gelatin silver print, 18 x 22 inches (each framed) [45.7 x 55.9 cm]
Bernd & Hilla Becher, Zeche Friedrich der Große, herne, Ruhrgebiet, D, 1978
gelatin silver print, 18 x 22 inches (each framed) [45.7 x 55.9 cm]
Bernd & Hilla Becher, Charleroi-Montigny, B, 1984
gelatin silver print, 18 x 22 inches (each framed) [45.7 x 55.9 cm]
Bernd & Hilla Becher, Mines de Bazailles, Lorraine, F, 1985
gelatin silver print, 18 x 22 inches (each framed) [45.7 x 55.9 cm]
Bernd & Hilla BecherIndustrial Facades
1974-1985
six gelatin silver prints, 18 x 22 inches (each framed) [45.7 x 55.9 cm]
This typology was included in On the Art of Fixing a Shadow, the landmark exhibition at the National Gallery in 1989 marking the 150th anniversary of photography’s invention.
Martine Gutierrez, Neo-Indeo, Trade in your quiché skirts, 2018
chromogenic print, 54-7/8 x 46-7/8 inches (framed) [147 x 119 cm]
Martine Gutierrez, Neo-Indeo, Trade in your quiché skirts, 2018
chromogenic print, 54-7/8 x 46-7/8 inches (framed) [147 x 119 cm]
Martine GutierrezNeo-Indeo, Trade in your quiché skirts
2018
chromogenic print, 54-7/8 x 46-7/8 inches (framed) [147 x 119 cm]
Martine Gutierrez, Neo-Indeo, Mam Going Bananas, 2018
chromogenic print, 54-7/8 x 36-7/8 inches (framed) [139.4 x 93.7 cm]
Martine Gutierrez, Neo-Indeo, Mam Going Bananas, 2018
chromogenic print, 54-7/8 x 36-7/8 inches (framed) [139.4 x 93.7 cm]
Martine GutierrezNeo-Indeo, Mam Going Bananas
2018
chromogenic print, 54-7/8 x 36-7/8 inches (framed) [139.4 x 93.7 cm]
Martine Gutierrez is an artist, performer, and musician who produces elaborate narrative scenes that employ pop culture tropes in order to explore personal and collective identity in terms of race, gender, class, indigeneity, and culture. For Indigenous Woman, a 124-page magazine, Gutierrez produced every element, from fashion spreads and ads to an editor’s letter. Gutierrez uses herself as a model in the magazine’s glossy, seductive imagery, and has described the project as a celebration of “ever-evolving self-image.”
Daphne Palmer on Martine Gutierrez
Duration: 02:38 | Release Date: Sep 2021
Carrie Mae Weems, Blue Notes (Basquiat): Who’s Who or a Pair of Aces #1, 2014
archival inkjet print with silkscreened color block, 39 x 31 inches (framed) [99.1 x 78.7 cm]
Carrie Mae Weems, Blue Notes (Basquiat): Who’s Who or a Pair of Aces #1, 2014
archival inkjet print with silkscreened color block, 39 x 31 inches (framed) [99.1 x 78.7 cm]
Carrie Mae Weems, Blue Notes (Basquiat): Who’s Who or a Pair of Aces #1, 2014
archival inkjet print with silkscreened color block, 39 x 31 inches (framed) [99.1 x 78.7 cm]
Carrie Mae WeemsBlue Notes (Basquiat): Who’s Who or a Pair of Aces #1
2014
archival inkjet print with silkscreened color block, 39 x 31 inches (framed) [99.1 x 78.7 cm]
In Carrie Mae Weems’s Blue Notes series, grainy blue portraits of Black pop culture figures and artists are hidden by blocks of solid color.
Explore our current show, Carrie Mae Weems: WITNESShere.
