For Misrach, Border Cantos expands on years of prior work, covering the entire length of the Mexican-American border, all 1969 miles, Pacific to Gulf of Mexico. He shows us the existing walls that bisect cabbage fields and communities, slice through individual back yards, extend mile after mile through desert and end in the Pacific Ocean. They are a hodgepodge: squat cement barriers, intimidating-towering steel divides, wire mesh, WW II Normandy-style fencing to prevent vehicles but not people. We also see the ‘digital walls’ (8000 or so cameras, 11,000 underground sensors, etc.) the ones that work.
From The Huffington Post online posting on 8 March, 2017.
To learn more about Richard Misrach and Border Cantos, visit his artist page.
THE NINE | TRAILER (2015) from Katy Grannan on Vimeo.
In two weeks, Katy Grannan’s first feature film, The Nine will be screening at the Mill Valley Film Festival.
Katy Grannan’s intimate documentary explores the lives of those who struggle with their past tragedies and current addictions. The filmmaker’s delicate but deepening focus on the mystery of Kiki—whose clinging, childlike world-view belongs to someone a fraction of her actual age—looks for answers in those around her, who still dream of reuniting with their children, working a garden, running a mud wrestling club. Despite their ravaged lives, their songs burst out with a terrible and unflinching beauty.
Tuesday, 11 October at The Cinearts Sequoia 2, 9:00pm
Wednesday, 12 October at The Lark Theater, 2:30pm
For more information on The Nine or to purchase tickets, please visit the Mill Valley Film Festival website.
For more information on Katy Grannan, please visit her artist page.
Artist Katy Grannan has been chosen as part of Filmmaker Magazine’s “25 New Faces of Independent Film 2016” for her first feature-length documentary, The Nine. Grannan discusses her first experiences of Modesto, the relationships she has made with its residents, and her interest in the moving image.
“Photos can do one thing,” she says, “but they can’t embody a person’s energy and their conversation and all their idiosyncratic details. So, when I met the community down on the Nine, I was ready for a new challenge; I really needed to be a beginner again.” —Katy Grannan
From the series “25 New Faces of Independent Film 2016,” in Filmmaker Magazine.
To learn more about Katy Grannan, please visit her artist page.
Diane Arbus, Boy stepping off the curb, N.Y.C., 1957-58. Credit: Diane Arbus / The Estate of Diane Arbus LLC
“…in the process of photographing unconventional, sometimes outre subjects, she was training herself to detect strangeness when it occurred in a lower key, in everyday life. She would stop people on a Lower East Side street or in a park, and talk to them, and start to shoot, capturing a wide range of postures and expressions. Back in the studio she would pick one image. Was it the true one? They were all true. She usually went with the one that conveyed the most dramatic, least absorbable sensation of difference.” —Holland Cotter
Read The New York Times’ art critic Holland Cotter’s full review of the exhibition, “Diane Arbus: In the Beginning,” now open at The Met Breuer. The exhibition runs until 27 November.
Christian Marclay will be honored by SFMOMA with the museum’s 2016 Contemporary Vision Award.
Photo: Courtesy Paula Cooper Gallery, New York, And Fraenkel Gallery, San Francisco
From the SFGate online posting on 13 July 2016
To learn more about Christian Marclay, please visit his artist page.
The May issue of FT Magazine, American photographer, Katy Grannan, talks about her upbringing and what inevitably lead her to photography. The Nine, Grannan’s new film, unveils the dark reality of poverty and addiction and shines a light on those individuals who are most affected.
“It is a thread that has run throughout her work since her earliest photographs of strangers: the power of the camera not only to objectify but to dignify a subject as someone worth looking at.” —Jonathan Griffin
To learn more about Katy Grannan’s work and publications, please visit her artist page.
“The annals of photography contain many extraordinary portraits, but the ones we linger on longest achieve something exceptional: they suggest that in the microsecond it takes for the shutter to blink, some communion has been found, that an unseen life has become a seen one, that attention has been paid, that an act of witness has been accomplished.” —Hanya Yanagihara
Author Hanya Yanagihara muses on the relationship between loneliness and photography in the July edition of The New Yorker, and how loneliness provided inspiration for curating works in the current exhibition, How I Learned to See: An (Ongoing) Education in Pictures.
Yanagihara powerfully suggests that: “if love belongs to the poet, and fear to the novelist, then loneliness belongs to the photographer.” Selecting works from Diane Arbus, Nicholas Nixon, and Katy Grannan, Yanagihara showcases the act of photography as an “artistic exercise in invisibility,” allowing the artist to capture that which ordinarily goes unexamined, and unseen.
