For Misrach, Border Cantos expands on years of prior work, covering the entire length of the Mexican-American border, all 1969 miles, Pacific to Gulf of Mexico. He shows us the existing walls that bisect cabbage fields and communities, slice through individual back yards, extend mile after mile through desert and end in the Pacific Ocean. They are a hodgepodge: squat cement barriers, intimidating-towering steel divides, wire mesh, WW II Normandy-style fencing to prevent vehicles but not people. We also see the ‘digital walls’ (8000 or so cameras, 11,000 underground sensors, etc.) the ones that work.
From The Huffington Post online posting on 8 March, 2017.
To learn more about Richard Misrach and Border Cantos, visit his artist page.
Larissa Archer reviews our exhibit Diane Arbus: 1971-1956. The review comments on how the thematic grouping of the work directs viewers to examine Arbus’s work through new lenses.
Jeffrey Fraenkel’s exercise is an example of how good curation can clear away the fumes of legend and present work we think we know, afresh. –Larissa Archer
From The Huffington Post online posting by Larissa Archer on 19 December 2013.
To learn more about Arbus’ work, please visit her artist page.
The Huffington Post writes about Garry Winogrand’s forthcoming retrospective (his first in 25 years) at SFMOMA, which will feature over 100 images never before printed:
Winogrand, born in the Bronx in 1928, studied painting before turning to photography. The state of photography in America was somewhere between a budding artistic medium and journalistic technique, and Winogrand expressed American truths with a poetic eye. Whether capturing the overcrowded, amorphous New York streets or a lone sailor hitchhiking on the highway, Winogrand possessed an eye for that funny sense of isolation that lies beneath the American way. –Priscilla Frank
From The Huffington Post online posting by Priscilla Frank on 20 January 2013.
To learn more about Winogrand’s work, please visit his artist page.