Stephen Shore in Conversation with Sandra Phillips

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Fraenkel Gallery would like to announce our community partnership for the Jewish Community Center’s event, “From Galilee to the Negev” Steven Shore in conversation with Sandra Phillips, Senior Curator of Photography at SFMOMA.
The Event will take place on Wednesday, April 23rd at 7:00pm

To find out more about the event and to purchase tickets, please visit the JCC SF website.

Examiner reviews Nan Goldin: Nine Self–portraits, and Peter Hujar: Love & Lust

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The Examiner art critic, Greg Flood, reviews Nan Goldin: Nine Self–Portraits and Peter Hujar: Love & Lust. 

In our current, ever connected world, what we find acceptable to reveal to the outside world has changed dramatically. Much of what was considered too intimate to reveal to society in the past, photographically or otherwise, has now been put forth for any and all to see – Greg Flood, Examiner  

From the Examiner online article by Greg Flood published on 1 February 2014.
For more information on the exhibits, please visit our exhibitions page.

Sugimoto at the Getty

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Hiroshi Sugimoto explores history through variety of different subjects through time. The J. Paul Getty Museum will be showing three separate bodies of work from February 4–June 8 2014.  Sugimoto’s technical ability to create timeless photos using old 19th century processes and techniques allow him to recreate scenes of history.

By employing century-old techniques and turning his lens to subjects and compositions that recreate or simulate moments from the past, Sugimoto intimately connects himself to the historical moments depicted – Arpad Kovacs

From The Getty Museum press release on 19th December 2014
To learn more about Hiroshi Sugimoto work and publications, please visit his artist page

 

KQED reviews Peter Hujar: Love & Lust and Nan Goldin: Nine Self–portraits

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Peter Hujar a New York based photographer explores the individual personality’s of his portrait subjects and New York street life.

Peter Hujar knows that portraits in life are always, also, portraits in death. I am moved by the purity and delicacy of his intentions. If a free human being can afford to think nothing less than death, then these memento mori can exorcise morbidity as they evoke its sweet poetry and panic. – Susan Sontag

From the KQED Arts online posting by Glen Helfand on Jan 29, 2014.
To learn more about Peter Hujar’s work and publications, please visit his artist page.

An Evening with Nan Goldin and Vince Aletti: Remembering Peter Hujar

On January 8th, Fraenkel Gallery hosted a dialogue about the work of Peter Hujar, on the occasion of the exhibition Love & Lust. On hand were Vince Aletti, respected photography critic for The New Yorker, and Nan Goldin, whose 1980s work The Ballad of Sexual Dependency, produced a sea-change in the photographic medium. Both were intimate friends of Hujar’s. The evening was moderated by Jeffrey Fraenkel.

Goldin’s exhibition Nine Self-Portraits runs concurrently with Love & Lust.

Purchase the exhibition catalogue for Love & Lust here.

 

Photograph Magazine Reviews “Love & Lust”

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Peter Hujar’s Love & Lust is reviewed by Glen Helfand of Photograph Magazine.  Helfand argues that, though the exhibit features more “lustful” works, Hujar’s sensitivity towards his subjects allows him to capture humanizing portraits of his sitters.

Intimacy is the hallmark of the late Peter Hujar’s photographs, a quality that stems from his identity as well as his membership in a New York subculture of the 1970s and 80s.—Glen Helfand

From the Photograph Magazine online posting by Glen Helfand on 23 January 2014.
To learn more about Hujar’s work and publications, please visit his artist page.

Art Practical Reviews “Love & Lust”

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Danica Willard Sachs, of Art Practical, asserts that Hujar’s creativity is on full display as he pushes the boundaries of photography, resulting in portraits full of personality and style.

Hujar’s nude portray their sexuality as a simple, natural fact of being alive. – John Morace

From the Art Practical online posting  by Danica Willard Sachs on 20 January 2014.
To learn more about Hujar’s work and publications, please visit his artist page.

Richard B. Woodward Reviews “Love & Lust”

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Noted art critic Richard B. Woodward reviews our most recent publication, Peter Hujar Love & Lust, published in conjunction with an exhibition of the same name.

