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!
Richard Misrach, in an interview for American Suburb X, discusses his collaborative project with composer Guillermo Galindo on the Mexican-American Border crossing. Misrach takes abandoned objects he finds at the border, photographs them, and sends them to Galindo, who then transforms them into musical instruments.
“This whole border project really is an extension of my Desert Cantos,…you look at landscape, but it’s not really landscape, it’s a symbol for our country, it’s a metaphor for our country.” – Richard Misrach in his interview with Brad Feuerhelm
We are pleased to announce Frish Brandt has been named President of Fraenkel Gallery. This new appointment comes on the 30th anniversary of Brandt joining Fraenkel Gallery and marks her significant contributions to the gallery’s growth over her tenure.
As President, Brandt will continue to oversee gallery operations and client relationships, while playing a key role in setting the gallery’s artistic direction with founder Jeffrey Fraenkel. “Frish is a beloved figure in the Bay Area art world and beyond,” notes Fraenkel, “and her vision, influence, and special touch is felt in every aspect of what we do.”
In recent years, she has worked especially closely with more recent additions to the gallery’s stable of artists, including Richard Learoyd, Katy Grannan, and Idris Khan, in addition to her long history with gallery artists such as Hiroshi Sugimoto, Robert Adams, Adam Fuss and Nicholas Nixon, as well as The Estate of Ralph Eugene Meatyard.
Brandt came to Fraenkel Gallery in 1985, at the time of Chuck Close’s first exhibition of large-scale photographs on the West Coast. “When Fraenkel Gallery first opened, photographs were not widely regarded as art,” said Brandt. “It has been an incredible trajectory to see photography become central to any serious consideration of contemporary and modern art.”
She has been pivotal in the organization of countless exhibitions over the past 30 years, including Open Secrets: Seventy Pictures on Paper 1815 to the Present (1997), Not Exactly Photographs (2003), anniversary shows such as The Plot Thickens (2014), and the eclectic series Several Exceptionally Good Recently Acquired Pictures.
CHRISTIAN MARCLAY, Silence (The Electric Chair), 2006
Fraenkel Gallery is pleased to exhibit once again on the main floor at Art Basel this coming June, and will feature work by Christian Marclay, Diane Arbus, Idris Khan, Richard Avedon, Peter Hujar, Hiroshi Sugimoto, Katy Grannan, Robert Adams, and Richard Learoyd, among others.
Visit us at booth A13.
Coinciding with Richard Misrach’s current exhibition Being(s) 1975-2015 is the release of his book The Mysterious Opacity of Other Beings, published by Aperture. This is Misrach’s first book to focus exclusively on the human figure adrift in shifting waters. On May 9 at 2pm, Misrach will join us at the gallery to sign copies of his newest monograph.
Brian Karl, examines Alec Soth’s most recent work in this online review. Karl examines Soth’s most recent show, Songbook, and marks interesting transitions in Soth’s career as photographer and documentarian. Songbook is on view until April 4th.
Not only do we sense natural and social pressures, we also see evidence of those failed schemes and hopes played out in architectural structures, as in the neat walkways and stairways of untenanted motels and their carefully measured out, yet near-empty parking lots. –Brian Karl
Richard Misrach and Mexican composer Guillermo Galindo have long individually reflected on the migrant experience. Now, the Artists have come together to create instruments out of the discarded and abandoned objects left by migrant families along the Mexican/American border.
Soth discusses his artistic journey from his beginnings as a suburban newspaper photographer, to his newest show Songbook with Charlie Schulz writer for The Brooklyn Rail.
Someone the other day was talking to me about how they loved the shoes everyone was wearing in my pictures—and I love that. That’s what’s so great about this open-ended photography. It gives people a place to look at those things and to try to figure out meaning through them. As much as I love the text and love using it, if you are looking at this picture and you have a page of text describing it, you tend to not look at the soles of people’s shoes to figure out who they are.—Alec Soth
The Nine depicts a fallen Neverland where ruined lives exist in parallel with the sublime, and the lines blur between the fantasy of one woman’s imagination and the brutal reality she cannot escape.
A lot of the language surrounding Songbook is about community and American culture…and that stuff’s in there, but actually what I wanted to do with it is talk to something more primal, more internal, and more about the human condition than the American condition. It’s the great problem of consciousness. —Alec Soth
To learn more about Soth’s work and publications, please visit his artist page.
Jonathan Blaustein reviews Assigment No. 2, a publication by TBW Books that explores incarceration through a copy of a handwritten essay written by an inmate, Mr. Nelson, from San Quentin Prison. The essay compares and contrasts a Sugimoto and Misrach photograph as part of an art assignment written while in solitary confinement in 2011.
The essay is smart, but takes a turn towards poignant when Mr. Nelson alludes to his own situation in life. The metaphor of a world changing beyond recognition, seen in the pictures, also seems well-chosen, for someone living on the inside. — Jonathan Blaustein
From aPhotoeditor online posting on 13 February 2015.
To learn more about the works of Sugimoto, please visit his artist page.
To learn more about the works of Misrach, please visit his artist page.
