Art Is… Going to a Dark Place | SFMOMA Shorts

In this SFMOMA short four artists, including Robert Adams and Richard Misrach, discuss how creating art has helped them cope with disturbing themes such as fear, trauma, and war. The artists address how going to these “dark places” has fostered the discovery of profound beauty and insight.

To want to make pictures is fundamentally to want to share something that you have seen of value, and that you suspect maybe people haven’t paid enough attention to. The American West has been my primary subject, particularly the landscape. They are frightening landscapes and the only way I can get over my own anxiety about them is to go and keep working. – Robert Adams

From the series SFMOMA shorts video posting on 6, June, 2016
To learn more about Robert Adams, please visit his artist page.
To learn more about Richard Misrach, please visit his artist page.

Garry Winogrand Retrospective in The Paris Review


Richard Woodward reviewed the Garry Winogrand retrospective at San Francisco Museum of Modern Art, writing that Winogrand would have found ample subjects to photograph at the opening:

 Looking around the opening, it was hard not to compare the people in the photographs with the crowds in the galleries. Gray-haired or balding though his friends are now, the reason for parties doesn’t change. There were still men in black tie (the ideal outfit for a photograph in monochrome) and women in slinky dresses, and the defining public gesture of the evening and our day—hunched figures of all ages staring importantly into their smart phones—suggested that, were Winogrand alive, modern America would give him plenty of material to work with. –Richard Woodward

From The Paris Review online posting by Richard Woodward on 13 May 2013.
For more information on Winogrand’s work, please visit his artist page.

Christian Marclay in Art Practical


Alex Bigman reviewed the correlations between Christian Marclay’s current exhibition Things I’ve Heard at Fraenkel Gallery and the concurrent screening of The Clock at San Francisco Museum of Modern Art:

By and large, Marclay’s oeuvre is marked by a penchant for creative destruction. He has broken and re-assembled vinyl records (Recycled Records, 1980–86), torn up photographs (Fourth of July, 2010), videotaped the death rattle of a Fender Stratocaster dragged along a dirt road by a truck (Guitar Drag, 2001), unfurled and flung the magnetic tape from music cassettes to make Pollock-esque photograms (Cyanotypes, 2008), and, of course, fragmented and sutured countless film narratives to make The ClockThings I’ve Heard is interesting for the very reason that, being a straightforward collection of photos, it is in no way destructive. More than being constructive, though, it is rather suggestive, operating on a simple ontological principal of photography articulated by Jean-Pierre Criqui in his essay on Fourth of July:

A photograph can exist only on the condition that it separate itself from an out-of-frame space which it simultaneously cancels and evokes. These fragments emphasize the fact: a photograph hides as much as—if not, strictly speaking, more than—it shows.

From the Art Practical online posting by Alex Bigman on 4 May 2013.
For more information on Marclay’s work, visit his artist page.

Garry Winogrand in ARTnews


In this article from ARTnews, Hilarie M. Sheets discusses Garry Winogrand’s first retrospective in 25 years, what it meant for Leo Rubinfien to posthumously edit the 6,600 rolls of unproccessed film and whether Winogrand would approve of the selection.

Garry Winogrand was like a hunter with his camera, ever prowling the crowded streets of New York and the roadways of the nation for the happenstance of human incident. His best-known images from the 1960s—of beautiful women, businessmen, animals, and American spectacles of all kinds—teem with ebullience, humor, and haphazardness. These were qualities shared by the gregarious man himself, who was promoted by the influential Museum of Modern Art photography curator John Szarkowski as the “central photographer of his generation.” –Hilarie M. Sheets

From ARTnews online posting by Hilarie M. Sheets on 27 March 2013.
To learn more about Winogrand’s work, please visit his artist page.

BBC News Reviews Garry Winogrand’s Retrospective at SFMOMA


In Phil Coomes’s review of Garry Winogrand’s retrospective at SFMOMA for BBC News, he discusses the initial dismissal of Winogrand’s posthumous archives, the eventual curation of them, and the discovery of Winogrand’s camera’s focus during the last decade of his life.