This secret history [of the male nude in fine art photography ] can be detected in the pages of Love & Lust…Done mainly in a studio setting between 1967 and 1986, as gay culture in New York was emerging from decades of repression, Hujar’s portraits relied on that community as participants as well as potential consumers. – Richard B. Woodward, Collector Daily

From the Collector Daily online article by Richard B. Woodward published 9 January 2014.
For more information on Love & Lust please visit our publications page.

The Unphotographable makes “Top Ten of 2013″ List

Kenneth Baker, noted art critic for the San Francisco Chronicle, compiled a summary of art exhibits and events of 2013.  Our “Unphotographable” exhibit made his “Top Ten” of 2013 list.

Fraenkel Gallery pulled together a fascinatingly bizarre array of images, some celebrated, some obscure, funny or baffling, to gauge photography’s reach. —Kenneth Baker

From Kenneth Baker’s article, “Looking back at art in 2013″ in the San Francisco Chronicle.
For information on the exhibition catalogue, please visit our publications page.

 

Curation as the New Translation

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Larissa Archer reviews our exhibit Diane Arbus: 1971-1956. The review comments on how the thematic grouping of the work directs viewers to examine Arbus’s work through new lenses.

Jeffrey Fraenkel’s exercise is an example of how good curation can clear away the fumes of legend and present work we think we know, afresh. —Larissa Archer

From the Huffington Post online posting by Larissa Archer on 19 December 2013.
To learn more about Arbus’s work and publications, please visit her artist page.

San Francisco Chronicle Reviews “Diane Arbus: 1971-1956″

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Kenneth Baker of the San Francisco Chronicle reviews Diane Arbus “1971-1956,” currently on view at Fraenkel Gallery.

The gallery positions one image from each year in reverse chronology under each of five headings, intending to show that her obsessions did not evolve, though her skills and daring did: They shaped her creative posture from the outset. — Kenneth Baker 

From the San Francisco Chronicle online posting by Kenneth Baker on November 29, 2013.
To learn more about Arbus’s work and publications, please visit her artist page.

 

San Francisco Examiner Reviews “Diane Arbus 1971-1956″

AARBUS2The San Francisco Examiner reviews our current exhibition, Diane Arbus: 1971-1956, commending the exhibition’s success in showcasing Arbus’s development as an artist.

Diane Arbus’ influence on modern and contemporary photography is unparalleled. Known largely for her images of freaks and geeks, a current exhibit at Fraenkel Gallery shows Arbus at her best, and her most varied…The show is a rich, penetrating meditation on one of America’s great photography masters. — Lauren Gallagher

From the San Francisco Examiner online posting by Lauren Gallagher on 28 November 2013.
To learn more about Arbus’s work and publications, please visit her artist page.

 

Richard Misrach at the David Brower Center

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Richard Misrach’s current exhibition at the David Brower Center, “Petrochemical America,” draws attention to the environmental destruction cased by industrial landscapes. His photographs capture the pollution the petrochemical industry has caused, in an area known as the Chemical Corridor.

I would have expected that environmental regulations or even broader environmental awareness over the decade would have had some impact on the region, but that has not been the case…In recent years, there have been numerous accidents, toxic releases and poor practices, not to mention the devastating Deep Horizon oil spill which occurred just as I was revisiting the area in 2010. — Richard Misrach

From Berkleyside online posting by Tracey Taylor on November 19, 2013.
To learn more about Misrach’s work and publications, please visit his artist page.

Time Out Interview with Christian Marclay

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Christian Marclay discusses the concept and process behind his new body of work, in which he produces paintings that are visual representations of sounds.

The backgrounds are painted and the words are screened on top. There’s a visual confusion between what’s painted and what’s printed. The gestural action of the painting is mimicking the sounds, which were selected because they reference painting—splash, swoosh and slurp are all sounds that wet paint might make on canvas. – Christian Marclay

From Time Out New York online posting by Paul Laster on November 19, 2013.
To learn more about Marclay’s work and publications, please visit his artist page.