Adam Fuss, From the series ‘My Ghost,’ 2000
For The Art Show, organized by ADAA, Fraenkel Gallery is collaborating with Peter Freeman, Inc. on Mirror/Mirror–two related presentations that focus on self-portraits. The Fraenkel Gallery booth will feature self-portraits by Berenice Abbott, Diane Arbus, Richard Avedon, Sophie Calle, Claude Cahun, Lee Friedlander, Adam Fuss, Nan Goldin, Peter Hujar, Ralph Eugene Meatyard, Eadweard Muybridge, Nicholas Nixon and Hiroshi Sugimoto.
The fair will be held 4–8 March 2015 at the Park Avenue Armory in New York.
Hope to see you there!
Alec Soth discusses his newest body of work, Songbook, which pulls images from the LBM Dispatches made alongside writer Brad Zellar. The LBM Dispatches were created over a series of three years in which Soth photographed different regions across the country, acting as news reporter. The series explores the desire for connection amidst a strong sense of American individualism.
‘I was interested in the newspaper, in part, [because] it used to exist as this vehicle of social interaction,’ he says. ‘It’s a place where, [especially in] small towns, you would not only have the news but you would have notification that someone had passed away or there was going to be a public dinner at the church— it connected events to each other.’ —Alec Soth
Tabitha Soren interviews artist Katy Grannan about her photographic series of people and communities taken along Highway 99 in California. Grannan describes her impulse to photograph as a means to preserve and honor the lives of her subjects.
In retrospect, I can recognize that growing up around a funeral home influenced the way that I looked at every single human being in the world. Photographing people was a way of memorializing them – acknowledging their value and their mortality at the same time. I was almost mourning every person. In the back of my mind I was always aware that people, that life, kept moving on. —Katy Grannan
Eugene Reznik of American Photo interviews Alec Soth about his latest work, Songbook, his connection with music, and the idea of narrative in photography.
My whole career in photography has been this sort of battle with text, and with story, and narrative…The Songbook, it sort of liberated me of that, and the pictures can just exist on their own. —Alec Soth
Alec Soth’s Songbook, published by MACK books contains a selection of images gleaned from his work creating the “LBM Dispatch” newspapers with friend, Brad Zellar. Nicole Crowder of The Washington Post reviews the publication.
The photographs are at times funny and wry, displaying a mix of irony, dark humor and longing in a vein similar to two other famous Minnesota boys, the Cohen brothers, often evoking a cinematic quality to everyday Americana. — Nicole Crowder
But for me to have an authentic voice, I need to follow whatever stirs me. Maybe it would make me a better citizen if I read Wendell Berry rather than watched Breaking Bad, but it wouldn’t make me a better artist.—Alec Soth
In an interview with Aperture Remix’s curator, Lesley A. Martin, Alec Soth discusses the influence of Robert Adams and Allen Ginsberg on his work. He emphasizes the importance of finding his own voice, and finding what moves him. The interview also includes a video, which takes the place of still photography, and serves as a response to the work of Robert Adams.
My work shows the beauty in so many different kinds of people because I never photograph anyone who I don’t think is beautiful. I never take an intentionally mean picture. I won’t show a picture where a person doesn’t look beautiful.—Nan Goldin
Pure Magazine interviews Nan Goldin on her work in fashion, self-portraiture, her influences, which include fashion, her friends, Renaissance art, and film. The article also discusses her future project ideas, and her current interests, like light and landscape, with the intent of exploring atmosphere.
In an interview at the Art Biennale Venice, Christian Marclay, who also won a Golden Lion for best artist at the ILLUMInations Exhibtion, discussed his project, The Clock.
I think it has an appeal because everybody is concerned with time, you know, you never have enough time to do anything, especially to see art. And in Venice, there’s so much art to see, and so little time, so it’s a real challenge.—Christian Marclay
When I’m photographing, I don’t see a picture, I see faces.—Garry Winogrand
In this short video, curators at the Jeu de Paume discuss the work of the late photographer, Garry Winogrand (1928-1984), known for his images of American life. Winogrand’s images are currently on view at the Jeu de Paume (14 October 2014 – 8 February 2015), and is the first retrospective in twenty-five years. Divided into three sections, the exhibition allows viewers an opportunity to see images that were previously unprinted, and some that have never been exhibited before.
‘I always consider antique objects to be my mentors,’ he says. ‘As an artist I try to measure my art against masterpieces from the past. They give me hints to the secrets of human history, particularly history of consciousness and of spirituality.’—Hiroshi Sugimoto
The Telegraph Luxury interviews artists in conjunction with the Barbican Art Gallery’s exhibition “Magnificent Obsessions: The Artist as Collector.” Sugimoto, who was a dealer of Japanese folk art prior to dedicating himself to his photography, has a portion of his recent acquisitions on display in the show.
RATP, in partnership with the Jeu de Paume, shows how it transformed some of the Paris Metro stations into an exhibition space showcasing several images by the late photographer, Garry Winogrand (1928-1984). His photographs are on view at 16 different stations throughout Paris from 14 October 2014 to 8 February 2015, and are intended to complement the current retrospective at the Jeu de Paume, which also ends on 8 February 2015.
I’ve always thought of them as a giant stage – everything from bomb ranges to nuclear testing happens in our American deserts. —Richard Misrach
Richard Misrach sat down with Vice Magazine to discuss his recent work on the US/Mexico border and his collaboration with composer Guillermo Galindo. He talks about his interest in photographing desert landscapes and the impact of finding “human trash” – personal artifacts – along the border.