Although dead for nearly 30 years, Winogrand remains a totemic figure to many of today’s generation of street photographers. His ballsy attitude, dynamic and kinetic compositions, and refusal to repeat himself have made him a hero for photographers grappling with the challenges of shooting candid situations in everyday life. Always prodigious, Winogrand left behind 6,500 rolls of film from which he never made prints, or even had processed. For a photographer with a reputation for shooting brilliant images from all corners of America this was a massive amount of material which had never been evaluated – until now. –Phil Coomes

From the BBC News online posting by Phil Coomes on 11 March 2013.
To learn more about Winogrand’s work, please visit his artist page.
To purchase the exhibition catalog, please visit the publication page.

Time Magazine Lightbox Reviews Garry Winogrand’s Retrospective at SFMOMA


In his review of Garry Winogrand’s retrospective at SFMOMA, Richard Conway talks about the vast expanse of Winogrand’s work, and the charm that made it possible:

A deeply unpretentious and inventive photographer, his frenetic, apparently off-the-cuff pictures descend from the tradition of Henri Cartier-Bresson and Walker Evans. On the streets, he was a shoot-often kind of guy, one who could get so close to subjects as to either charm or irritate them. Winogrand took so many pictures, in fact, that it is hard to grasp the breadth of his contribution to photography: After his death in 1984 he left behind an estimated 250,000 frames in total, most of which he never saw himself. –Richard Conway

From the Time Magazine Lightbox online posting by Richard Conway on 13 March 2013.
To learn more about Winogrand and his work, please visit his artist page.
To purchase the exhibition catalog, please visit the publication page.

San Francisco Chronicle Reviews Garry Winogrand’s Retrospective at SFMOMA


In Kenneth Baker’s review of Garry Winogrand’s retrospective at SFMOMA, he discusses the developmental changes in the tonality of Winogrand’s work, the difficulty of curating the exhibit, and Winogrand’s beginnings in photography. The exhibit is on view until the museum’s closing for remodeling on June 2, 2013.

Like many of his pictures, “Garry Winogrand” comes stuffed with information and, even more, with ambiguity. At a moment of when the speed and volume of images have outstripped nearly everyone’s scrutiny, the show is an education in the strangeness and complexity of photographs. –Kenneth Baker

From the San Francisco Chronicle online posting by Kenneth Baker on 8 March 2013.
To learn more about Winogrand’s work, please visit his artist page.
To purchase the exhibition catalog, please visit the publication page.

Garry Winogrand Retrospective at SFMOMA in The Huffington Post


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.

SFMOMA Gets Major Gifts of Photography

On Wednesday the San Francisco Museum of Modern Art announced promised gifts of 473 photographs from three separate collectors, including a pledge of 26 photographs by Diane Arbus, from the San Francisco dealer Jeffrey Fraenkel, that will double the museum’s holdings of her images. Carol Vogel, The New York Times

In addition to the Arbus prints, the Museum also acquired nearly 350 examples of Japanese photographs (making SFMOMA home to what it says is the biggest collection of Japanese photography in the United States), Robert Adams, Robert Frank, Lee Friedlander, Nan Goldin, Andreas Gursky, Irving Penn and Garry Winogrand.

From The New York Times Arts Beat online posting by Carol Vogel on 28 November 2012.
To learn more about Arbus’ work, please visit her artist page.

75 Reasons to Live: Jeffrey Fraenkel on Diane Arbus

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Jeffrey Fraenkel discusses Diane Arbus’ photograph, A young Brooklyn family going for a Sunday outing, N.Y.C. (1966).

I come back to her work because of what she tells me about what it’s like to be human. –Jeffrey Fraenkel

From the SF MoMA blog, Open Spaceonline posting by Suzanne Stein on 3 January 3 2011.

To learn more about Arbus’ work, please visit her artist page.


“The San Francisco Museum of Modern Art (SFMOMA) announced [this week] the acquisition of Edward Hopper’s Intermission (1963), among the artist’s largest and most ambitious paintings, and one of the last significant Hopper works remaining in private hands. Intermission was acquired from Fraenkel Gallery, San Francisco, in part through gifts from the Fisher and Schwab families, and will immediately go on view to the public at SFMOMA on Friday, March 23.”

To read more, please follow this link: SFMOMA press.
To read the article by Kenneth Baker in the San Francisco Chronicle, please follow this link: SFMOMA Acquires Hopper

Intermission was the centerpiece of “Edward Hopper & Company”, an exhibition held at Fraenkel Gallery in 2009. It was one of two exhibitions marking the gallery’s 30th anniversary.