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DTSTART;TZID=America/New_York:20240905T100000
DTEND;TZID=America/New_York:20241019T170000
DTSTAMP:20260505T003907
CREATED:20240816T211430Z
LAST-MODIFIED:20240816T211430Z
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SUMMARY:Elisheva Biernoff: Smashed Up House After the Storm
DESCRIPTION:Fraenkel Gallery is pleased to present Elisheva Biernoff: Smashed Up House After the Storm\, an\nexhibition of 14 recent works tracing the artist’s expanding approach. Biernoff makes delicate paintings\nthat meticulously recreate found\, anonymous photographs—astonishingly faithful renderings on thin\nsheets of plywood that match the intimate scale and detail of the originals. Severed from their original role as personal memories\, the enigmatic photographs Biernoff selects evoke an element of ambiguity. By paying close\, sustained attention to these objects\, Biernoff brings their buried mysteries and emotions to the surface. Recent work has incorporated multiple images and non-photographic objects from sources such as nature or architecture\, using these to make larger\, more complex arrangements. This will be Biernoff’s third solo exhibition at the gallery since 2017. A reception with the artist will take place on Saturday\, September 7\, from 2-4pm. \nIn several new works\, Biernoff’s focus has widened to include fragments of the walls on which the\nimages hang\, emphasizing the sculptural quality of these pieces. Fragment\, 2024\, recreates a section of knotty pine paneling that has changed color over time with exposure to light\, leaving discolored shapes where pictures were once pinned. Beyond Our\, 2023\, measuring more than five feet tall\, presents a photograph of a Sunday school interior and poster showing the earth from space\, both hung on a painted rendition of a wooden wall. Together\, the elements suggest questions about the larger forces that exist beyond the frame. \nBiernoff often plays with doubling\, finding connections inside the frame and out. Strike\, 2021\, the work that lends the show its title\, depicts a splintered tree trunk and house with a mangled porch. In looping blue cursive on the verso\, also carefully painted by Biernoff\, a note describes the scene: “Smashed up house after the storm\, July 1970.” Like the house\, the photograph itself shows signs of damage—a column of yellow and pink discoloration disturbs the right side of the image\, perhaps caused by water. \nIn other works\, mirrors highlight the limits of what the camera could record—a reflected flash becomes a white haze\, obscuring the picture-taker in Gathering\, 2022. In Likeness\, 2022\, a man’s face is framed in a mirror on a crowded dresser\, surrounded by snapshots and mementos. Installed on a small mirrored shelf\, the reflections in the piece pile up\, “creating a display that integrates with the painting rather than receding\,” Biernoff writes. \nThe exhibition will be accompanied by a fully illustrated catalogue featuring all 12 paintings the artist has completed since mid-2021. Many of the works are reproduced to exact scale and\, consistent with the previous publications\, all paintings are reproduced recto and verso. \nBiernoff received an MFA from California College of the Arts and a BA from Yale University. She also\nstudied at the Slade School of Fine Art\, London\, and received a MacDowell Fellowship in 2016. Her work\nhas been exhibited at the San Francisco Museum of Modern Art\, Contemporary Jewish Museum\, the\nAsian Art Museum\, and CCA Wattis Institute for Contemporary Arts in San Francisco; New Orleans\nMuseum of Art; Copenhagen’s Louisiana Museum of Modern Art; and Crystal Bridges Museum of\nAmerican Art in Bentonville\, Arkansas. Biernoff’s work is included in the collections of the Buffalo AKG Art Museum\, Metropolitan Museum of Art\, Philadelphia Museum of Art\, and Yale University Art Gallery\, among others.
