Bøger udgivet af Fraenkel Gallery,US

Traffic signs, sandwich boards and posters: Friedlander's portrait of words in the worldFor more than five decades, Lee Friedlander has repeatedly been drawn to the signs that inscribe the American landscape, from hand-lettered ads to storefront windows to massive billboards. Incorporating these markings with precision and sly humor, Friedlander's photographs record a kind of found poetry of desire and commerce. Focusing on one of the artist's key motifs, Lee Friedlander: Signs presents a cacophony of wheat-paste posters, Coca-Cola ads, prices for milk, road signs, stop signs, neon lights, movie marquees and graffiti. The book collects 144 photographs made in New York and other places across the US, and features self-portraits, street photographs and work from series including The American Monument and America by Car, among others. Illegible or plainspoken, crude or whimsical, Friedlander's signs are an unselfconscious portrait of modern life. Lee Friedlander (born 1934) began photographing in 1948. Among his many monographs are Sticks and Stones, Self-Portrait, Letters from the People, Cherry Blossom Time in Japan and At Work, among others. His work was included in the influential 1967 exhibition New Documents at the Museum of Modern Art, New York, curated by John Szarkowski. Among the most important living photographers, Friedlander is in the collections of museums around the world.

Collects 70 Friedlander photographs taken between 1963-2007, mainly in the US.

A meditative portrayal of land and sea along an Oregon trail, from the leading figure of the New Topographics For more than 50 years, ever since his landmark photobook The New West, Robert Adams (born 1937) has numbered among America's foremost modern photographers and chroniclers. Here, he returns to the landscape near his home on the Oregon coast, presenting photographs largely made on Nehalem Spit, a four-mile stretch of sand, seagrass and pines that divides the Pacific Ocean from Nehalem Bay. Recording changing light on the land and the sea, the black-and-white photographs, made between 2008 and 2019, and beautifully reproduced in this large-format volume, suggest questions to which Adams has often returned, about the meaning of our relationship to nature, and the precarity and brevity of our place in it.

The Oregon coastline expresses nature's grand impersonal beauty in this recent series from Robert AdamsInspired by a poem from Denise Levertov that finds solace in nature, Robert Adams (born 1937) presents scenes of natural beauty along the Oregon coast. The black-and-white photographs, made between 2015 and 2018, depict sand dunes and windswept trees, empty beaches and arresting skies, as well as views of the glittering Pacific Ocean seen through the windows of a home. Adams records the light that falls on these places, and asks, by implication, what such beauty means. He writes, "The pictures establish that though we are not central, we share in a mystery."

The world in a front yard: Robert Adams records the seasonal shifts and transformations of the near and the intimateFor much of his long career, Robert Adams (born 1937) has photographed the regions where he has lived, recording the transformation of the Western landscape into suburbs in Colorado, or documenting the destruction left in the wake of the timber industry in the Pacific Northwest. In recent years his focus has often turned to more intimate landscapes, as he has depicted the area around his home near the Oregon coast, where he has lived for more than 20 years. Standing Still celebrates a small front yard--its verdancy, and the changing light and seasons throughout the year. The black-and-white photographs record a lawn and its border of shrubs and small trees; a stone bird bath, deer and Adams' wife, Kerstin. They show a landscape immersed in fog and dusted with snow, or bathed in warm sunlight. In this quiet place, "each day can be the first day," writes Adams.

A sumptuous clothbound collection of work by British photographer Richard Learoyd, famed for his luminous camera obscura portraitsBringing together more than 70 photographs from the past ten years, this luxurious volume includes Learoyd's (born 1966) widely acclaimed portraits of clothed or nude models, made with the massive camera obscura that he built in his studio, which produces one-of-a-kind color photographs. Sandra S. Phillips writes of these portraits: "There is something incontrovertibly present in the people he photographs; they are more alive, more beautiful, and more fallible--even more vulnerable--than the people we see in most pictures. Also featured are landscapes made in California, England and Spain, as well as still lifes of animals and flowers. Presenting the highlights of Learoyd's career, and organized in reverse chronological order, this volume shows how Learoyd's images are rooted in the history of art, but were made with the intention of challenging the authority of painting.

The latest in a series of idiosyncratic surveys of the history of photography"Humans, unlike other living creatures, want to make and look at pictures." So begins the introduction to the jaw-dropping array of photographs in Long Story Short, the latest in Fraenkel Gallery's idiosyncratic surveys of photography since the medium's invention 180 years ago. A surprising and unconventional slice of photography's history, Long Story Short is also an abbreviated tour of Fraenkel Gallery's approach to photography. Published to mark the gallery's 40th (and still counting) year, this sumptuously designed and printed volume presents work by photography's masters alongside that of little-known artists and anonymous thrift shop finds. Among the images to be discovered here are Eadweard Muybridge's 1887 study of a contortionist performing extreme body movements; Man Ray's 1923 ghostlike rayograph of an irradiated banjo; and a female impersonator applying her lipstick backstage, as seen by Diane Arbus in 1959. Interwoven among these are anonymous photographs of a tornado touching ground near Oak Bluffs, Massachusetts, in 1896; astronaut Buzz Aldrin standing beside an American flag on the moon in 1969; and a lawn mower flying inexplicably over a meadow in 1974. Presented in approximate chronological order, the unconventional flow of images conveys a profound sense of photography's infinite riches, and is a meditation on the inexhaustible possibilities of the medium itself.

