Looking at Photos the Master Never Saw: When Images Come to Life After Death

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Many of Winogrand’s photographs included in the current retrospective on view at the Metropolitan Museum of Art were printed posthumously.  Arthur Lubow of the New York Times wonders: is the artistry of photography in clicking the shutter or is it in the editing process? Can posthumous prints truly express an artist’s vision?

There is an endless anxiety on the issue of how authorship works in photography —Jeff Rosenheim, curator in charge of the photography department at the Metropolitan Museum of Art. 

From the New York Times online posting by Arthur Lubow on 3 July 2014.
To learn more about Winogrand’s work and publications, please visit his artist page.

John Gossage: Visual Art Source Review

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A review of the July and August group show “Where There’s Smoke” and John Gossage’s “Who Do You Love”.

The veteran photographer dubs this series, made in the 1990s, as ‘photographic distractions,’ which may reflect the diversionary nature that they had for him. — Dewitt Cheng

From the Visual Art Source online posting by Dewitt Cheng.
To learn more about Gossage’s work, please visit his exhibition page.

Where There’s Smoke. John Gossage: Who Do You Love

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The two exhibitions on view through August 23, Where There’s Smoke and Who Do You Love look at a new materiality, offhanded gestures, and emerging visions from the perspective of four contemporary photographers, and in little seen mixed-media works by John Gossage.

Gallery director Darius Himes raises questions about how works were made and exploratory intentions. ‘Is the photographer off-kilter,’ he asks, ‘or is the subject?’ His selections suggest transition, the artists caught in the act of formation. — Glen Helfand

From the Photograph Magazine online posting by Glen Helfand on 29 July 2014.
To learn more about these artists’ work and publications, please visit the exhibition pages for Where There’s Smoke and Who Do You Love.

Rediscovering Garry Winogrand’s Vision of America

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Garry Winogrand’s greatness as a street photographer can be much credited to his ever-readiness with his camera.

Unlike Dorthea Lange or Walker Evans, two of Winogrand’s influences who made emotional connections with their subjects, there’s a sense Winogrand took pictures simply because the moment presented itself. — Joe Newman

From the Huffington Post online posting by Joe Newman on 24 June 2014.
To learn more about Winogrand’s work and publications, please visit his artist page.

No Moral, No Uplift, Just a Restless ‘Click’ ‘Garry Winogrand,’ a Retrospective at the Metropolitan Museum

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Holland Cotter of The New York Times argues that though many of the photographs in the MET’s Garry Winogrand Retrospective slide off the eye, the show is still engrossing as it captures a historical moment.

Winogrand was wrong about photographs’ being unable to change society, as he could have seen firsthand: pictures streaming back from Vietnam fueled public opposition to a war he hated. And he was wrong that art had no place for moral statement, that ambiguity was the only way to go, that what you randomly see is all that matters. On this score, however, his thinking was prescient: It’s the dominant ethic in a cash-bloated art world today. — Holland Cotter

From the New York Times online posting by Holland Cotter on 3 July 2014.
To learn more about Winogrand’s work and publications, please visit his artist page.

Paul Graham at the Winogrand Retrospective

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Paul Graham visits the Garry Winogrand retrospective at the Metropolitan Museum of Art and provides insight and commentary for The New Yorker.

Winogrand was someone who said, ‘Give me the rapids,’ and he swam across them many times.
— Paul Graham

From The New Yorker’s online posting on 11 July 2014.
To learn more about Winogrand’s work and publications, please visit his artist page.

What photographers can learn from Garry Winogrand

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“Think in black and white” and “Shoot, and shoot again.”  Photographers can learn a great deal from Garry Winogrand’s dedication and devotion to photography.

Garry Winogrand was out on the streets of New York snapping incredible pictures, day after day. Few can match his dedication – but all photographers can learn something from him. — Stephen Dowling

From the BBC Culture online posting by Stephen Dowling on 27 June 2014.
To learn more about Winogrand’s work and publications, please visit his artist page.

Garry Winogrand

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Winogrand believed that one cannot read too much into a photograph, but the images he left behind present a challenge his statements.  The Brooklyn Rail reviews Winogrand’s retrospective at The Metropolitan Museum of Art.

I think there isn’t a photograph in the world that has any narrative ability. They do not tell stories—they show you what something looks like. To a camera. — Garry Winogrand

From the Brooklyn Rail’s online posting by Sara Christoph on 15 July 2014.
To lean more about Garry Winogrand’s work and publications, please visit his artist page.

John Gossage disrupts photos by integrating distractions

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John Gossage focuses on distractions to bring people into his work.  The Chronicle interviews Gossage regarding his exhibit “Who Do You Love” on view at Fraenkel Gallery through August 23.