URL:https://artinamericaguide.com/event/elisheva-biernoff-smashed-up-house-after-the-storm/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240321T103000
DTEND;TZID=America/New_York:20240524T173000
DTSTAMP:20260505T003907
CREATED:20240308T151933Z
LAST-MODIFIED:20240308T151933Z
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SUMMARY:Wardell Milan: Modern Utopia
DESCRIPTION:Fraenkel Gallery is pleased to present Modern Utopia\, an exhibition of new multimedia work by Wardell Milan. \nRanging from intimate collages to large-scale narrative paintings\, the artist depicts scenes of pleasure or \nviolence\, often imbued with a sense of unease. Long grounded in photography\, his work is open-armed in its \napproach to materials. Images from photojournalism and news media often serve as references for figures in \nacrylic and oil pastel\, and photographs by artists such as Robert Mapplethorpe are cut and recombined with \ngraphite markings. This will be Milan’s third solo show with the gallery since 2019. A reception with the artist \nwill take place on Saturday\, March 23\, from 2-4pm.
URL:https://artinamericaguide.com/event/wardell-milan-modern-utopia/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20240111T100000
DTEND;TZID=America/New_York:20240309T170000
DTSTAMP:20260505T003907
CREATED:20231206T223052Z
LAST-MODIFIED:20231206T223052Z
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SUMMARY:Janet Cardiff & George Bures-Miller: Ambient Jukebox & Other Stories
DESCRIPTION:Fraenkel Gallery is pleased to present Ambient Jukebox & Other Stories\, an exhibition of new work by multidisciplinary artists Janet Cardiff and George Bures Miller. Atmospheric\, dreamlike\, and theatrical\, the duo’s work often explores how sound affects perception. This will be the artists’ second solo exhibition with the gallery since 2018. A public reception with the artists will take place on Saturday\, January 13\, from 2-4pm. \n\n\n\nIn Cosmic Disco\, tiny points of light reflected from altered mirrorballs fill a darkened room to create the illusion of slowly moving galaxies\, accompanied by a soundtrack drawn from recordings of planets and moons made by NASA’s Voyager I and II. The piece immerses viewers in illusory reflections and otherworldly sounds\, encouraging contemplation of the universe and humans’ place in it. In another room\, Ambient Jukebox repurposes a familiar-looking 1960s jukebox. Rather than playing pop hits\, it has been reprogrammed to spin drone-like tunes created by Bures Miller during the disorienting months of the global pandemic. As in many of their pieces\, Cardiff and Bures Miller invite the viewer to activate the piece—selecting the tracks creates a singular experience of the work and transforms the iconic object into something unfamiliar and surprising. \n\n\n\nA range of more intimate works populate the third gallery. Combining paintings\, found materials\, soundtracks\, and audio musings\, these works explore the ways in which narrative\, music\, and sound influence the viewer’s interpretation of visual elements. Playful sculptural collages\, made in part from studio scraps left over from earlier works\, are inspired by constructivist ideas. In one\, a collage made from rough wooden shapes\, pieces of torn paper\, and a tuft of blonde hair spins on a round pedestal as speakers play a hypnotic soundtrack of layered voices. Other works juxtapose moody oil paintings with fragments of found text\, exploring the power of words even when inaudible. \n\n\n\nSuitcases appear in several works. A vintage suitcase is transformed into a theater\, replete with curiously crafted doll-like characters and a range of scenarios that play on a small screen facing the ‘stage.’ Another suitcase is modified with a gramophone speaker through which Cardiff’s dreamlike voice quavers the World War I marching song Pack Up Your Troubles in Your Old Kit Bag\, and Smile\, Smile\, Smile by George and Felix Powell\, a song which in time has been sung by forces on all sides of many conflicts. \nJanet Cardiff and George Bures Miller recently opened the Cardiff Miller Art Warehouse in Enderby\, British Columbia\, a venue that showcases their immersive large-scale installations. The Killing Machine\, an automated installation inspired in part by Franz Kafka’s story In the Penal Colony\, is featured in the exhibition Kafka: 1924 at Villa Stuck in Munich\, Germany\, on view until February 11\, 2024. Their solo survey exhibition Dream Machines was recently on view at Museum Tinguely in Basel\, Switzerland\, following its premier at Lehmbruck Museum in Duisburg\, Germany. The exhibition was organized in honor of the Wilhelm Lehmbruck Prize\, which was awarded to the pair in 2020. Cardiff’s celebrated sound sculpture Forty-Part Motet is on view in ongoing exhibitions at the National Gallery of Canada in Ottawa\, and Inhotim in Brumadinho\, Brazil. \nTheir work has been shown in the Metropolitan Museum of Art\, New York; MoMA PS1\, New York; National Gallery of Canada\, Ottawa; Nelson Atkins Museum of Art\, Kansas City\, Missouri; Moderna Museet\, Stockholm; San Francisco Museum of Modern Art; and Tate Modern\, London\, among many others. Their work is in the collections of public institutions including the Corcoran Gallery of Art\, Washington\, D.C.; Dallas Museum of Art\, Dallas\, Texas; Hirshhorn Museum and Sculpture Garden\, Washington\, D.C.; San Francisco Museum of Modern Art\, and others. In 2011 they received Germany’s Käthe Kollwitz Prize\, and in 2001\, represented Canada at the 49th Venice Biennale\, for which they received the Premio Speciale and the Benesse Prize.