To read the entire article, please visit The New Yorker and follow along on our Instagram as Hanya Yanagihara will be “taking over” this week with highlights from How I Learned to See.
Artist Richard Learoyd tells the story of how he first began his lifelong experiments with photography and talks about the relationships that have supported him in his pursuit of his craft, in conversation with his dealer and friend Frish Brandt of Fraenkel Gallery. Frish has represented Richard for many years and provides another fascinating perspective on his photographic practice.
In this SFMOMA short four artists, including Robert Adams and Richard Misrach, discuss how creating art has helped them cope with disturbing themes such as fear, trauma, and war. The artists address how going to these “dark places” has fostered the discovery of profound beauty and insight.
To want to make pictures is fundamentally to want to share something that you have seen of value, and that you suspect maybe people haven’t paid enough attention to. The American West has been my primary subject, particularly the landscape. They are frightening landscapes and the only way I can get over my own anxiety about them is to go and keep working. – Robert Adams
From the series SFMOMA shorts video posting on 6, June, 2016
To learn more about Robert Adams, please visit his artist page.
To learn more about Richard Misrach, please visit his artist page.
Robert Adams tunes in with Tyler Green, the host of The Modern Art Notes Podcast, for an hour long interview on his latest book, Around the House. Adams has published more than 60 books in his lifetime, and is widely recognized for his visionary accounts of the American West. Around the House is Adams’ most intimate book to date, capturing the small yet significant moments that characterize his quotidian life.
The book is about nature really in a way. One of the great coherences of nature is that it has the cycle of days. I can’t explain it, except that this is the way we order our experiences; getting up and going to bed. —Robert Adams
From The Modern Art Notes Podcast posted on 10 March 2016.
To learn more about Adams’ work and publications, please visit his artist page.
“Requiem for a Border Wall” in New Republic magazine discusses the artistic collaboration between American photographer Richard Misrach and Mexican composer Guillermo Galindo on their new body of work, Border Cantos. Their multi-faceted project bridges the gap between differing mediums, while also bringing attention to the disparities between two cultures.
“I’ve been photographing for 40 years, and normally I shut out everything except the visual. But suddenly with Guillermo, I could hear everything around me.” — Richard Misrach
From New Republic magazine online posting June 23, 2016.
To learn more about Misrach’s work and publications, please visit his artist page.
Nicholas Nixon discusses his recent work with the New York Times LENS Blog.
It’s the thing you focus on when you are photographing people, it’s the thing you look at with people instinctively to see if you trust them or not. — Nicholas Nixon
From the New York Times LENS posting by Rena Silverman on 8 June 2016.
To learn more about Nixon’s work and publications, please visit his artist page.
Visitors to Photo London this week can enjoy a great series of artists’ talks: Richard Learoyd in conversation with Frish Brandt on May 18; Katy Grannan in conversation with Phillip Prodger onMay 19; and Alec Soth in conversation with Kate Bush as well as a lecture by Richard Misrach on May 20. Details on Photo London’s public programs can be found here.
In addition, Photo London presents a sneak preview of Katy Grannan’s first feature film, The Nine, at the National Portrait Gallery on May 20 at 2:30 pm, followed by a Q&A with the artist. The Nine will also screen at the Krakow Film Festival in Poland on May 30 and June 1. The Nine is a film about a visionary of innocence—a woman who endures unspeakable circumstances by reimagining her world and insisting on beauty and possibility.
Richard Misrach and Guillermo Galindo will discuss their current exhibition, “Border Cantos”, at City Arts & Lectures on Tuesday, April 26 at 7:30pm. The artists will be joined by Amy X Neuburg, a vocalist and composer who has worked closely with Galindo. For more information and to purchase tickets, visit the city Arts & Lectures website here.
For more information about “Border Cantos”, visit the San Jose Museum of Art website here.
Katy Grannan’s film, “The Nine”, will be shown for the first time at the Visions Du Reel film festival April 20-21, 2016. This is the first showing of Grannan’s long anticipated film that offers a view into a side of America that is often overlooked.
To learn more about “The Nine”, visit their website.
To learn more about Grannan, please visit her artist page.
Robert Adams discusses his new work in our current exhibition, “Around the House & Other New Work” in this podcast with host Tyler Green:
Adams is among America’s greatest examiners of the West. He has published over 60 books, earned a MacArthur ‘genius’ grant and a Guggenheim, and numerous international awards. His most recent retrospective was organized by the Yale University Art Gallery and traveled around the world from 2011-14. – Tyler Green
From The Modern Art Notes Podcast online posting on 10 March 2016.