These aren’t paintings that aren’t about being anywhere else. Photographs don’t do that: They take you somewhere previous or elsewhere. I wanted to go back and forth between those realities.

— John Gossage

From the SF Gate online posting by Kimberly Chun on 9 July 2014.
To learn more about Gossage’s work and publications, please visit his artist page.

“curATE”: Quince at Hedge Gallery

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During a limited five-week period from July 30-August 30, 2014, the two Michelin-starred Quince restaurant will move to Hedge Gallery for a pop-up dinner series, titled curATE.  For the first week of curATE, July 30th – August 2nd, Fraenkel Gallery will be exhibiting from Richard Avedon, Adam Fuss, Idris Khan, Richard Misrach, Richard Learoyd, Irving Penn and Hiroshi Sugimoto, among others.

CurATE will operate four nights a week, Wednesday through Saturday.

For more information, please visit curATE’s website.

Garry Winogrand, the Photographer Who Captured the Madness of the Mad Men Era

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Vanity Fair reviews the Garry Winogrand Retrospective at the MET.

America is spectacle in Winogrand’s work, a big noisy parade across regions and classes. But it’s an uneasy, anxious parade, too… — Bruce Handy

From the Vanity Fair online posting by Bruce Handy on 30 June 2014
To learn more about Winogrand’s work and publications, please visit his artist page.

Storms & Flooding Give New Life to Photographer’s Work

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KQED Arts reviews Hiroshi Sugimoto: Acts of God at Fraenkel Gallery, focusing on his work The Last Supper, which was affected by Hurricane Sandy.

Hiroshi Sugimoto: Acts of God raises its most lasting point when considered in totality: the “domestication” of Nature, a near singular goal that has possessed humankind throughout our time on the planet is a laughable impossibility, despite our best efforts. — Roula Seikaly 

From KQED Arts online posting by Roula Seikaly on 10 May 2014.
To learn more about Sugimoto work and publications, please visit his artist page.

 

CCA Photography Program presents Ruth van Beek and Michael Lundgren in conversation with Darius Himes

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Darius Himes presents the curatorial impetus behind Where There’s Smoke and will moderate a conversation with two of the artists, Ruth van Beek and Michael Lundgren.  The event, co-sponsored by AirBnB and Fraenkel Gallery, will be 8 July 2014, 7:00pm at the California College of the Arts campus.

For more information, please visit our Facebook event.

Where There’s Smoke/Who Do You Love Opening Reception and book signing with John Gossage

John Gossage, Berlin, 1995
Ruth van Beek, Untitled (The Arrangement), 2012
Jason Fulford, San Francisco, CA, 2013
Michael Lundgren, Untitled (earth), 2009
Viviane Sassen, Axiom R03, 2014
John Gossage, Who Do You Love, exhibition catalog, 2014

We are pleased to announce two exhibitions of five artists being shown at Fraenkel Gallery for the first time. Who Do You Love is a solo show of twelve unique pieces by John Gossage. Presented concurrently is Where There’s Smoke, a group exhibition of four contemporary photographers: Ruth van Beek, Jason Fulford, Michael Lundgren, and Viviane Sassen.  Curated by Director Darius Himes.

The exhibition opening reception and book signing with John Gossage will take place Thursday 10 July 2014 from 5:30-7:30pm.  Artists Ruth van Beek and Michael Lundgren will be in attendance.

John Gossage will be signing his latest book, published for this exhibition, “Who Do You Love.”

For more information on the exhibitions, please visit our exhibition pages.
For more information on Gossage’s book Who Do You Love, please visit the publications page.
Please join our Facebook event for the opening.

7X7 Magazine Reviews Sugimoto’s “Acts of God”

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Nancy Garcia of 7×7 Magazine discusses Hiroshi Sugimoto’s exhibition “Acts of God.” The article includes an excerpt from Sugimoto’s own writings regarding the work entitled “The Last Supper: Acts of God,” which was affected by Hurricane Sandy.

Going about my life in a pitch-dark Manhattan, I had the sense that civilization’s own “last supper” was coming closer. From time to time, the light of a candle flickered in a window of the desolate city. Hiroshi Sugimoto

From the 7×7 online posting on 18 June, 2014
To learn more about Hiroshi Sugimoto’s work and publications, please visit his artist page

Hiroshi Sugimoto talks to designboom

In an interview with designboom, Hiroshi Sugimoto discusses his glass tea house, “Mondrian,” a temporary structure designed for the 2014 Venice Architecture Biennale.