URL:https://artinamericaguide.com/event/janet-cardiff-george-bures-miller-ambient-jukebox-other-stories/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230907
DTEND;VALUE=DATE:20231022
DTSTAMP:20260505T003907
CREATED:20230823T152458Z
LAST-MODIFIED:20230823T152458Z
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SUMMARY:Richard T. Walker: NEVER HERE / ALWAYS THERE
DESCRIPTION:Fraenkel Gallery is pleased to present NEVER HERE / ALWAYS THERE\, an exhibition by artist Richard T. Walker. Incorporating photography\, video\, music\, sculpture\, and performance\, the artist continues his exploration of the relationship between the individual and the changing natural world. In eleven new works\, Walker reorders the elements of the environment\, upending assumptions about humankind’s place in nature by embracing futile connections to the vast landscape. This will be the Bay Area-based British artist’s second solo show in the gallery’s 49 Geary space\, following exhibitions at FraenkelLAB in 2016 and 2017. A public reception with the artist will take place on Saturday\, September 9\, from 1:30–4 pm.
URL:https://artinamericaguide.com/event/richard-t-walker-never-here-always-there/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230629
DTEND;VALUE=DATE:20230813
DTSTAMP:20260505T003907
CREATED:20230622T153513Z
LAST-MODIFIED:20230622T153513Z
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SUMMARY:Richard Misrach: New New Pictures New Old Pictures
DESCRIPTION:Fraenkel Gallery is pleased to announce New New Pictures/New Old Pictures\, an exhibition of large-format photographs by Richard Misrach\, his fifteenth with the gallery since 1985. The exhibition marks the debut of his new series\, Cargo\, atmospheric studies of maritime traffic that raise questions about international commerce and the supply chain upon which the world now depends. Also on view will be works made from recently discovered negatives produced throughout Misrach’s near five-decade career. The gallery will host an opening reception with the artist on Thursday\, June 29\, from 5:30 to 7:30pm\, and a book signing with the artist on Saturday\, July 29\, from 2 to 4pm.
URL:https://artinamericaguide.com/event/richard-misrach-new-new-pictures-new-old-pictures/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
GEO:37.7876041;-122.4042781
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230506
DTEND;VALUE=DATE:20230625
DTSTAMP:20260505T003907
CREATED:20230323T210916Z
LAST-MODIFIED:20230323T210916Z
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SUMMARY:Lee Friedlander Framed by Joel Coen
DESCRIPTION:Fraenkel Gallery is pleased to announce Lee Friedlander Framed by Joel Coen\, an exhibition of Friedlander’s photographs curated by the widely acclaimed filmmaker. Rather than focusing on a single subject or period\, Coen’s selection concentrates on Friedlander’s singular approach to composition. Through the approximately 45 images in the exhibition Coen surveys the range of Friedlander’s 60+ year career\, bringing many lesser-known images into the equation. The selection evidences an unexpected affinity between Friedlander and Coen\, both of whose work explores the sly power of images. A new hardcover publication\, with an introduction by Coen and an afterword by the actor Frances McDormand\, accompanies the exhibition. In New York\, Luhring Augustine will host a concurrent presentation of Friedlander’s photographs\, from May 13 to June 24. Please see our website for our hours.
