printed multiple layers of pigment onto hand-gessoed canvas, leaving a section of the surface raw. In part, the images draw inspiration from the work of 19th-century artists William Henry Fox Talbot, inventor of the salted paper and calotype processes, and Romantic landscape painter John Constable, whose pencil sketches of willow trees have been a longtime interest of Learoyd’s.

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Sophie CalleSelections from The Sleepers

1979

5 text panels, 34 silver gelatin prints, 6-1/4 x 8 inches (each framed) [15.9 x 20.3 cm], 18-3/4 x104 inches (overall, approximately) [47.6 x 264.2 cm]

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In 1979, as one of her first artistic experiments titled The Sleepers, Sophie Calle invited twenty-seven people to sleep in her bed. Among them were a baker, a babysitter, an actor, a journalist, a seamstress, a trumpet player, and several painters. Over the course of eight days, Calle photographed them every hour as they slept, secretly recording any private conversations once the door closed. Calle noted each encounter with her typical humor and candor. On Gerard Maillet’s departure from her bed, she wrote, “He says he’s slept very well. Before he leaves he takes a bath and lingers around the house for a long time. I accompany him to the door and thank him for coming. I forget to pay him.”

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To create the lush and sometimes uneasy multimedia works he is known for, Wardell Milan works in an expansive range of mediums. His mixed media work JB was commissioned for one of the covers of the tenth anniversary edition of Hanya Yanagihara’s celebrated novel A Little Life. Comprising four slipcased volumes, the new collector’s edition will be published by Vintage Books in October 2025.

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Diane ArbusPatriotic young man with a flag, N.Y.C. 1967

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

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Diane Arbus made several portraits at parades and demonstrations, including this image of American patriotism. “I want to photograph the considerable ceremonies of our present,” Arbus wrote in her 1963 Guggenheim application. “These are our symptoms and monuments. I want simply to save them, for what is ceremonious and curious and commonplace will be legendary.”

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Richard MisrachThe Swimmer, Cosmic Sea

2023

pigment print, 63-1/2 x 82-7/8 inches (framed) [161.3 x 210.5 cm]

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On the Beach is an ongoing exploration of the minutiae of human gesture against the massive scale of the sea. Here, the shimmer of light on water connotes the glimmer of stars, suggesting a solitary figure in edgeless space. Following the artist’s continued engagement with environmental crises and their repercussions, Richard Misrach offered a detail of The Swimmer, Cosmic Sea as a benefit print with all proceeds contributing to Los Angeles wildfire relief.

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Richard LearoydRed Wing

2025

camera obscura Ilfochrome photograph, 44-5/8 x 37-3/8 inches (framed) [113.3 cm x 94.9 cm]

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Drawing on themes from Dutch Golden Age painting, Richard Learoyd’s photograph captures the subtle sheen and iridescence of feathers, a focus on optical qualities also found in memento mori paintings. Precisely transcribing the various ways that light falls onto natural materials, Learoyd’s photographs often emphasize the ambiguity between dead and living things.

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Martine GutierrezSphinx

2019

chromogenic print, 20 x 16-1/4 inches (framed) [50.8 x 41.3 cm]

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Martine Gutierrez’s ever-evolving practice of self portraiture catalogs a confluence of seemingly disparate modes and influences, conveying her limitless capacity for reinvention and reinterpretation. Sphinx was created for the third iteration of Swarovski’s Book of Dreams, a biannual publication featuring works by various artists that showcase the famed crystals. Gutierrez conceptualized a vision of herself as a galaxy, and connected with her childhood dreams of being in outer space.

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Peter HujarDarrel Ellis (II)

1981

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

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Peter Hujar documented the vibrant cultural scene in downtown New York throughout the 1970s and 1980s, photographing artists, musicians, writers, and performers. He pictured New York artist Darrel Ellis in repose, as light fell softly across his shoulders and face. Ellis, whose work merged painting, printmaking, photography, and drawing, would later revisit this image and others made by Hujar, using the photographs as the basis for his own self portraits.

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This edition, one of only eight she printed herself, has remained with her two daughters for over five decades, and includes the original title page and interleaving sheets with handwritten inscriptions for each work. The portfolio was shown in the American pavilion at the 1972 Venice Biennale, the first time photographs had ever been included there. In the words of Philip Leider, founding editor of Artforum, who published six portfolio images in 1971 in the magazine, where no photographs had appeared before, “It seemed to me that any definition of art that did not include such a body of work was fatally flawed.” These events marked the beginning of photography’s acceptance as a profound visual art.

