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.
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 slyly compares modes of transportation in a photograph of a Greyhound bus station.
Wearing a wedding dress with her mouth taped shut, Carrie Mae Weems poses for a conventional studio portrait in a satirical comment on marriage.
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.
Elisheva Biernoff’s carefully observed paintings are based on found and anonymous photographs.
Born in Germany and trained as a painter, John Gutmann took up photography shortly before he arrived in the United States in 1933.
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.
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.”
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 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.
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.
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.
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.
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.
