News

FraenkelLAB, a New Venue for Adventurous Exhibitions, to Open in 2016

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Fraenkel Gallery is pleased to announce the launch of FraenkelLAB, a new venue for experimentation and risk-taking artwork in any medium. The new space, located at 1632 Market Street, features 18-foot ceilings and a large glass façade that offers a striking presence on San Francisco’s main thoroughfare.

The wide-ranging works to be presented at FraenkelLAB may be from any era, and the exhibitions often will include contemporary and historical artists not currently represented by Fraenkel Gallery. Presentations may encompass video, painting, film screenings, performance, installations, readings, or projections on the FraenkelLAB façade, which can be seen from the street through the evening.

Located in the burgeoning Hayes Valley neighborhood, near Mid-Market and Civic Center, FraenkelLAB will be a close neighbor to Zuni Café, the renowned restaurant established in 1979—the same year as Fraenkel Gallery.

As a preview of its new programming, Fraenkel Gallery will present a temporary installation in the FraenkelLAB space from January 13-17, 2016, featuring Reanimation (Snow White), 2014, a video artwork by the British artist Oliver Beer. On loan from the renowned Kramlich Collection, the video will be projected on a screen inside the gallery at nighttime and will be viewable from the street. The presentation at FraenkelLAB will run concurrently with the FOG Art & Design Fair at Fort Mason, in which Fraenkel Gallery will also participate.

In April 2016, after a renovation of the gallery space by Melander Architects, FraenkelLAB will open the exhibition Home Improvements. Curated by John Waters, the exhibition will encompass painting, sculpture, drawing, and photographs by thirteen contemporary artists: Martin Creed, Moyra Davey, Vincent Fecteau, Paul Gabrielli, Gelitin, Paul Lee, Tony Matelli, Doug Padgett, Karin Sander, Gedi Sibony, Lily van der Stokker, George Stoll, and John Waters.

Over the past 36 years, in exhibitions such as Edward Hopper & Company, Open Secrets, The Heart is a Lonely Hunter, and Nothing & Everything, Fraenkel Gallery has explored linkages between work in different media and relationships among artists of different generations. Fraenkel Gallery will continue our long-term relationships with the esteemed artists that are central to our program at 49 Geary Street, including the upcoming exhibitions Peter Hujar: 21 Pictures, opening January 7, 2016, and Christian Marclay: New Work opening April 30, 2016.

Richard Learoyd In Conversation with LA Review of Books

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.

Time Magazine Interviews Alec Soth

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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.

Katy Grannan Reviewed by The New Yorker

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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.

SF Weekly Reviews Sophie Calle Exhibition

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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.

Paris Photo November 12-15, 2015

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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.

 

 

Sophie Calle Exhibition reviewed by The New York Times Style Magazine

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Erica Bellman of The New York Times Style Magazine discusses the work of Sophie Calle and our current exhibition.

Among the other works on view is “Cash Machine,” a series of readymade portraits of people accessing an ATM. The faces appear frozen between expressions: Some seem bored, while others approach glee, worry and sadness. The theme is our relationship with money, a subject that captivated Calle for the 16 years she worked on the series, returning again and again to the specter-like faces. “I was attracted to them, but I didn’t know what to do with them. It didn’t work for many years,” Calle says. “But when you’ve lost so much time trying to do something, then you have to find it; you cannot abandon it. The story of this project is to not abandon.” – Erica Bellman

From The New York Times Style Magazine online posting from 29 October 2015.

To learn more about Sophie Calle visit her artist page.

Nan Goldin’s “Ballad of Sexual Dependency” Turns 30

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Ellyn Kail of Feature Shoot discusses Nan Goldin’s work and the thirtieth anniversary of her publication, The Ballad of Sexual Dependency.

Goldin created The Ballad to remember, to safeguard the things and the people that happened to her from being glossed over with the rosy tinge of nostalgia. The Ballad honors the bad and the beautiful, the tender and the violent, in equal measure, illuminating the ways in which the human race is both hopeless in relationships and hopeful in love. Sadly, the photographer was unable to hold fast and forever to all of the people in her life; many of the friends pictured have since died. And yet they do linger, neither as phantasms nor as memories tainted by sentiment, but as real people, flesh and blood, flickering on and off of a screen, nestled tightly within the corners of a book. – Ellyn Kail

From the Feature Shoot online posting by Ellyn Kail on 23 October 2015.

To learn more about Nan Goldin, visit her artist page.

Alec Soth Reviewed by The Guardian

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Sean O’Hagan of The Guardian Photography Blog reviews Alec Soth’s retrospective, Gathered Leaves.