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Hiroshi SugimotoPolarized Color #43

2010

unique Polaroid SX-70 print encased in optical glass, 7-3/4 x 7-3/4 x 1-1/4 inches (overall) [19.7 x 19.7 x 3.2 cm], 9-1/8 x 9-1/8 x 2-1/4 inches (wooden presentation box) [23.2 x 23.2 x 5.7 cm]

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A Polaroid records the color of light Hiroshi Sugimoto observed through a prism in his Tokyo studio. Made from some of the last existing stocks of Polaroid film and encased in optical glass, the photograph becomes a rare, jewel-like object. “Projecting the colored beam from a prism onto my mirror, I reflected it into a dim observation chambre where I reduced it to Polaroid colors,” he writes.

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Carrie Mae WeemsThe Legion of Honor

2006-present

pigment print, 72 x 60 inches (sheet & mount) [182.9 x 152.4 cm], edition of 5 + 2APs

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Carrie Mae Weems’s Museums Series pictures the artist framed by art institutions around the world. The most recent additions to the ongoing project were made at San Francisco’s Legion of Honor. In the Court of Honor at the museum’s entrance, Weems positions herself in dialogue with the monumental Auguste Rodin cast bronze sculpture The Thinker, matching the statue’s scale with her own. Selections from the series and other works are currently featured in Weems’s solo exhibition at Fraenkel Gallery, on view through February 22. 

Weems will speak at FOG Design+Art on Saturday, January 25, at 5pm, followed by a conversation with San Francisco Museum of Modern Art Director Christopher Bedford.

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Sophie CalleSérie Noire (Tears Are For Angels; The Last Goodbye; No Tears from the Widow)

2021

found books and artist’s text in wooden boxes, 11 x 8-1/4 x 2-3/4 inches (each framed) [27.9 x 21.9 x 7 cm], edition of 1 + 1 AP

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Encasing found pulp novels in vitrines, Sophie Calle recontextualizes these titillating paperbacks with a series of questions ruminating on grief, such as “How do you deal with your dead? In your address book, do you write ‘deceased’ next to their name?” Following formal and thematic motifs present throughout Calle’s oeuvre, Série Noire is textual and investigative—a playful series that knowingly embraces kitsch. 

Calle is currently the subject of a solo exhibition, Sophie Calle: Overshare, the artist’s first major North American survey, on view at the Walker Art Center in Minneapolis until January 26, 2025.

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Kota EzawaUntitled (Eggleston/Kelly)

2024

acrylic on wood, 64-1/4 x 96 x 3-1/4 inches (overall) [163.2 x 243.8 x 8.3 cm], edition of 3

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The fair will mark the debut of a new sculpture by Kota Ezawa. Referencing the iconic photograph from the cover of William Eggleston’s Guide, the groundbreaking 1976 book of color photography, Ezawa overlays his simplified rendering with pastel squares recalling Ellsworth Kelly’s color grids, reinforcing the ready-made colors and compositions of postwar America.

On Sunday, January 26, at 3pm, Ezawa will take part in a conversation at FOG with artist Miguel Arzabe, moderated by independent curator Natasha Boas.

Ezawa’s work is on view in the solo exhibition Here and There — Now and Then at San Francisco’s Fort Mason Center for Arts & Culture from January 11 to March 9, 2025.

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William EgglestonUntitled (Couple in Red Car at Drive-In Restaurant), Memphis, TN

1965-1968

dye transfer print, printed 2004, 21-5/8 x 27 inches (framed) [54.9 x 68.6 cm], edition of 15

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William Eggleston’s photographs are said to “re-invent” color photography, addressing color as a descriptive, rather than a decorative, element in the medium. John Szkarkowski, the former director of photography at the Metropolitan Museum of Art, writes that Eggleston’s images are “perceived in color.” They are “real photographs, bits lifted from the visceral world with such tact and cunning that they seem true, seen in color from corner to corner.”

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Peter HujarBlanket on a Chair [Blanket in the Famous Chair]

1983 / printed 2022 by Gary Schneider

pigment print, 25-3/4 x 20-3/4 inches (framed) [65.4 x 52.7 cm], edition of 10

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Peter Hujar carefully records the texture and folds of a blanket that stands in for his human subject, imbuing it with traces of animate feeling. “The signature move in [Hujar’s] art is to lavish a portraitist’s attention upon a subject that defies it,” notes Joel Smith in his essay for the catalogue Peter Hujar: Speed of Life.