The road has been a central motif in the work of Robert Adams (born 1937) since the beginnings of his life as a photographer in the late 1960s. 27 Roads is the first publication to focus on this important aspect of his work, and is comprised of the artist's concise, poetic selection of images spanning almost five decades. Whether fast concrete highways, quiet cuts through dark forests, paved commercial strips or dusty tracks on a clear-cut mountainside, Adams' roads function as metaphors for solitude, connection or freedom. Adams writes, "Roads can still be beautiful. Occasionally they appear like a perfect knife slicing through a perfect apple, the better to show that two halves are one." Robert Adams has been the recipient of Guggenheim and MacArthur Foundation fellowships, the Deutsche Börse Photography Prize and the Hasselblad Foundation International Award. His work was the subject of a major retrospective organized by the Yale University Art Gallery, which toured internationally from 2011 to 2014.

A major new work, Tenancy is comprised of 42 photographs by Robert Adams (born 1937) made in Nehalem Bay State Park, Oregon, between 2013 and 2015, with short texts by the artist.The book's theme of tenancy expresses the idea of "temporary possession of what belongs to another"--specifically, the natural environment. Adams' recent photographs of the landscape reference the current and imminent threats of clearcutting, environmental degradation and natural disasters along the Northwestern coast of the US.The black-and-white photographs include poignant images of massive tree stumps on the beach--a product of the cutting of first and early second growth--as well as shimmering stretches of coastline protected for endangered birds previously thought to have abandoned northern Oregon.

American photographer Nicholas Nixon (born 1947) is best known for The Brown Sisters, his ongoing series of annual portraits of his wife Bebe and her three sisters (recently exhibited and published by The Museum of Modern Art). But Nixon's wider oeuvre has been less well documented. Long overdue, Nicholas Nixon: About Forty Years will be the first publication to focus on the broader swath of Nixon's more than 40-year career.In a published statement about photography written in 1975, Nixon remarked, "The world is infinitely more interesting than any of my opinions about it." To present the world as he sees it--in fascinating, precise and often startling detail--Nixon has consistently used unwieldy large-format cameras, with negatives measuring 8 x 10 inches or 11 x 14 inches. His recurring subjects--cities seen from above, people on their porches, landscapes, portraits of the very young and the very old--are woven together throughout his career like the cords of a cable. Nixon's large-format black-and-white photography is simultaneously intimate, technically precise and somehow relaxed. Beautifully designed and with exquisitely reproduced images, About Forty Years presents the most thorough view yet of this important artist's career.

Lee Friedlander is one of the few artists in any medium to have sustained a body of influential work over five decades. To make the photographs in Mannequin, he returned to the hand-held, 35-mm camera that he used in the earliest decades of his career. Over the past three years, Friedlander has roamed the sidewalks of New York City, Los Angeles and San Francisco, focusing on storefront windows and reflections that conjure marketplace notions of sex, fashion and consumerism, while recalling Atget's surreal photographs of Parisian windows made 100 years earlier. Thoroughly straightforward, their unsettling and radical new compositions suggest photographs that have been torn up and pasted back together again in near-random ways. Lee Friedlander (born 1934) first came to public attention in the landmark exhibition New Documents, at The Museum of Modern Art, New York, in 1967. The range of his work since then--including portraits, nudes, still lifes and studies of people at work--is anchored in a uniquely vivid and far-reaching vision of the american scene. More than 40 books about his work have been published since the early 1970s, including Self-Portrait, Sticks and Stones, Cherry Blossom Time in Japan, Family, America by Car, People at Work and The New Cars 1964. His career was the focus of a major traveling retrospective organized by The Museum of Modern Art in 2005. His work can be found in depth in the collections of The Museum of Modern Art, the Metropolitan Museum of Art, the San Francisco Museum of Art and the National Gallery of Art, among many others.

A Road Through Shore Pine focuses on a series of 18 photographs by Robert Adams (born 1937), taken in Nehalem Bay State Park, Oregon, in fall 2013. Adams documents a contemplative journey, made first by automobile, then by foot, along an isolated, tree-bordered road to the sea. The passage takes on the quality of metaphor, suggestive of life's most meaningful journeys, especially its final ones. For this group of photographs, all of which were printed by Adams himself, the artist returned to the use of a medium-format camera, allowing the depiction of an intense amount of detail. Adams writes of these photographs: "The road is one that my family traveled often and fondly. Many of its members are gone now, and Kerstin and I visit the road for the example of the trees." Adams had stored this work in an archival print box on which he inscribed in pencil a line from the journal of the Greek poet George Seferis: "A marvelous road, enough to make you weep; pine trees, pine trees...."