To learn more about Adams, please visit his artist page.
The Museum of Modern Art is now offering a free online course, “Seeing Through Photographs”, that focuses on gaining a deeper understanding of photography as an art form. Featured in the course are videos with Nicholas Nixon and Katy Grannan as well as other prominent photographers.
To learn more or sign up, visit the “Seeing Through Photographs” course page.
To learn more about Nicholas Nixon, please visit his artist page.
To learn more about Katy Grannan, please visit her artist page.
Richard Misrach discusses his series, Border Cantos, with ABC News in this online posting:
“Border Cantos” presents a unique collaboration between photographer Richard Misrach and composer and performer Guillermo Galindo. Misrach has been photographing the two-thousand mile border between the U.S. and Mexico since 2004, with increased focus since 2009—the latest installation in his ongoing series Desert Cantos, a multi-faceted approach to the study of place and man’s complex relationship to it. – ABC News
From the ABC News online posting in February 2016.
To learn more about Misrach’s work, please visit his artist page.
[Left] Edward Hopper, Lombard’s House, 1931. [Right] Robert Adams, Interstate 25. Colorado Springs, Colorado, 1968-1972.
For The Art Show organized by ADAA, Fraenkel Gallery is pleased to present Edward Hopper & Company, an exhibition exploring Hopper’s influence on post-war American photography. Three important Edward Hopper watercolors—Lombard’s House, 1931; Wellfleet Road, 1931; and Circus Wagon, 1928—and an early self-portrait from 1903-06 are interwoven with works by four key photographers whose sensibilities refect his influence: Robert Adams, Diane Arbus, Lee Friedlander, and Stephen Shore.
Visit us at booth A2.
In this interview by LA Review of Books, Richard Learoyd discusses his use of the camera obscura and how people look at photographs.
It’s about replicating the way the eye works. When you see a person or look at an object, you don’t see it all in perfectly sharp focus if you’re a foot away from it. You see an area of it which is very detailed. I think that there’s something about working with the physics of cameras and making larger cameras and using the qualities that those cameras have. It becomes about how people see each other. And that’s to me when the details become very interesting.–Richard Learoyd
From the LA Review of Books online posting on 30 November 2015.
To learn more about Learoyd’s work, please visit his artist page.
Olivier Laurent of TIME Magazine Lightbox discusses Alec Soth’s teaching project, Winnebago Workshop.
The idea has already grabbed the attention of organizations across the U.S., including the Museum of Modern Art in New York City, and it’s already paying off for its creator too. “A few years ago, I had burnt out on photography and became kind of jaded myself,” [Soth] explains. “I sort of forgot that initial excitement, that raw reason that made us interested in making art. I think it’s healthy to be in touch with that original impulse.”-Olivier Laurent
From the TIME Magazine Lightbox online posting from 3 November 2015.
To learn more about Alec Soth, visit his artist page.
Andrea K. Scott of The New Yorker Photo Booth discusses the work of Katy Grannan, and her upcoming first-feature film, “The Nine.”
But while the hardscrabble lives Grannan conveys may have affinities with Lange’s weathered mother, her aim is not documentary. Her portraits and the in-between moments that join them—a scrum of kittens, a dead lamb drawing flies—remain open-ended. They’re impressions rather than facts. ‘ “The Nine” is not a call to action,’ she told me. ‘It’s more personal, more intimate. It isn’t about activism so much as about allowing connections—and generosity—to flow in both directions.’ -Andrea K. Scott
From The New Yorker Photo Booth online posting from 13 November 2015.
To learn more about Katy Grannan, visit her artist page.
Jonathan Curiel of the SF Weekly Culture Blog discusses our current exhibition and the work of Sophie Calle.
Money, secrecy and death are the Fraenkel exhibit’s central motifs. In Calle’s ATM photos, people fret as they wait for the machine to disperse their cash. They raise their eyebrows. They agonize. Money has a hold on them. None of them seem happy. None of them, it’s clear, ever expected their image would be used by a Paris photographer with a history of nosing around. – Jonathan Curiel
From the SF Weekly Culture Blog online posting from 4 November 2015.
To learn more about Sophie Calle, visit her artist page.
CHRISTIAN MARCLAY, Untitled (from the series Cassette Tape Duplication), 2012
Fraenkel Gallery is pleased to exhibit once again on the main floor at Paris Photo this month and will feature work by Adam Fuss, Christian Marclay, Lee Friedlander, Richard Learoyd, Peter Hujar, Nan Goldin, Richard Misrach, Hiroshi Sugimoto, and Alec Soth among others.
Visit us at booth B30.