Fraenkel @ FOG

Explore a selection of highlights on view at Fort Mason Center

Hiroshi Sugimoto, The Music Lesson, 1999
pigment print, 67 x 55-1/8 inches (framed) [170.2 x 140.1 cm]

Fraenkel Gallery is pleased to return ​this year ​to FOG Design+Art. ​​The gallery will ​highlight new work by W​a​rdell Milan, Martine Gutierrez, and Alec Soth, and feature important images by ​Diane Arbus, Carrie Mae Weems, and Hiroshi Sugimoto. The booth will also show works by Richard Avedon, etchings by Mel Bochner, and Richard Misrach’s large-scale Golden Gate Grid. Other artists on view include Bernd & Hilla Becher, Sophie Calle, Adam Fuss, Katy Grannan, Peter Hujar, Richard Learoyd, and Richard T. Walker​. ​

An extended selection of the works is presented below.

Robert Adams, The Golden Gate Bridge, San Francisco, ca. 1972
gelatin silver print, 13 x 11 inches (mount) [33.0 x 27.9 cm]

A major retrospective of the work of Robert Adams opens at the National Gallery in Washington this May. This image, made in San Francisco in the early 1970s, is one of four studies of the looming, abstract shapes of the Golden Gate Bridge.

Richard Misrach, Golden Gate Grid, 2020
pigment print, 59 x 118 inches (image, sheet & mount) [149.9 x 299.7 cm], edition of 5

Although a seemingly immutable structure, Richard Misrach demonstrates how looking upon the Golden Gate Bridge is a constantly changing experience, resonant with the erratic complexity of the natural world.

Bernd & Hilla Becher, Wassertürme [Water Tower], 1973
two gelatin silver prints, 25-3/4 x 34-3/4 inches (framed) [65.5 x 88 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]

The telephone has been a recurring subject in Christian Marclay’s work, which often emphasizes how the technology fails to provide real connection.

Carrie Mae Weems, The Considered, See Bergman, 2012
pigment print, 35-3/8 x 45-7/8 inches (framed) [89.9 x 116.5 cm]
Robert Adams, Near Heber City, Utah, 1978 / printed 1994
gelatin silver print, 11 x 14 inches (sheet) [27.9 x 35.6 cm]

Robert Adams’s joyous springtime study of a cottonwood tree from 1978 was first seen in From the Missouri West, his landmark book of landscapes published in 1980.

Richard Learoyd, Flowers on armature, 2020
unique Ilfochrome photograph, 34-3/4 x 40 inches (framed) [88.3 x 101.6 cm], one of four unique variants
Martine Gutierrez, P.P.S. Christopher Columbus was a Fuck Boi, 2018
chromogenic print, 42-7/8 x 28-7/8 inches (framed) [108.9 x 73.43 cm], edition of 8
Lee Friedlander, Stanzel, Iowa, 1961 / printed 2020
gelatin silver print, 19-3/4 x 26 inches (framed) [50.2 x 66.0 cm]

Since the early 1960s, Lee Friedlander has focused on the signs that inscribe the American landscape. Depicting these texts with precision and sly humor, Friedlander’s approach records a sort of found poetry of commerce and desire.

Wardell Milan, Untitled (Tulip, Tennessee no. 1), 2020
oil, charcoal, graphite, pastel & china marker on panel, 21-1/2 x 25-1/2 inches (framed) [54.6 x 64.8 cm]

While Wardell Milan’s earlier flower paintings were inspired by the 17th-century Dutch tulip craze, recent works deconstruct the subject, presenting chaotic arrangements of petals and leaves.

August Sander, Eye of an Eighteen-Year-Old Young Man, 1925-26 / printed 1990
gelatin silver print, 17-1/4 x 13-1/4 inches (mount) [43.8 x 33.7 cm]

This image comes from The Organic and Inorganic Tools of Man, a series August Sander worked on from the 1920s to the 1950s. The subject stares directly and intently, forcing the viewer to confront them with equal purpose.

Mel Bochner, That’s All Folks!, 2014
etching with aquatint, 22-1/4 x 30-1/4 inches (sheet) [56.5 x 76.8 cm], edition of 20

Often referencing humor and popular culture, Mel Bochner’s conceptual depictions of text question the opaque meaning of language.

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