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Richard LearoydCecilia after Subleyras

2024

camera obscura Ilfochrome photograph, 47-5/8 x 64-3/8 inches (framed) [121 x 163.4 cm]

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Richard Learoyd’s subjects, composed simply and directly, are described with the thinnest plane of focus, re-creating and exaggerating the way that the human eye perceives, and not without a small acknowledgement to Dutch Master painting. Cecilia after Subleyras is modeled after a female nude by French Neoclassical painter Pierre Subleyras, drawing a parallel to the often painterly quality of Learoyd’s figurative photography. 

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Lee FriedlanderCalifornia

1972 / printed 2007

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

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Lee Friedlander has photographed his own shadow throughout his career. Imposed over another person or playfully projected onto natural elements, he inserts himself into the scene his camera records—the photographer’s version of breaking the fourth wall. Writing in the seminal book Lee Friedlander: Like a One-Eyed Cat, Rod Slemmons notes that Friedlander seeks the “precise interactions between what we see and how the photograph represents what we see.”

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Wardell MilanAmerika: Cars and Curves. No. 1

2024

acrylic, ink, graphite, metal leaf, cut-and-paste paper on Yupo paper, 14-1/8 x 10-3/4 inches (framed) [35.9 x 27.3 cm]

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Wardell MilanAmerika: Cars and Curves. No. 2

2024

acrylic, ink, graphite, metal leaf, cut-and-paste paper on Yupo paper, 12 x 9 inches (sheet) [30.5 x 22.9 cm] 14-3/8 x 11-1/2 inches (framed) [36.5 x 29.2 cm]

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Collage has long been an important component of Wardell Milan’s practice. A new series, Amerika: Cars and Curves, juxtaposes fragments of women’s bodies cut from magazines with imagery of muscle cars. The series continues Milan’s exploration of distinctly American iconography, including depictions of female bodybuilders, Klansmen, and the subjects of Robert Mapplethorpe’s Black Book.

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Robert AdamsColorado

1968–1971

gelatin silver print, 11-1/8 x 13 inches (mount) [28.3 x 33 cm]

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In his seminal monograph, The New West, Robert Adams writes: “The subject of these pictures is, in this sense, not tract homes or freeways but the source of all Form, light. The Front Range is astonishing because it is overspread with light of such richness that banality is impossible. Even subdivisions, which we hate for the obscenity of the speculator’s greed, are at certain times of day transformed to a dry, cold brilliance.”

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Richard MisrachSubmerged Lamppost, Salton Sea

1985

pigment print, 31 x 38 inches (framed) [78.7 x 96.5 cm], edition of 10

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Richard Misrach’s Desert Canto III: The Flood (1983-85) is an ecologically engaged series focused on the Salton Sea, an artificial desert lake created in the 1900s. Stocked with fish in the 1950s to promote tourism, it became highly saline with toxic algae blooms and wildlife die-offs by the 1980s. As Misrach explains, “You look at landscape, but it’s not really landscape, it’s a symbol for our country.”

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Katy GrannanElle

2024

pigment print, 41-1/8 x 31-1/8 inches (framed) [104.5 x 79.1 cm], edition of 3

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Katy Grannan has been recently living and working in Northern California’s Humboldt County—a place, it is said, where people go to disappear. There, Grannan meets people through ads she places in Craigslist and on local bulletin boards. Her subjects are eager to be seen, to collaborate with Grannan for reasons as varied as the individuals themselves: an autistic teenager, a circus performer, an actress, a queer farmer, a young couple and their cat, a man and his goat.

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Adam FussTheia

2024

pigment print, 61-1/2 x 46-1/4 inches (framed) [156.2 x 117.5 cm], edition of 3

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The post FOG Design+Art appeared first on Fraenkel Gallery.

In Past Presence, Sugimoto interprets masterpieces of Modernist sculpture, creating blurred photographs that suggest dreamlike versions of the iconic originals. The recent exhibition Giacometti/Sugimoto: Staged at the Institut Giacometti in Paris paired Sugimoto’s photographs with Giacometti’s sculpture and ancient Noh masks from the artist’s collection.