Like so many Soth images, it walks the line between the romantic and the resoundingly real, as well as between documentary and fine art – a hinterland he has negotiated more sure-footedly than any other photographer of his generation. –Sean O’Hagan

From The Guardian Photography Blog online posting by Sean O’Hagan on 6 October 2015.

To learn more about Soth, visit his artist page.

SF Camerawork Hosts Annual Benefit Auction

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SF Camerawork will be hosting their annual benefit auction on Saturday, November 7th. As part of their most important fundraising event, over one hundred fine-art prints will be available from photographers such as Richard Misrach, Chris McCaw, and Duane Michaels.  There will also be a private tour of Fraenkel Gallery and a cocktail reception available for bidding for ten to fifteen guests. SF Camerawork will be hosting a preview exhibition between November 2 and November 6.

To learn more or to purchase tickets, visit the SF Camerawork page here.

Collector Daily Reviews About Forty Years

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Richard B. Woodward of Collector Daily reviews the work of Nicholas Nixon in this online review.

It’s the intensity of his scrutiny, the ardent faith in the close-up, the simultaneous abstracting and unveiling of details, and the soft burnish of his silver-gelatin prints that is so reminiscent of Strand. A Nixon photograph is a deliberate act, not the product of experiment or happenstance. The polish of both men’s work disguises a strong, fastidious will, a characteristic that might be unforgivably overbearing were it not also in service to such a humane cause: clear-eyed tracery of the world, some of it painful to inspect—notably the erosion of aging and disease upon the body—but all of it near-at-hand and enriching for those caring to look. -Richard B. Woodward

From the Collector Daily Photobooks Blog online posting by Richard B. Woodward on 12 October 2015.

To learn more about Nixon, visit his artist page.

 

Richard Learoyd at the Victoria & Albert Museum

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The Victoria & Albert Museum in London will be featuring Richard Learoyd in Dark Mirror, an exhibition of his large-scale portrait and still-life photographs, on view from October 24th – February 14, 2016.

Learoyd’s unique and large-scale portrait and still-life photographs captivate viewers with their quiet power and mesmerising detail, which is achieved through an innovative process. The images are made directly onto colour photographic paper in a room-sized camera obscura. The effect is almost hyper-real but is achieved entirely by non-digital and now obsolete chemical-based photography. Learoyd’s sitters seem frozen in deep reflection, and are shown alongside dream-like still life arrangements and mysterious dark mirrors with no reflections. Through a combination of symbolic subjects and sheer visual impact, his elegant compositions question the nature of optics and test limits of photographic representation. – The Victoria & Albert Museum

To learn more about Richard Learoyd, visit his artist page.

 

Time Magazine Reviews Day for Night

Richard Learoyd, Rosie, 2006, from Richard Learoyd: Day for Night (Aperture/Pier 24 Photography, 2015)

Lucia De Stefani of TIME Lightbox reviews the latest work of Richard Learoyd and his publication, Day for Night.

As we gaze at Learoyd’s portraits, we are both strangers and accomplices, almost unable to look away. Resembling large paintings from the Dutch tradition, Learoyd’s images create a sense of peace, grace and a dreamlike suspension of time that lets us pause and inhale his sense of beauty. His aesthetic provides a glance into humans’ lives that we rarely have the chance to explore but intimately yearn to, in order to acknowledge the solitude of others as well as ourselves. -Lucia De Stefani

From Time Magazine Lightbox online posting by Lucia De Stefani on 29 September 2015.

To learn more about Learoyd, visit his artist page.

 

Alec Soth in Conversation with Telegraph Magazine

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Mick Brown of Telegraph Magazine interviews Alec Soth about his career, social media and vulnerability.

The art world is built on elitism, and in terms of art-world standing it’s better to be an artist using photography than to be a photographer, doing magazine and editorial work. But I want to do all of it. I’m a photographer, and I’m not embarrassed to be a photographer. –Alec Soth

From the Telegraph Magazine online posting by Mick Brown from September 2015.

To learn more about Soth, visit his artist page.

Richard Learoyd demonstrates his process

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In this video, photographer Richard Learoyd demonstrates how to make a picture using the large camera obscura he built in his studio.

They’re different to other photographs because they emit the sensation that is a little more human somehow. They are never really described as prints because there isn’t a print. You know the print is the photograph and the photograph is the print. There’s not the opportunity to make more than one version of the picture because that moment is passed. There is no negative. There is no transparency. There’s no digital file. –Richard Learoyd

From the San Francisco Museum of Modern Art online video from May 2015.

