Paris Photo 2021

Explore an extended selection of highlights on view at the Grand Palais Éphémère.

Martine Gutierrez, Body En Thrall, p114-115 from Indigenous Woman, 2018
chromogenic print, 43-1/8 x 64-1/8 inches (framed) [101.9 x 152.7 cm]

Fraenkel Gallery is pleased to return to Paris Photo with works by Robert Adams, Diane Arbus, Bernd & Hilla Becher, Sophie Calle, Lee Friedlander, Nan Goldin, Martine Gutierrez, John Gutmann, Peter Hujar, Christian Marclay, Wardell Milan, Richard Misrach, Hiroshi Sugimoto, Carrie Mae Weems, and others.

Explore an extended selection of the works below.

Christian Marclay, Untitled (from “Imagined Records”), 1990
record cover collage, 16-3/4 x 16-3/4 inches (framed) [42.5 x 42.5 cm]

Starting in the 1990s, Christian Marclay began incorporating record albums in his work, creating collages that continue his exploration of the visualization of sound and music.

Lee Friedlander, Rochester, New York, 1969
gelatin silver print, 11 x 14 inches (mount) [27.9 x 35.6 cm]

Lee Friedlander slyly compares modes of transportation in a photograph of a Greyhound bus station. 

Carrie Mae Weems, Thoughts on Marriage, 1989
gelatin silver print in a gilded gold frame, 25 x 21 inches (framed) [63.5 x 53.3 cm]

Wearing a wedding dress with her mouth taped shut, Carrie Mae Weems poses for a conventional studio portrait in a satirical comment on marriage. 

Diane Arbus, Girl and boy, Washington Square Park, N.Y.C. 1965, 1965
gelatin silver print, 14 x 11 inches (sheet) [35.6 x 27.9 cm]
Doris Ulmann, Lang Syne Plantation, South Carolina, ca. 1929
platinum print, 14-1/4 x 11-1/4 inches (mount) [36.2 x 36.2 cm]

Best known for ​documenting Appalachian communities, American photographer Doris Ulmann ​recorded residents of Lang Syne Plantation in South Carolina as part of a collaboration with Julia Peterkin, for her novel Roll, Jordan, Roll, published in 1933.

Nan Goldin, Self-portrait in the mirror, Hotel Baur, Zürich, 1998
pigment print, 31-3/4 x 46-7/8 inches (framed) [80.7 x 119.1 cm]
Robert Adams, Near Peyton, Colorado, 1968
gelatin silver print, 10 x 8 inches (sheet) [25.4 x 20.3 cm]
Elisheva Biernoff, Spectrum, 2021
five watercolors on paper, 15-3/4 x 26-1/4 inches (framed) [40 x 66.6 cm]

Elisheva Biernoff’s carefully observed paintings are based on found and anonymous photographs.

John Gutmann, Twist Dive, 1934
gelatin silver print, 9-3/8 x 7-3/4 inches (image & sheet) [23.8 x 19.7 cm]

Born in Germany and trained as a painter, John Gutmann took up photography shortly before he arrived in the United States in 1933.

Hiroshi Sugimoto, Opticks 110, 2018
chromogenic print, 60 x 60 inches (framed) [152.4 x 152.4 cm]

Opticks depict the color of light Hiroshi Sugimoto observed through a prism in his Tokyo studio. Using Polaroid film, the artist recorded sections of the rainbow spectrum projected into a darkened chamber. The resulting works are vivid, near-sculptural renderings of pure light.

Peter Hujar, Horse’s Head, 1969
gelatin silver print, 14 x 17 inches (sheet) [35.6 x 43.2 cm]

Writing in The New Yorker, Chris Wiley notes that Peter Hujar’s photographs “steer us toward the ultimate mystery of animal presence, that of being confronted with a consciousness that, as far as we can ascertain, is fundamentally different in character from our own, but that nevertheless evinces our empathy and our curiosity.”

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]
Walker Evans, Gravestone, Louisiana [Gravestone (Crystal Springs), Mississippi], 1935
gelatin silver print, 16-1/2 x 19-3/8 inches (framed) [16.5 x 49.2 cm]

This print was exhibited in the Walker Evans retrospective at the Centre Pompidou, Paris, and the San Francisco Museum of Modern Art in 2017/2018.

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 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.

Liz Deschenes, Blue Wool Scale #1, 2019
pigment print on aluminum, 34-1/4 x 24-1/4 inches (framed) [87 x 61.6 cm]

​​Since the early 1990s, Liz Deschenes​ has made the medium of photography the subject of her work, exploring the meaning inherent in its materials. This ​pigment print​ is from a series that references the Blue Wool Scale, a standard developed by textile manufacturers and now used by the printing industry to measure lightfastness in inks.

Bernd & Hilla Becher, Blast Furnaces, Volklingen, Saar District, 1986
four gelatin silver prints, 36 x 123 inches (overall installed) [91.4 x 312.4 cm]

These four large-format studies of blast furnaces in Germany compare the subtle differences between the strangely anthropomorphic forms. The double-signed prints were sequenced in this order by the artists.

Adam Fuss, Untitled, 2017
unique chromogenic photogram, ​73 x 73 inches​ (framed) [185.4 x 185.4 cm]​

Made without a camera, Fuss’s photograms distill the ​fundamental ​components of the photographic medium: light, subject matter, and photo-sensitive materials.​ Here, recording the form and movement of liquid, Fuss explores ​an​ essential and spiritual element of the natural world.

Richard Misrach, “You are here,” Desert Center, California, 2017
pigment print, 25-3/4 x 20-1/8 inches (framed) [65.4 x 51.1 cm]

Made in response to the fraught political climate following the 2016 US election, Richard Misrach recorded graffiti​ in the series The Writing on the Wall​, a chapter in ​his long-term Desert Cantos project. ​

Works on View

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