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Hiroshi SugimotoKasuga Grand Shrine at Dawn

2022

pigment print on Japanese washi paper, mounted to folding screen, 79-3/8 x 213-5/8 inches (overall) [201.5 x 542.5 cm], edition of 3

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Kasuga Grand Shrine at Dawn is part of Sugimoto’s recent series of immense folding screens featuring photographs of Japanese landmarks of sacred significance. It depicts the 800-year-old chumon, or middle gate, of Kasuga-Taisha Shinto shrine in the ancient city of Nara. Drawing from a rich history of Japanese art and culture, Sugimoto renders the ancient site using modern photographic techniques in concert with traditional materials. Printed on washi—a historically handmade paper revered since antiquity—the screen evokes the quiet power and enduring presence of traditional Japanese ink paintings.

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Hiroshi SugimotoRadio City Music Hall, New York

1978

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61 cm], edition of 25

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One of the earliest images from Sugimoto’s iconic series of Theaters, Radio City Music Hall, New York is newly available for the first time. Rather than capturing an extended film projection, the long exposure records the luminous performance of an Easter parade, accompanied by an orchestra. The ghost-like apparitions of the marching figures gather into an altar of light crowned by the Art Deco theater nicknamed the “Showplace of the Nation.”

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Hiroshi SugimotoSea of Buddha

1994

gelatin silver print, 60 x 71-1/4 inches (framed) [152.4 x 180.98 cm], edition of 5

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Sea of Buddha features sculptures from Sanjūsangendō, a 13th century Buddhist shrine located in Kyoto. Sugimoto removed all modern embellishments and contemporary lighting while photographing the temple, presenting the ancient sculptures as they would have been experienced by viewers more than 800 years ago.

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Hiroshi SugimotoFive Elements (Caribbean Sea, Yucatan, 1990)

2012

optical glass encasing black & white film, 6 x 3 x 3 inches (pagoda) [15.2 x 7.6 x 7.6 cm], edition of 1

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Hiroshi Sugimoto has photographed seas and oceans for over forty years, creating the vast Seascapes series. Five Elements is the marriage of these seascapes with Sugimoto’s exploration of mathematical forms and concepts. As he writes, “Whenever I stand on a cliff looking at the sea, I envision an infinite beyond.”

Sugimoto’s exquisite pagodas call back to ancient Buddhist relic towers. The pagoda’s form has evolved in unique sculptural directions, eventually becoming a five-ring structure called gorinto, which utilizes geometry to symbolize the elements. Earth as a cube emphasizes materiality, water is a sphere of clarity, fire is a pyramid imitating pointed flames, and wind is a hemisphere, expressing its power to cut through matter. Finally, the element of emptiness takes the shape of a Japanese hoju, or mystic gem, which disappears into a perfect globe.

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Hiroshi SugimotoBrush Impression 0923 (Moon)

2023

gelatin silver print, 48-3/8 x 41 inches (framed) [122.9 x 104.1 cm], unique

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Drawn by the allure of the traditional silver-based materials and his interest in the science of photography, in Brush Impression Sugimoto uses a calligraphy brush to paint fixer onto photographic paper, creating one-of-a-kind prints that proudly display the processes of his craft. Each work features kanji symbols, the form of Japanese language based on Chinese pictograms, or hiragana, the phonetic characters used in Japanese. While painting, Sugimoto draws on his study of calligraphy and focuses on the characters and their definitions, bringing traces of the meaning of each word to the qualities of his markings.

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Hiroshi SugimotoTasman Sea, Table Cape

2016

gelatin silver print, 20 x 24 inches (mount) [50.8 x 61 cm], edition of 25

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The subtle tones of Sugimoto’s gelatin silver printing here register as a seascape enveloped in a mystical light, taken from the shores of the Tasman Sea. Photographed in 2016, the image could be mistaken for a view onto the beginning of time. About his relationship with the ocean, Sugimoto writes, “The sea reminds me that within my blood remain traces of human evolution over hundreds of thousands of years.”

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Hiroshi SugimotoOpticks 592

2023

chromogenic print, 60 x 60 inches (framed) [152.4 x 152.4 cm], edition of 1 + 1 AP

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The post Distillé 1976–2024 appeared first on Fraenkel Gallery.

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Richard MisrachNancy Holt, Sun Tunnels #26

1988

pigment print, 61 x 76-3/4 inches (framed) [151.1 x 190.5 cm], edition of 3

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Richard Misrach’s series Desert Canto XL – Art in the West examines the way artists work in the American desert. His subjects included Nancy Holt’s Sun Tunnels, the 1973-1976 Land Art project she created in Utah’s Great Basin. Misrach’s photographs of the piece were featured in Blind Spot Folios 001: Nancy Holt & Richard Misrach, a book pairing Misrach’s photographs from the site with material from Holt’s archive, including photo studies and a self-interview. ⁠

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Robert AdamsColorado Springs, Colorado

1968-71

gelatin silver print, 13 x 11 inches (mount) [33 x 27.9 cm]

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Roberts Adams’s​ view of a Colorado Springs gas station ​compares the glow of the evening sky with the electric light illuminating the gas pump. In the recent monograph American Silence: The Photographs of Robert Adams, Sarah Greenough ​writes about such juxtapositions​ in Adams’s work. 

