Fraenkel Gallery is pleased to present FURTHERMORE, a special exhibition marking the gallery’s thirtieth anniversary. Comprised of nearly one hundred eye-opening works by artists as varied as Ralph Eugene Meatyard, Andy Warhol, Helen Levitt, Sol LeWitt, Robert Adams, Bernd & Hilla Becher, Dorothea Lange, and Photographer Unknown, FURTHERMORE is a time-traveling survey that sweeps backward and forward through the history of the medium.
From the catalogue’s introduction by Jeffrey Fraenkel:
Every five years or so the gallery finds itself with a number of scrappy, tenacious, unrelated photographs that want to become an exhibition. We keep our eyes open for such pictures, which fall into the ‘we know them when we see them’ category, and if we can buy them we do. Of keenest interest are photographs that describe their subjects in unfamiliar or paradoxical ways.
Each quintannual collection has its own peculiar character, and the present trove includes an x-ray of a change purse, a Polaroid from a prison yard, a collage of the moon’s surface radioed to earth from an unmanned spacecraft—and, of course, several dozen photographs made by serious artists with complicated intentions. If another medium can accommodate aims this exalted and this lowly, through such a flabbergasting variety of descriptive modes, it escapes my mind.
Among the most remarkable photographs to be included in FURTHERMORE is Morton Schamberg’s 1918 Dada masterpiece, “God.” Believed to be the only print in existence, “God” is a study of a cast iron plumbing fixture mounted to a wooden base. Regarded as a sister piece to Marcel Duchamp’s infamous “Fountain” (a readymade of an upended urinal) from the same year, there is uncertainty about who first conceived of transforming plumbing into art. Schamberg died suddenly during the 1918 Philadelphia influenza epidemic, age 38.