In the New York Times Magazine: Forty Portraits in Forty Years

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For the 40th anniversary of Nicholas Nixon’s The Brown Sisters, The New York Times Magazine is featuring the entire photo series–including the debut of the 2014 photo. The accompanying article by Susan Minot discusses the emotional impact of the works, as well as ideas of aging and sisterhood.

But the more we study the images, the more we see that aging does not define these women. Even as the images tell us, in no uncertain terms, that this is what it looks like to grow old, this is the irrefutable truth, we also learn: This is what endurance looks like. —Susan Minot

From The New York Times Magazine article by Susan Minot on 5 October 2014.
Hear Nicholas Nixon speaking about the evolution of this series in our video interview.
To learn more about Nixon’s work and publications, please visit his artist page.

Video Interview with Nicholas Nixon

Nicholas Nixon sat down with us to talk about his series The Brown Sisters, which celebrates its 40th Anniversary this year.  The series, which began in 1974, depicts Nixon’s wife, Bebe, and her three sisters.

We’re all aware of time passing and us not being aware of it while it’s passing…so seeing the sisters, for a lot of people, just gives them the sort of reliable marker that a year has passed.  —Nicholas Nixon

To learn more about Nixon’s work and publications, please visit his artist page.

SFMOMA Interviews Mel Bochner

 

In an interview with SMOMA, Mel Bochner reflects on his first experimentation with blue carpenter’s chalk on walls in his studio and his evolution to using the wall as a medium itself.

I didn’t want to make a mural. To me a mural is something that extends to the edges and creates a complete and total illusion, in other words a window into the wall.—Mel Bochner

From the SFMOMA online posting in August 2014.
To learn more about Mel Bochner’s work please visit his artist page.

Sound Bite

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Remember this photograph from our exhibition, “Where There’s Smoke?”  To create this photograph from his series “Matter”, Michael Lundgren threw found objects into a pipe and captured their descent with the use of a handheld strobe.

Take a listen to the sound the objects made via Soundcloud.

To learn more about Lundgren’s work, please visit his artist page.
To learn more about “Where There’s Smoke” please visit the exhibition page.

Robert Adams’ Journey to Nehalem Bay

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KQED reviews our exhibition Robert Adams: A Road Through Shore Pine. The review provides insight into Adams’s use of metaphor.

Adams’ photos, however, appear to be an homage to that road, not the dirty, oil-stained asphalt, but the idea of it as a journey or a destination. Many travelers are particularly fond of certain roads — they are drawn to the trees that flank the pavement, the tourist traps that divert their spare change, or memories of conversations they’ve shared with a lover while speeding through a valley of dried sagebrush. — Matthew Harrison Tedford 

From the KQED  online posting from 22 September 2014.
To learn more about Adams’s work and publications, please visit his artist page.

Robert Adams’s healing images of “A Road Through Shore Pine”

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Kimberly Chun sat down with Robert Adams to discuss his recent body of work, “A Road Through Shore Pine,” on view at the gallery through 15 November 2014.

One can go back along the spit, back to town and to one’s duties, and the pictures record an attempt to find peace. It’s a walk we all make sooner or later, and the actual act of photographing is the most healing thing I can do.—Robert Adams

From the San Francisco Chronicle online posting from 12 September 2014.
To learn more about Adams’s work and publications, please visit his artist page.

Robert Adams Photographs and Books

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Kenneth Baker of the San Francisco Chronicle reviews our exhibitions “Robert Adams: A Road Through Shore Pine” and “Robert Adams: The Complete Books 1970-2014″ on view through 15 November 2014.

His level-eyed approach almost makes us feel like resisting the call of nostalgia, even perhaps of reminiscence, as if revisiting these vistas were an exercise in self-discipline. — Kenneth Baker

From the San Francisco Chronicle online posting from 12 September 2014.
To learn more about Adams’s work and publications, please visit his artist page.

 

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