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.
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.
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.
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.
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.
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.
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.
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 Lightboxonline posting by Lucia De Stefani on 29 September 2015.
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.
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 Documentaryonline posting by Jack Crager on 21 September 2015.
To learn more about Nicholas Nixon, visit his artist page.
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 TheNew York Times Lens Blog online posting by Rena Silverman on 9 September 2015.
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.
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 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
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
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
Reading the book is certainly an experience, the craquelure of the water’s sunlit surface instilling a hypnotic cadence. Misrach has always documented the ominous or uncomfortable with startling pulchritude, his gaze more aesthetically concerned than photojournalistic, and this is no exception. The images simmer delicately on the page. Using an innovative printing process and a telephoto lens, each photograph permits both expansive scope and intense definition. By keeping each portrait visually similar in composition, Misrach encourages us to look deeper into an image, to glean facial expressions, to read the body language. Are these strangers consumed by loneliness or savoring the calm of the sea? For sure, placing them against a canvas of such transparency reveals a menacing vulnerability that underscores the arcadian reverie of floating off a coast near Honolulu. –Zack Hatfield
From the Entropy Magazineonline posting by Zack Hatfield on 30 June 2015.
To learn more about Misrach’s work, please visit his artist page.
We are pleased to announce that our recent publicationSilent Dialogues has been selected for consideration for the Arles 2015 Historical Book Award. The selection committee, composed of Remi Coignet, Horacio Fernandez, and Markus Schaden, selected Silent Dialogues along with 20 other publications from over 700 submissions for consideration of this prestigious award.
Meatyard wore one mask to work, he wore one mask at home, he wore another when he was discussing literature and film with his friends from the English faculty. He probably wore a different mask when he was going out to the abbey to meet the Thomas Merton. We all take on different personas or wear different masks in different parts of our lives. Meatyard was a little league coach, he was the head of the local PTA but at the same time he’s really pushing all the boundaries of his art in photography and creating works that even push and sometimes confuse his colleagues that have the same goals as he has. –Jessica McDonald
Katy Grannan, curator of The Heart is A Lonely Hunter, discusses the current exhibition in this article by Interview Magazine.
God forbid you reveal anything deeply felt. It’s got to be concealed beneath the armor of a rigorous, academic thesis. It’s the rare artist who can pull it off without bearing the brunt of smug, ironic criticism. –Katy Grannan
From Interview Magazine online posting by Colleen Kelsey from June 2015.
To learn more about The Heart is a Lonely Hunter, please visit the exhibition page.
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.
Richard Misrach discusses our current issues with gun violence in this article by The Guardian.
I realized that the women on the covers of both magazines were the intended targets, but that the violence that was directed specifically at the women symbolically penetrated every layer of our society. Every aspect of our society … was riddled with violence. –Richard Misrach
Fraenkel Gallery is honored that our 2014 exhibition Hiroshi Sugimoto: Acts of God has been selected as one of the AICA award winners in the category of Best Show in a Commercial Space Nationally. The US section of International Association of Art Critics is comprised of 400 critics, curators, scholars, and art historians, and the organization presents its annual awards in recognition of exceptional and important work in the visual arts.
Thank you, AICA members, for naming Acts of God one of the best exhibitions of the past season!