Explore I’m Not the Only One

Exploring highlights from the exhibition.

Robert Adams, Colorado, 1974
gelatin silver print, 6 x 6 inches (image & sheet) [15.2 x 15.2 cm]

I’m Not the Only One is inspired by our current emotional, psychological, and practical transformation. It is an invitation to you, our circle of artists and visitors, both real and imagined. I’m not the only one wrestling with a sense of isolation, but what has surprised and sustained me in this time has been the connections in the face of the distances, social and otherwise. 

There is a Portuguese word, saudade [pron:saa·deidz], that does not exist in English. More nuanced than melancholy or bittersweet, saudade is a subtle yet enduring desire for something other than the present. Deep inside this word is the sense that the thing for which one longs may never be had again, while acknowledging that longing for the past would detract from the anticipation for the future. Saudade is likely what most of us are feeling right about now.

-Frish Brandt

Alec Soth, Facebook, Menlo Park, California, 2013
pigment print, 44 x 57 inches (framed) [112 x 145 cm]
Katy Grannan, Alexa, 2018
pigment print, 58-1/4 x 44-1/4 inches (framed) [148 x 112.4 cm]
Hiroshi Sugimoto, MK2 Biblothéque, Paris, 2005
gelatin silver print, 18-7/8 x 22-3/4 inches (sheet) [47.9 x 57.8 cm]
Diane Arbus, Lady in a Roominghouse Parlor, Albion, N.Y., 1963
gelatin silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]
Frish Brandt discusses key works that shaped and inspired I’m Not the Only One, and considers how curating the exhibition transformed her thinking about Fraenkel Gallery’s mission.
Alec Soth, William Eggleston, Memphis, TN, 2000, 2018
chromogenic print, 33 x 41 inches (framed) [83.8 x 104.1 cm]
Richard Learoyd, Female nude with mirror, 2016
unique Ilfochrome photograph, 80-3/8 x 59-7/8 inches (framed) [204.2 x 152.1 cm]
Alec Soth, Park Hyatt Hotel, Tokyo (Mirror), 2015
pigment print, 42 x 32 (framed) [107 x 82 cm]
Diane Arbus, Kiss from “Baby Doll,” N.Y.C. 1956
gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]
Lee Friedlander, Galax, Virginia, 1962
gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]
Lee Friedlander, New York City, 1963
gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]
Johnnie Chatman, Self Portrait, John Ford Point, 2018, 2019
pigment print, 37 x 53 inches (framed) [94 x 135 cm]
Sophie Calle, Patrick X, Sixteenth Sleeper, 1979
8 gelatin silver prints & 1 text panel, 19 x 24-3/4 inches (overall, approximately) [48.3 x 62.9 cm]
Peter Hujar, Chuck Gretsch (with Cigar), 1981
gelatin-silver print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]
Peter Hujar, David Wojnarowicz, 1981 / printed later
pigment print, 20 x 16 inches (sheet) [50.8 x 40.6 cm]
Wardell Milan, Edward, 2019
cut and pasted printed paper, 14-3/4 x 12-3/4 inches (framed) [37.5 x 32.4 cm]
Nan Goldin, French Chris on the convertible, NYC, 1979
pigment print, 31-3/4 x 46-7/8 inches (framed) [80.7 x 119.1 cm]
Ralph Eugene Meatyard, Untitled, 1963
gelatin silver print, 8 x 10 inches (sheet) [20.3 x 25.4 cm]
Janet Cardiff & George Bures Miller, I Can’t Remember (World Turning), 2010
telephone, solid state playback device, 6 x 8 3/4 x 5 1/2 inches [15.24 x 22.23 x 13.97 cm]
Richard Misrach, Boy Scouts and Fremont’s Pyramid, Pyramid Lake Indian Reservation, Nevada, 1991
pigment print, 61 x 77 inches (framed) [155 x 195.6 cm]

“To crave and to have are as like as a thing and its shadow. For when does a berry break upon the tongue as sweet as when one longs to taste it, and when is the taste refracted into so many hues and savors of ripeness and earth, and when do our senses know anything so utterly as when we lack it? And here again is a foreshadowing — the world will be made whole. For to wish for a hand on one’s hair is all but to feel it. So whatever we may lose, very craving gives it back to us again. Though we dream and hardly know it, longing, like an angel, fosters us, smooths our hair, and brings us wild strawberries.”

—Marilynne Robinson, Housekeeping

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