“​Drawing on insights Hopper had given him into the ‘poignancy of light,’ [Adams] also began to savor the cool light of dusk​… Probing the liaison between the natural and the artificial, he explored the contrast between this evocative, tender light of dusk with its fleeting radiance and the harsh but still haunting glow of neon signs and streetlights that punctuated the darkness for hours on end​,”​ Greenough​ notes.

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Hiroshi SugimotoBrush Impression 0883 (Fire)

2023

gelatin silver print, 48-3/8 x 41 inches (framed) [122.9 x 104.1 cm], unique

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To create the one-of-a-kind calligraphic photographs in his Brush Impression series, Hiroshi Sugimoto paints Japanese characters onto light sensitive paper using photographic chemicals. Each unique piece records the movement of his brush across the surface of the paper, producing gestural shapes as well as splashes, bubbles, and traces of bristles. The kanji characters he selects often represent words for elemental forces—here he paints the character for fire. The meaning of each word is heightened and reinforced by the expressive qualities of each piece.

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Diane Arbus42nd Street movie theater audience, N.Y.C. 1958

gelatin silver print / printed by Diane Arbus, 11 x 13-3/4 inches (mount) [27.9 x 34.9 cm]

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As a lifelong moviegoer, Diane Arbus was attuned to the divergent ways a viewer responded to a photograph and a film. By turning her camera to the spectators of New York’s movie houses, marquee movie posters, and screened dramas, Arbus captured moments where people were able to escape reality, engaging with the grander fantasies presented to them on screen.

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Elisheva BiernoffBeyond Our

2023

three acrylic paintings on wood, one painted both sides; pine frame, pushpins, 63-1/4 x 46-1/4 x 4-1/2 inches (overall) [160.7 x 117.5 x 11.4 cm]

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Elisheva Biernoff’s meticulously painted reproductions of found photographs are often small enough to fit into the palm of a hand. In Beyond Our, her recreation expands to encompass a photograph and a larger poster, as well as the wood-paneled wall on which they are displayed, all rendered in highly detailed acrylic. Together, the objects suggest questions about the mysteries that lie beyond the frame.

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Sophie CallePortrait de Marie-Thérèse

2022

pigment print, 57-1/2 x 57-1/2 inches (framed) [146 x 146 cm], edition of 2

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Sophie CalleBaigneuse ouvrant une cabine

2022

pigment print, 47-1/4 x 38-1/4 inches (framed) [120 x 97.2 cm], edition of 2

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Sophie CallePortrait de Jacques Prévert

2022

pigment print, 38-3/4 x 26-1/4 inches (framed) [98.4 x 66.7 cm], edition of 2

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As part of a 2023 exhibition at the Musée National Picasso-Paris commemorating the 50th anniversary of Picasso’s death, Sophie Calle presented photographs of Picasso’s paintings kept covered by paper and linens during lockdown. Shown in tandem with Calle’s own work and possessions, which filled three floors of the museum, her photographs reckon with Picasso’s legacy and memory.

In The Simpson Verdict, Kota Ezawa animates original footage of the legal proceedings of the O.J. Simpson trial, reconstructing frames of the video to recreate the subtle motions and gestures of the participants. By simplifying the images, Ezawa forces the viewer to look more closely at nuances of expression and the issues of race and celebrity that the case evoked.

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Hiroshi SugimotoBay of Sagami, Enoura

2022

gelatin silver print, 60 x 71-3/4 inches (framed) [152.4 x 182.2 cm], edition of 5

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For decades, Hiroshi Sugimoto has photographed bodies of water around the world, creating the breathtaking Seascapes series. Bay of Sagami, Enoura is the first seascape made at Enoura Observatory, the headquarters of the Odawara Art Foundation, the organization founded by the artist. “Every time I view the sea,” Sugimoto writes, “I feel a calming sense of security, as if visiting my ancestral home; I embark on a voyage of seeing.”