Peter Hujar at Paris Photo 2013

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Judith Benhamou-Huet, curator and author of “The Worth of Art,” discusses Paris Photo 2013.  The fair is one of the best places to find works of America’s most talented photographers, and Peter Hujar, she insists, is one of those gifted artists.

One of the great, underestimated, quite forgotten talent is Peter Hujar… — Judith Benhamou-Huet 

From Blouin ArtInfo online posting by Judith Benhamou-Huet and Eric Gonon on November 15, 2013.
To learn more about Hujar’s work and publications, please visit his artist page.

 

KQED online review, Diane Arbus: 1971–1956

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KQED recently reviewed our exhibition “Diane Arbus: 1971-1956.” The review praises the curatorial choices for showcasing Arbus’s technical and aesthetic evolution.

Of all the groupings, the most cohesive and unexpected is “Mysteries that Bring People Together.” It’s unexpected because, while they portray the subjects and often lurid situations that form the core of the entrenched Arbus’ narrative, the photographs also resist easy summation by portraying the at-times unusual human bonds and behaviors that drew the photographer’s eye. – Roula Seikaly

From KQED online posting by Roula Seikaly on November 17, 2013.
To learn more about Arbus’s work and publications, please visit her artist page.

 

American Suburb X: An Interview with Robert Adams

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Robert Adams discusses the importance of having a book of one’s own photographs published in the age of digital media. This excerpt from his interview with Alexa Dilworth reflects his opinion that books will always be an integral part of a photographers career.

With respect to the option of having your work online, it seems to me many photographers still prefer books to that too, and the reasons are complicated. But a picture on paper, assuming it’s well reproduced, is closer to the experience of holding a print than seeing an image on a screen. There is also an important satisfaction in holding a well-made book. It’s a beautiful object from that itself suggests wholeness. The pleasure of that object still matters to a lot of photographers. —Robert Adams

From American Suburb X online posting by Alexa Dilworth in 2011.
For more information on Adams’s work and publications, please visit his artist page.

Portland Monthly: Visionary Photographer Robert Adams Turns His Lens on Oregon

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From 7 September 2013 until 5 January 2014, the Portland Art Museum is showcasing an exhibition of 70 prints by Robert Adams, one of the most influential landscape photographers. The exhibition documents how the western landscape has been destroyed over the years due to human activity.

We have a decision to make, says the photographer, who believes clear-cutting should be banned and has campaigned for two failed ballot initiatives to stop the practice. It’s just like when we said, No, you can’t kill the last 80 buffalo on the North American continent. The problem isn’t that we don’t know how to fix this problem; it’s that we don’t have the political will. —Robert Adams

From the Portland Monthly Art online posting by Randy Gragg on September 3, 2013.
To learn more about Adams’s work and publications, visit his artist page.

Robert Adams: Ecology

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Robert Adams is among one of the artists featured in Art 21′s episode Ecology, that explores the relationship of nature and culture. Adams’s subject of photography has been the American West for the past 40 years, capturing the increasing destruction of our landscape. His exhibition “Turning Back” (1999-2003) focused on the changing scene of nature overtaken by human construction.

The final strength in really great photographs is that they suggest more than just what they show literally. Beauty, which I admit to being in pursuit of is extremely suspect toward among many in the art world. But I don’t think you can get along without it. It is a conformation frankly, of meaning in life.

From Art 21 online posting in 2007.
To learn more about Adams’s work and publications, please visit his artist page.

 

Nan Goldin: I Remember Your Face

 

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Nan Goldin is featured in the film I Remember Your Face, which looks at her distinguished career as a photographer. The documentary premiered at the Zurich Film Festival this year, chronicling her professional career and personal life behind the camera.

Evil I think is a religious belief. I believe in evil because I have met evil people, who are truly evil. Especially since looking at Bosch’s paintings, I’ve started to believe there is a hell. He is one of my favorite painters in the world. — Nan Goldin

From American Suburb X TV online posting on September, 25 2013.
To learn more about Nan Goldin’s work and publications, please visit her artist page.