I decided that a japanese transliteration of the name ‘mondrian’ would be an ideal name. I combined three characters that betoken ‘a modest house where one can hear the birds sing.’ I like to think that this tea house was designed by Mondrian after he heard Sen no Rikyû speaking to him through the singing of the birds.—Hiroshi Sugimoto

From the designboom online posting on 4 June, 2014
To learn more about Hiroshi Sugimoto’s work and publications, please visit his artist page

Robert Adams retrospective at the Jeu de Paume

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To accompany a Robert Adams retrospective entitled “The Place We Live” (L’endroit où nous vivons), running through 18 May, 2014, the Jeu de Paume has released a video detailing some of the projects Adams has pursued over the course of his career, including his early influences and interests.

From the Jeu de Paume online posting on 22 February, 2014.
To learn more about Robert Adams’ work and publications, please visit his artist page.

Hiroshi Sugimoto discusses his glass tea house with The New York Times

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In an interview with Julie Lasky of The New York Times, Hiroshi Sugimoto discussed the glass tea house entitled Mondrian that he has designed for Venetian museum Le Stanze del Vetro on the island of San Giorgio Maggiore. The tea house was unveiled on 6 June, 2014 for the Venice Architecture Biennale.

I’m bringing the spirits back from the dead. The tea ceremony, to me, is kind of a dead tradition. To make it alive and modified to the modern world, I need that contemporary spirit and energy. People believe that tradition should not be changed, but that’s not true for me. —Hiroshi Sugimoto

From the New York Times online posting by Julie Lasky on 4 June, 2014.
To learn more about Hiroshi Sugimoto’s work and publications, please visit his artist page.

The Brooklyn Rail reviews Mel Bochner’s “Strong Language”

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Richard Kalina of The Brooklyn Rail reviews Mel Bochner’s exhibition “Strong Language,” on view at the Jewish Museum from 2 May 2014 until 21 September 2014.

Bochner’s work has always displayed admirable rigor and concision. He has never been afraid to tackle big issues, especially philosophical ones. He will do what it takes to get his ideas across, and has given himself the freedom to use whatever tools are at hand. —Richard Kalina

From the Brooklyn Rail online posting by Richard Kalina on 5 June, 2014.
To learn more about Mel Bochner’s work and publications, please visit his artist page.

Portland Art Museum acquires important collection of Robert Adams photographs

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The Portland Art Museum has announced the acquisition of a collection of 69 Robert Adams photographs depicting the landscapes of Western Oregon. The photographs were taken between 1992 and 2012 as part of a series displaying the effects of clear-cutting on the state’s forest environs.

No photographer of our time has better shown us what we both love and too often tend to spoil throughout the American West than Robert Adams. —Jock Reynolds, Henry J. Heinz II Director of the Yale University Art Gallery

From the Portland Art Museum press release on 27 May 2014.
To learn more about Robert Adams’ work, please visit his artist page.

Hiroshi Sugimoto’s ‘Acts’ dishes up divine intervention

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Kenneth Baker of the San Francisco Chronicle reviews our exhibit, Hiroshi Sugimoto: Acts of God on view through 2 July 2014.

The characteristic elegance of photographer Hiroshi Sugimoto’s work can cause people not to notice how conceptual an artist he is. “Hiroshi Sugimoto: Acts of God” at Fraenkel makes this plain. — Kenneth Baker

From the SFgate.com online posting on 30 May 2014.
To learn more about the exhibit, please visit our exhibition page.

MICHAEL LUNDGREN

Untitled (earth), 2009
Displace, 2008
Reversal of Terms, 2012
Turtle Island, 2012
The Algeic Fox, 2003
Release (coil), 2013
Release (mass), 2013
Untitled, 2011

Michael Lundgren (b. 1974) draws on a deep current in photographic tradition that takes the natural world as a seat of transcendence. Having spent his formative years in upstate New York, Lundgren was pulled west by the vastness of the desert.  His first monograph, Transfigurations (2008) seeks to refine the value of the primitive landscape. Through photographic formalism, these images parallel the extremities of desert experience. Lundgren’s process depends on the creation of a body of work over time, with new images altering the course and meaning of the whole. This exhibition comprises work from Matter, a mythological manifestation of ruin and regeneration. By incorporating human artifacts alongside natural phenomena, the work probes the perceived divide between nature and culture. In the words of the artist, “Embracing a minimalist approach, the images navigate an octave of duality—burial and emergence, solidity and transience, deep and shallow time—the life of cells and the life of stone. The sequence is structured on the connotation of the images, building tension through color relationships and oscillating into black-and-white to enhance and disturb picture logic.”

View the exhibition page.