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Peter HujarRobert Bending (I)

1977

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

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Peter Hujar often photographed his friends and fellow artists, emphasizing physicality and creating striking images of the body. These pictures encapsulated the relationships, music, and art that came to define the 1970s avant-garde scene in New York—as Hujar put it, he “liked people who dare.” Robert Levithan, a writer and one of Hujar’s lovers, was the subject of a series of nudes taken in the artist’s loft apartment turned studio.

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Wardell MilanNoelle lying in liberation

2022

silver leaf, acrylic, charcoal, graphite, china marker and color pencil on panel, 25-1/4 x 37-1/4 inches (framed) [64.1 x 94.6 cm]

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Wardell Milan has often depicted figures, especially marginalized bodies, in safe spaces—a distinction he sometimes conveys with color. “I try to embody love using color,” Milan noted recently. Often, the color he turns to is blue. “The many different tones of this color have come to represent affirmation, love, resilience and advocacy.” Using it, “I’m signaling to the viewer that this person or group of people, are to be championed, validated, and loved.”

Christian Marclay’s single-channel video incorporates thousands of images taken during his daily walks through London, animating them into a frenetic, flickering sequence​. The piece recalls flip-books, early cinema, and animation devices of the late nineteenth century, such as the zoetrope used by Eadweard Muybridge.

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Richard MisrachDiving Board, Salton Sea

1983

pigment print, 60-3/4 x 75-3/4 inches (framed) [154.3 x 192.4 cm], edition of 10

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An image from Desert Canto III: The Flood, one of the chapters from Richard Misrach’s long-running series focused on the American Southwest. The Flood depicts the Salton Sea, an artificial desert lake created in the 1900s, which grew into resort destination starting in the 1950s. Suffering from rising salinity and contamination from runoff, the lake became toxic, and by the 1980s many of the communities along its edges had been largely abandoned, leaving behind a surreal landscape.

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An intermittently active volcano, Mt. Fuji’s appearance has changed over time, a fact that has fascinated Sugimoto. “I would like to trace the evolution of the mountain’s appearance,” he has written. In the photographic view he created for the screen, Sugimoto pictures the distant mountain from a significant elevation, perhaps suggesting the presence of Mt. Hakone, a nearby volcano that erupted and collapsed close to 200,000 years ago. Sugimoto once wrote about an imagined ancient view of both peaks: “Two rivals in height—what a magnificent sight that must have been!” In his dark and mist-filled rendering, Sugimoto’s photograph could be mistaken for a view from the dawn of time.

The panoramic landscape also belongs to a long line of art historical depictions of Mt. Fuji, the country’s tallest peak. The mountain has served as a national symbol of Japan, and its image has been incorporated into a range of Buddhist and Shinto artworks.

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Mt. Fuji appears in Japanese pilgrimage mandalas, or sankei mandara—stylized scroll paintings that depict the landscapes surrounding shrines and temples. The paintings portray the historical and mythical events that took place in these locations, conveying the spiritual importance of the sites while also serving as travel guides for pilgrims. A 16th century example from Fujisan Hongū Sengen Taisha, a Shintō shrine in the city of Fujinomiya, shows Mt. Fuji rising between the sun and the moon. 

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Perhaps the most famous images are the ukiyo-e artist Hokusai’s 19th century woodblock print series, 36 views of Mount Fuji, depicting the mountain from different locations and in various seasons and weather conditions. Like Sugimoto’s Mt. Fuji, Hokusai’s South Wind, Clear Sky, also known as Red Fuji, captures the red glow of dawn and the spread of pine forests. 

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A repeating pattern stamped on the screen’s verso features a stylized image of Mt. Fuji, echoing Hokusai’s Red Fuji. Sugimoto worked with a woodblock printer in Tokyo to create and execute the prints on the verso ​of the screens, using a custom pattern for each. In its simplified circular shape, the Mt. Fuji pattern recalls kamon, or mon, the Japanese heraldic designs that serve as symbols for family lines or institutions. Like the materials of the screen itself, the designs draw from a rich history of Japanese artistic production.

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Hiroshi SugimotoMt. Fuji

2022 (verso)

pigment prints on Japanese washi paper, mounted to two folding screens, 71-5/8 x 299-1/4 x 11-3/4 inches (overall, installed) [182 x 760 x 30 cm], edition of 3

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Kota EzawaPhotogram

2023

transparency in lightbox, 28-3/4 x 20-3/4 inches (overall) [73 x 52.7 cm], edition of 5

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For his series​ The History of Photography Remix, Ezawa recreated important art and documentary photographs in his signature flattened style, making a recognizable yet reimagined version of history.​ This image from the series depicts a photogram by László Moholy-Nagy, the influential Bauhaus artist and teacher, transforming the experimental abstraction into a glowing lightbox.