URL:https://artinamericaguide.com/event/lee-friedlander-framed-by-joel-coen/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
GEO:37.7876041;-122.4042781
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20230302T000000
DTEND;TZID=America/Halifax:20230429T000000
DTSTAMP:20260505T003907
CREATED:20230210T205856Z
LAST-MODIFIED:20230210T205856Z
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SUMMARY:Nan Goldin
DESCRIPTION:Fraenkel Gallery is pleased to present Nan Goldin’s fifth exhibition with the gallery since 1994. Memory Lost\, the exhibition’s centerpiece\, is a slideshow in which Goldin explores the darkness of drug addiction through images and recordings from her extensive archive. The exhibition also features dreamlike photographs from Memory Lost\, along with a recent series of intimate portraits made at home during the pandemic. The gallery will host a public event with the artist on a date to be announced.
URL:https://artinamericaguide.com/event/nan-goldin/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230105
DTEND;VALUE=DATE:20230226
DTSTAMP:20260505T003907
CREATED:20221221T235807Z
LAST-MODIFIED:20221221T235807Z
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SUMMARY:Bernd & Hilla Becher
DESCRIPTION:Fraenkel Gallery is pleased to present an exhibition of photographs by celebrated German artists Bernd and Hilla Becher\, their fifth with the gallery. Spanning the Bechers’ career\, the exhibition features approximately 35 works made between 1967 and 2010\, including examples of their pioneering typologies\, a selection of early industrial landscapes\, and a collection of iconic water towers. The exhibition coincides with a major retrospective of the Bechers’ work organized by the Metropolitan Museum of Art\, on view at the San Francisco Museum of Modern Art from December 17\, 2022\, until April 2\, 2023.
URL:https://artinamericaguide.com/event/bernd-hilla-becher/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
GEO:37.7876041;-122.4042781
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220907
DTEND;VALUE=DATE:20221023
DTSTAMP:20260505T003907
CREATED:20220912T150149Z
LAST-MODIFIED:20220912T150149Z
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SUMMARY:Peter Hujar curated by Elton John
DESCRIPTION:Fraenkel Gallery is pleased to present Peter Hujar curated by Elton John\, a fifty-photograph survey of Hujar’s celebrated career. Bringing together the sensibilities of two remarkable artists\, the exhibition provides striking evidence of how one artist’s eye can shed light on another. Elton John’s selection includes works spanning nearly two decades\, featuring portraits of Hujar’s eclectic circle of friends\, his landmark nudes\, and atmospheric landscapes. A portion of the proceeds from the exhibition will go to the Elton John AIDS Foundation\, and the exhibition will be accompanied by a fully illustrated catalogue published by Fraenkel Gallery.
URL:https://artinamericaguide.com/event/peter-hujar-curated-by-elton-john/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
GEO:37.7876041;-122.4042781
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220203
DTEND;VALUE=DATE:20220327
DTSTAMP:20260505T003907
CREATED:20220112T164411Z
LAST-MODIFIED:20220112T164411Z
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SUMMARY:Alec Soth: A Pound of Pictures
DESCRIPTION:Fraenkel Gallery is pleased to present A Pound of Pictures\, a new body of work by Alec Soth. In photographs made on a series of road trips across the U.S.\, Soth records people and locations with subtle connections. The series features images that reference photography itself\, investigating the physicality of the medium and its limited ability to preserve what is fleeting. The exhibition is accompanied by a monograph published by MACK\, and will have concurrent presentations at Sean Kelly Gallery in New York\, and Weinstein Hammons Gallery in Minneapolis. Fraenkel Gallery will host a ticketed opening reception with the artist on Saturday\, February 5\, from 1-4pm. \nSoth’s subjects include Niagara Falls tourists\, Fire Island beachgoers\, lush wildflowers\, and piles of photographs—the title of the series was inspired by a person Soth met who sold photographs by weight. Soth began the series as a tribute to Abraham Lincoln and Walt Whitman\, but later decided to widen his approach. Using his camera as an “excuse to wander and dig\,” Soth follows his intuitive attention\, returning to places he visited for past projects and exploring new subjects. He writes that beyond their surface\, the photographs are largely about “the process of their own making. They are about going into the ecstatically specific world and creating a connection between the ephemeral (light\, time) and the physical (eyeballs\, film). These accumulated connections hopefully create constellations of possible meaning.”