To learn more about Learoyd’s work, please visit his artist page.

 

 

American Photo Features About Forty Years

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Jack Crager of American Photo features About Forty Years in “The 10 Best New Photobooks: Fall 2015”

Best known for his four-decade series on his wife and her siblings, The Brown Sisters, Nicholas Nixon has quietly compiled a wide-ranging body of imagery during those 40 years. This collection unflinchingly reflects the realities of life — from the vulnerability of infancy to the vagaries of old age, the sensuality of mixed-race nude couples to the ravages of AIDS — with a constant sense of empathy and artistry. –Jack Crager

From American Photo Documentary online posting by Jack Crager on 21 September 2015.

To learn more about Nicholas Nixon, visit his artist page.

Nicholas Nixon Reviewed by the New York Times

NN-02-019Rena Silverman of The New York Times Lens Blog reviews the work of Nicholas Nixon.

After years of traveling around to the insides and outsides of peoples’ homes, Mr. Nixon now photographs almost exclusively in the Boston area. “Some photographers need to have fresh eyes to see, so they travel because they like to see things as they’ve never seen them before,” he said. “I understand that. But I like looking at things more with old eyes.” –Rena Silverman

From The New York Times Lens Blog online posting by Rena Silverman on 9 September 2015.

To learn more about Nixon, visit his artist page.

Nicholas Nixon’s 2015 Brown Sisters Photograph

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As we look forward to Nicholas Nixon’s upcoming exhibition at Fraenkel Gallery, we are pleased to share the latest photograph in his celebrated series, The Brown Sisters. Nixon began making portraits of his wife and her sisters in 1975, and this is the 41st annual photograph. You can hear the artist speaking about this body of work in this video interview.  The photograph, The Brown Sisters, Wellfleet, Massachusetts,  will be on display during our exhibition, About Forty Years,  opening on September 10th.

To learn more about Nicholas Nixon, visit his artist page.

The Art Newspaper Reviews Silent Dialogues

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Shelley Rice of The Art Newspaper reviews Silent Dialogues in this online review.

Using his father’s own criteria for genius, developed in his critical writings, Nemerov shows how Howard knew that his little sister had trumped him as an artist and how she had plunged deeper into their shared “religion of art” than Howard himself had dared. Using photography to reveal the secrets beyond language and thought, unflinchingly facing a world “relieved of the burden of having to be a mirror of her own intelligence,” Diane Arbus manifested an “ocean-infinite of feeling” that was difficult for Howard to confront. –Shelley Rice

From The Art Newspaper online posting by Shelley Rice on 2 August 2015.

To learn more about Arbus’s work, please visit her artist page.

Frish Brandt in Conversation with Mutina

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Frish Brandt discusses art, design, and photography’s role in California’s history in this interview with Mutina.

…photography arrived into the US just as we started crossing the continent in the mid 19th century. It was as if the advent of photography was born just in time to document this growth and discovery which ultimately concludes in California. California seems a perfect place for photography then and now, beginning with Carleton Watkins’ landscape photographs of the 1860s, moving into the early 1900s with Edward Weston, evolving into the F/64 Group in the 1920s and 1930s and continuing all the way to the invention of digital photography in Silicon Valley.  -Frish Brandt

From Mutina’s online posting on July 24, 2015.

Photograph by Matteo Pastorio.

Richard Misrach In Conversation With LA Review of Books

In this interview by LA Review of Books, Richard Misrach discusses his career as a photographer since his earliest series, “Telegraph 3 A.M.” to his more recent series, “On The Beach.”

So even though my subject matter is sometimes very much of the news, like the U.S. border maybe, or a nuclear test site, or a bombing range. Something like that could be also a father for journalism, a legitimate father for journalism. I try to make what I would consider more like in relation to historical paintings, like history paintings. Using photographs to make images so visual, that 30, 40 years from now, people look back at it, and it’ll represent this historical moment. –Richard Misrach

From the LA Review of Books online posting on 6 July 2015.

To learn more about Misrach’s work, please visit his artist page.

Alec Soth & Stacey Baker: This Is What Enduring Love Looks Like

In this video, Alec Soth and Stacey Baker explore how couples meet for TED.

Now, the most beautiful to me as a photographer is the quality of vulnerability. The physical exterior reveals a crack in which you can get a glimpse at a more fragile interior. At this date-a-thon event, I saw so many examples of that. But as I watched Stacey’s dates and talked to her about them, I realized how different photographic love is from real love. What is real love? How does it work? –Alec Soth

From the TED online posting from March 2015.

To learn more about Soth’s work, please visit his artist page.