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Kota EzawaHand Vote

2008

painted wood sculpture, 11-1/8 x 16-3/4 x 5-1/2 inches (overall) [30.2 x 42.5 x 14 cm], edition of 3

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Different from many of Ezawa’s works, there is no specific reference image for Hand Vote, a painted plywood sculpture that depicts rows of men and women with raised hands. For Ezawa, the sculpture doesn’t address a particular election, but illustrates an act that is “fundamental to the idea of democracy,” he said.

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Kota EzawaA Lady and Gentleman in Black

2015

transparency in lightbox, 52 x 43 inches (overall) [132.1 x 109.2 cm], edition of 5

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This lightbox depicts a version of Rembrandt’s 1633 painting A Lady and Gentleman in Black, one of 13 works of art stolen from Boston’s Isabella Stewart Gardner Museum in the brazen 1990 theft. Ezawa’s series The Crime of Art chronicles real and fictional museum heists and acts of art vandalism, calling attention to his own use of appropriated images while recreating artworks that may exist only as a kind of collective memory.

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Kota EzawaBrawl #2

2011

paper collage, 10-1/4 x 12-1/2 inches (framed) [26 x 31.7 cm]

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Brawl #2 depicts a scene from a notorious NBA fight that broke out during a 2004 Pistons-Pacers game and eventually led to the suspension of 9 players. In Ezawa’s paper-cutout version, the chaos of the original moment has been smoothed away. “You’re left suspended somewhere between the ostensible truth of the original footage and the aesthetic conundrum of its remake,” film professor Holly Willis remarked. Ezawa, she continues, raises “a series of questions and contradictions that pivot on the recognition of shared historical moments as they’re rendered visually.”

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Kota EzawaLennon

2011

paper collage, 9-3/4 x 12-1/8 inches (framed) [24.7 x 30.7 cm]

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Ezawa depicts John Lennon and Yoko Ono during their 1969 “bed-in”, in which the couple spoke with the press from their hotel room as a protest against the Vietnam War. The collage builds on Ezawa’s 2004 animation Lennon Sontag Beuys, which paired a stylized clip of Lennon and Ono with recordings of Susan Sontag and Joseph Beuys, as each talk about art in the context of social change.

Ezawa has often returned to projects to create related works in different formats, including light boxes, 35mm slides, watercolor, and paper collages. “It has to do with my wanting the work to progress rather than to stay as one thing,” Ezawa has noted. “I like putting images through the mill and exhausting them.”

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Kota EzawaPolaroid Supercolor 1000 (no date)

2005

transparency in lightbox, 20-5/8 x 24-5/8 inches (overall) [52.3 x 62.5 cm], edition of 5

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While many of the images from The History of Photography Remix​ are based on well-known photographs, the series also includes an image of a Kodachrome slide and a Polaroid​ camera​—self-reflexive references to the development of the media. As Lars Bang Larsen and Chus Martinez​ write in the introduction to the monograph dedicated to the series, these images emphasize that “it is no longer the art work, but technical reproduction itself that is now the star​ in the continuing drama of the art work in the age of its technical reproduction.​”

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Kota EzawaNational Anthem (New York Jets)

2019

watercolor on paper, 13-3/4 x 21-3/4 inches (framed) [33 x 53.3 cm], one of three unique variants

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​For his series National Anthem, Ezawa draws from broadcast footage of NFL athletes “taking a knee” during The Star-Spangled Banner, in protest of police violence and the oppression of people of color. The series includes hand painted animation as well as individual watercolors. Writing about the series, Aruna D’Souza has noted that by removing these images “from the unthinking speed of social media outrage…[Ezawa] lets us dwell on the implications of the action and the reverence of the gesture.”

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Kota EzawaWho’s Afraid of Black White Grey #2

2011

paper collage, 9-1/4 x 11-1/8 inches (framed) [23.4 x 28.2 cm]

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This paper collage revisits a scene from Ezawa’s two-channel animated video installation Who’s Afraid of Black, White and Grey, which ​​depicts scenes from Mike Nichols’s 1966​ film Who’s Afraid of Virginia Woolf​. In his title, Ezawa also references Barnett Newman’s series o​f large-scale paintings​ Who’s Afraid of Red, Yellow and Blue, which pair powerful, flattened fields of color.