URL:https://artinamericaguide.com/event/alec-soth-a-pound-of-pictures/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211118
DTEND;VALUE=DATE:20220130
DTSTAMP:20260505T003907
CREATED:20211022T132342Z
LAST-MODIFIED:20211022T132342Z
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SUMMARY:Martine Gutierrez: Half-Breed
DESCRIPTION:Fraenkel Gallery is pleased to announce Martine Gutierrez: Half-Breed\, a new exhibition of photographs. Acting as both subject and producer\, Gutierrez explores the multiplicity and complexity of identity in a series of pop-influenced narrative scenes. The exhibition\, which takes its name from Cher’s 1973 album\, will include selections from three recent series\, Body En Thrall\, Plastics\, and Indigenous Woman\, the 124-page magazine for which Gutierrez acted as muse\, model\, photographer\, and art director\, creating every element from fashion spreads and ads to an editor’s letter. A Berkeley native now based in Brooklyn\, this will be the artist’s inaugural show with Fraenkel Gallery. \nIndigenous Woman presents images in the glossy\, seductive style of fashion and advertising photography\, reimagining the tropes of those genres with wit and nuance. In the project\, which was shown at the 2019 Venice Biennale\, Gutierrez carves out a place for herself\, trying on fluid identities that touch on race\, class\, gender\, and sexuality. As she has noted\, “No one was going to put me on the cover of a Paris fashion magazine\, so I thought\, I’m gonna make my own.” The exhibition includes selections from Neo-Indeo\, a fashion editorial in which Gutierrez wears Indigenous textiles\, some of which belonged to her Mayan grandparents\, paired with vintage and designer items in a personal\, multicultural version of high fashion. In a 1960s-inspired ad\, Identity Boots\, Gutierrez poses nude except for shiny white go-go boots and brightly colored gender symbols and glyphs\, crudely taped to her skin. In a series of portraits titled Demons\, Gutierrez transforms herself into mythical women from ancient and indigenous cultures\, adorned with sculptural hairstyles and extravagant jewelry. Together\, the pages of Indigenous Woman present what Gutierrez has called a celebration of “ever-evolving self-image.” \nIn the series Body En Thrall\, begun as an editorial for Indigenous Woman\, the artist stages photographs using herself as a model\, posing with mannequins in charged scenarios. In the selection on view\, Gutierrez appears in the guise of a blonde persona she has referred to as “the bombshell\,” and pictures provocative scenes that navigate questions about power\, desire\, and self-objectification. \nIn Plastics\, Gutierrez pulls plastic wrap tightly over her face while wearing messy blonde wigs and contact lenses\, holding her breath as she embodies a series of archetypes. The transparent film pushes her features and smears her makeup\, creating portraits that speak to the violence and artifice inherent in mainstream ideals of beauty.
URL:https://artinamericaguide.com/event/martine-gutierrez-half-breed/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210909
DTEND;VALUE=DATE:20211110
DTSTAMP:20260505T003907
CREATED:20210803T223826Z
LAST-MODIFIED:20211020T173609Z
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SUMMARY:Carrie Mae Weems: Witness
DESCRIPTION:Fraenkel Gallery is pleased to present a survey of the work of Carrie Mae Weems examining her extraordinary achievement over four decades. Weems’s inaugural show at the gallery includes early documentary-style photographs of family\, and her iconic Kitchen Table series. The show features groundbreaking conceptual work spanning Weems’s career\, including Constructing History\, 2008\, which re-enacts moments of social upheaval from the 1960s\, and People of a Darker Hue\, a 2016 video commemorating Black men and women killed by police. The exhibition follows the gallery’s recently announced representation of Weems.