Jeffrey Fraenkel on Peter Hujar and Nan Goldin
Duration: 01:18 | Release Date: Sep 2021
Peter Hujar, Self-Portrait Standing, 1980 / printed later
pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]
Peter Hujar, Self-Portrait Standing, 1980 / printed later
pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]
Peter Hujar, Self-Portrait Standing, 1980 / printed later
pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]
Peter HujarSelf-Portrait Standing
1980 / printed later
pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]
Nan Goldin, In my hall, Berlin, 2013
pigment print, 38-1/4 x 25-7/8 inches (framed) [97.2 x 65.2 cm]
Nan Goldin, In my hall, Berlin, 2013
pigment print, 38-1/4 x 25-7/8 inches (framed) [97.2 x 65.2 cm]
Nan Goldin, In my hall, Berlin, 2013
pigment print, 47 x 32 inches (framed) [119.38 x 81.28 cm]
Nan GoldinIn my hall, Berlin
2013
pigment print, 38-1/4 x 25-7/8 inches (framed) [97.2 x 65.2 cm]
Richard Learoyd, Three part floral, 2020
three unique Ilfochrome photographs, 36-3/8 x 36-5/8 inches (center work, framed) [93.0 x 93.0 cm], 43-7/8 x 36-5/8 inches (outer works, framed) [111.4 x 93.0 cm]
Richard Learoyd, Three part floral, 2020
three unique Ilfochrome photographs, 36-3/8 x 36-5/8 inches (center work, framed) [93.0 x 93.0 cm], 43-7/8 x 36-5/8 inches (outer works, framed) [111.4 x 93.0 cm]
Richard LearoydThree part floral
2020
three unique Ilfochrome photographs, 36-3/8 x 36-5/8 inches (center work, framed) [93.0 x 93.0 cm], 43-7/8 x 36-5/8 inches (outer works, framed) [111.4 x 93.0 cm]
Frish Brandt on Richard Learoyd's poppies
Duration: 01:14 | Release Date: Sep 2021
Wardell Milan, One spring afternoon in 2019. 5 women who could engage your imagination., 2021
color pencil, china marker, acrylic, oil pastel, spray paint, cut and pasted paper on inkjet print, 44-1/4 x 61-1/4 inches (framed) [112.4 x 155.6 cm]
Wardell Milan, One spring afternoon in 2019. 5 women who could engage your imagination., 2021
color pencil, china marker, acrylic, oil pastel, spray paint, cut and pasted paper on inkjet print, 44-1/4 x 61-1/4 inches (framed) [112.4 x 155.6 cm]
Wardell MilanOne spring afternoon in 2019. 5 women who could engage your imagination.
2021
color pencil, china marker, acrylic, oil pastel, spray paint, cut and pasted paper on inkjet print, 44-1/4 x 61-1/4 inches (framed) [112.4 x 155.6 cm]
Wardell Milan works in mixed media, combining elements of photography, drawing, painting, and collage. Themes of freedom of expression and safe spaces are often at the forefront of his works, especially as they apply to the marginalized body.
Richard Misrach, State of the Union, February 11, 10:13 am, 2020, 2020
pigment print, 60-1/2 x 80-1/2 inches (framed) [154 x 205 cm]
Richard Misrach, State of the Union, February 11, 10:13 am, 2020, 2020
pigment print, 60-1/2 x 80-1/2 inches (framed) [154 x 205 cm]
Richard MisrachState of the Union, February 11, 10:13 am, 2020
2020
pigment print, 60-1/2 x 80-1/2 inches (framed) [154 x 205 cm]
Christian Marclay, Hot August Night, 1991
record album covers stitched with thread, 26-1/4 x 17 inches (framed) [66.7 x 43.2 cm]
Christian Marclay, Hot August Night, 1991
record album covers stitched with thread, 26-1/4 x 17 inches (framed) [66.7 x 43.2 cm]
Christian MarclayHot August Night
1991
record album covers stitched with thread, 26-1/4 x 17 inches (framed) [66.7 x 43.2 cm]
Christian Marclay, Untitled, 1993
multiple exposure photocopy on paper, 26-1/2 x 19-1/2 inches (framed) [67.3 x 49.5 cm]
Christian Marclay, Untitled, 1993
multiple exposure photocopy on paper, 26-1/2 x 19-1/2 inches (framed) [67.3 x 49.5 cm]
Christian MarclayUntitled
1993
multiple exposure photocopy on paper, 26-1/2 x 19-1/2 inches (framed) [67.3 x 49.5 cm]
Sophie Calle, Shiner, 2020
pigment print mounted on aluminum, in wooden box, 14-1/4 x 9-1/4 x 3-3/4 inches (overall) [36.2 x 23.5 x 9.5 cm], edition of 5 in English & 5 in French
Sophie Calle, Shiner, 2020
pigment print mounted on aluminum, in wooden box, 14-1/4 x 9-1/4 x 3-3/4 inches (overall) [36.2 x 23.5 x 9.5 cm], edition of 5 in English & 5 in French
Sophie CalleShiner
2020
pigment print mounted on aluminum, in wooden box, 14-1/4 x 9-1/4 x 3-3/4 inches (overall) [36.2 x 23.5 x 9.5 cm], edition of 5 in English & 5 in French
Since the early 1960s, Lee Friedlander has focused on the signs that inscribe the American landscape, from hand-lettered ads to storefront windows to massive billboards. Depicting these texts with precision and sly humor, Friedlander’s approach to America transcribes a sort of found poetry of commerce and desire.
Lee Friedlander, Stanzel, Iowa, 1961
gelatin silver print, 16 x 20 inches (sheet) [40.64 x 50.8 cm]
Lee Friedlander, Stanzel, Iowa, 1961
gelatin silver print, 16 x 20 inches (sheet) [40.64 x 50.8 cm]
Lee Friedlander, Stanzel, Iowa, 1961 / printed 2020
gelatin silver print, 19-3/4 x 26 inches (framed) [50.2 x 66.0 cm]
Lee FriedlanderStanzel, Iowa
1961
gelatin silver print, 16 x 20 inches (sheet) [40.64 x 50.8 cm]