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Kota EzawaSelf Portrait

2011

paper collage, 12-3/8 x 10-3/8 inches (framed) [31.4 x 26.3 cm]

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Another image from The History of Photography Remix pictures a 19th-century photographer with his daguerreotype camera. Several images from the series depict artists with their cameras, including Ansel Adams and Andy Warhol. In Ezawa’s simplified renderings, the differences between these artists and their eras fade.

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Nan GoldinStefan’s lake at midday, Umeå, Sweden

1997

dye sublimation print on aluminum, 21 x 31 inches (framed) [53.3 x 78.7 cm], edition of 15

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A somber image from Nan Goldin’s Memory Lost, the haunting and emotional narrative comprised of outtakes drawn from her archive of thousands of slides. Depicting scenes from Goldin’s life and her circle of friends, the piece recounts the pain and fleeting moments of beauty in life lived through the lens of addiction.

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Peter HujarTrees and Leaves, Caven Point

1984

gelatin silver print / printed by Peter Hujar, 20 x 16 inches (sheet) [50.8 x 40.6 cm]

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In Peter Hujar’s photograph of a New Jersey forest in winter, the horizon is obscured by a band of tall marsh grass that grows beyond the trees, complicating the view. While Hujar is best known for his portraits, he also produced landscapes, seascapes, and views of the city, images that share his signature mixture of delicacy and directness.

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Janet CardiffThere was no sound

2023

oil paint on birch panel with found text, 11 x 12-3/4 inches (framed) [27.9 x 32.4 cm]

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Janet Cardiff’s painting of a house where she once lived is paired with a fragment of found text from an old detective novel. As with much of her work, the piece combines a visual component with information in another format, exploring how one affects the viewer’s understanding of the other.

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Lee FriedlanderCentral Park, New York City

1992

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

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​With ​its striking contrast and ​central branching shape​, Lee Friedlander’s photograph bring​s​ to mind elemental forces​. The image is one of many that Friedlander made in​ parks and gardens designed by ​celebrated 19th-century landscape architect Frederick Law Olmsted​.​ Friedlander has described these as “one photographer’s pleasurable and wandering glances at places that bear the great vision of Mr. Olmsted.”

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Alec SothUntitled (window)

2015

pigment print, 42-3/8 x 34-3/8 inches (framed), edition of 9

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Alec Soth’s image calls to mind the projections seen inside a camera obscura. His wintry photograph of a patch of light on a blue wall collects evidence of what the camera doesn’t show—two panes of an unseen window and its sash, and the bare branches of more distant trees.

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Robert AdamsNear Heber City, Utah

1978

gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

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Robert Adams’s joyous springtime study of a cottonwood tree from 1978 was first seen in From the Missouri West, his iconic book of landscapes published in 1980. The sprawling bloom is interrupted only by a barbed-wire fence spanning the length of the composition—Adams’s awareness of human encroachment onto the landscape.

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Richard MisrachUntitled (Ocotillo #1, Arizona)

1975

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

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​Richard Misrach began photographing in the deserts of the American West in 1975, working at night with long exposures and a strobe technique to create images of cacti, trees, rocks, and the desert floor. His unique split-toned printing process heightened the black and white tones of the subject while infusing a coppery glow to the background. In an environment that most would consider stark and barren, Misrach and his camera found a rich and mystical landscape.

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Kota EzawaYosemite, California

2011

transparency in lightbox, 20-5/8 x 30-5/8 inches (overall) [50.8 x 76.2 cm], edition of 5

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For his series​ The History of Photography Remix, Kota Ezawa recreated important art and documentary photographs in his signature flattened style, making a recognizable yet reimagined version of history.​ This image from the series references Carleton E. Watkins​’s photographs of Yosemite, simplifying the shapes of trees in the valley and the outline of El Capitan​.

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Carleton E. WatkinsWashington Column, Mirror View, Yosemite, California

ca. 1878-81

mammoth-plate albumen print, 34-5/8 x 30-1/8 inches (framed) [87.9 x 76.5 cm]

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Carleton E. Watkins’s celebrated mammoth-plate pictures of Yosemite served an essential role in convincing Congress to protect the valley. In 1864​, Abraham Lincoln signed legislation to create ​the Yosemite Grant, the first time the U.S. government set aside land specifically for preservation and public ​​use, and a step towards the creation of the National Parks System.

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Carrie Mae WeemsA Woman Observes

2008

pigment print, 61-1/2 x 51-1/2 inches (framed) [156.2 x 130.8 cm]

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