URL:https://artinamericaguide.com/event/carrie-mae-weems-witness/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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GEO:37.7876041;-122.4042781
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210603
DTEND;VALUE=DATE:20210814
DTSTAMP:20260505T003907
CREATED:20210519T134518Z
LAST-MODIFIED:20210519T134518Z
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SUMMARY:Diane Arbus: Curated by Carrie Mae Weems
DESCRIPTION:The thing that’s important to know is that you never know. You’re always sort of feeling your way. —Diane Arbus \nFraenkel Gallery is pleased to present an exhibition of 45 photographs by Diane Arbus\, curated by acclaimed contemporary artist Carrie Mae Weems. A long-time admirer of Arbus’s work\, Weems has selected images spanning Arbus’s fifteen-year career\, from 1956 until her death in 1971. The exhibition will be on view at 49 Geary Street from June 3 to August 13\, 2021\, and will be followed by an exhibition devoted to Weems’s own work in September. \nWeems has cited Arbus\, along with David Hammons\, as artists of paramount importance to her. To inaugurate Fraenkel Gallery’s recently announced representation of Weems\, the artist was invited to curate an exhibition of Arbus’s photographs\, the sole directive being to focus on works that speak powerfully and directly to her. \nWeems’s selection begins with a single preliminary image from 1945\, in which Arbus stands before a mirror\, pregnant with her first child. It then leaps to 1956 when\, at age 33\, Arbus consciously began her career as an artist. The exhibition features three photographs from 1956\, including Carroll Baker on screen in “Baby Doll” (with silhouette)\, N.Y.C. 1956 and Kiss from “Baby Doll\,” N.Y.C. 1956\, among several photographs in the show set in darkened movie theaters. \nWhile the exhibition includes well-known images such as Two boys smoking in Central Park\, N.Y.C.1963 and A young waitress at a nudist camp\, N.J. 1963\, Weems’s selection focuses primarily on lesser-known works. Among them are Woman making a kissy face\, Sammy’s Bowery Follies\, N.Y.C. 1958\, one of the earliest of Arbus’s photographs in which she places her camera strikingly close to her subject’s face\, and Kenneth Hall\, the new Mr. New York City\, at a physique contest\, N.Y.C. 1959\, about whom Arbus noted\, “he can wiggle his chest muscles separately and has developed a muscle on the back of his thighs which no one else has ever developed.” The photographs Weems has selected trace the evolution of Arbus’s technique and encompass a broad cross-section of her interests. The subjects depicted include couples\, children\, transvestites and female impersonators\, nudists\, families\, and celebrities\, often photographed in parks\, bedrooms\, and dance halls\, in New York City and elsewhere. \nDiane Arbus (1923–1971) is one of the most original and influential photographers of the twentieth century. In 1963 and 1966 she was awarded John Simon Guggenheim Fellowships and was one of three photographers whose work was the focus of New Documents\, John Szarkowski’s landmark exhibition at the Museum of Modern Art in 1967. A year after her death\, her work was selected for inclusion in the Venice Biennale\, and from 1972 to 1975\, the Museum of Modern Art hosted a major traveling retrospective. Her photographs are in the collections of numerous institutions around the world\, including the Art Gallery of Ontario\, Canada; the Metropolitan Museum of Art\, New York; the Museum of Modern Art\, New York; and Tate Gallery\, London\, among many others. In 2022\, Fraenkel Gallery and David Zwirner will co-publish Diane Arbus Documents\, a compendium of reviews\, articles\, and other relevant commentary tracing the ways in which the understanding of Arbus’s work has evolved over five decades. \nCarrie Mae Weems (born 1953) is a renowned artist whose work has been featured at museums including the Metropolitan Museum of Art\, New York; the Solomon R. Guggenheim Museum\, New York; and Centro Andaluz de Arte Contemporáneo\, Seville\, Spain. She has won numerous awards\, grants\, and fellowships\, including a MacArthur “Genius” grant\, the Louis Comfort Tiffany Award\, and the Congressional Black Caucus Foundation’s Lifetime Achievement Award\, among others. Recent projects include directing The Baptism\, a film commissioned by Lincoln Center; and Resist COVID/Take 6!\, a public art campaign responding to the impact of COVID-19 on Black\, Latino\, and Indigenous communities. Her work is in the collections of the Metropolitan Museum of Art\, New York; the Museum of Modern Art\, New York; San Francisco Museum of Modern Art; and Tate Gallery\, London\, among many others.
URL:https://artinamericaguide.com/event/diane-arbus-curated-by-carrie-mae-weems/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210401
DTEND;VALUE=DATE:20210529
DTSTAMP:20260505T003907
CREATED:20210303T230645Z
LAST-MODIFIED:20210303T230645Z
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SUMMARY:Elisheva Biernoff: Starting from Wrong
DESCRIPTION:Fraenkel Gallery is pleased to present its second exhibition of new work by Elisheva Biernoff. Titled Starting from Wrong\, the exhibition features nine meticulously detailed paintings measuring no larger than 4 x 5 inches each. All completed since 2017\, Biernoff’s recent paintings are carefully observed\, two-sided works based on found and anonymous photographs. The exhibition will be on view from April 1 to May 28\, 2021\, and will be accompanied by a catalogue published by Fraenkel Gallery. \nEach of Biernoff’s paintings requires three to four months to complete\, belying the instantaneous nature of the source material. Aptly beginning with a work titled Wrong 1966\, Biernoff’s new paintings depict photographs that may be considered to have failed in a variety of ways. These “failures” include various forms of fading\, sun flares\, and color shifts\, with elements that appear to be damaged or missing. In Him\, 2018\, a man in a suit is obscured by sunlight coming from behind\, rendering him anonymous\, and breaking photography’s classic taboo against placing a subject in front of bright light. A mysterious Polaroid verges on jarring abstraction in Instant\, 2021\, as dark grey patches of “damaged” emulsion appear to rend a light-dappled oceanscape. \nBiernoff’s double-sided paintings are displayed on stands that allow them to be viewed from multiple perspectives. Ripple\, 2020\, features figures on a sandy expanse with scribbled handwriting on the verso that references the odd look of the print: “Can’t figure out why the waves unless it’s the heat? Do you have any idea?” With attention to even the most seemingly insignificant detail\, Biernoff’s work conveys a sense of a photograph’s history before it arrived in her possession. \nTo accompany the painted works\, Biernoff has created a set of 50 “mistake” postcards based on her own photographs\, some with photographic errors\, others altered to appear misprinted. Gallery visitors will be invited to select a card to take home. \nThe exhibition will be accompanied by a fully illustrated catalogue featuring all fourteen paintings the artist has completed since 2017\, when her first monograph was published. Each work is reproduced to exact scale and\, consistent with the original publication\, all paintings are reproduced recto and verso. \nElisheva Biernoff (b. 1980) received an MFA from California College of the Arts and a BA from Yale University. She also studied at the Slade School of Fine Art\, London\, and was a recipient of a MacDowell Fellowship. Her work has been exhibited at institutions including the San Francisco Museum of Modern Art\, the New Orleans Museum of Art\, and Copenhagen’s Louisiana Museum of Modern Art. Her work is included in the collections of the National Gallery of Art\, Washington\, D.C.; Metropolitan Museum of Art\, New York; Yale University Art Gallery\, New Haven; and Albright-Knox Art Gallery\, Buffalo\, New York\, among others.
URL:https://artinamericaguide.com/event/elisheva-biernoff-starting-from-wrong/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210121
DTEND;VALUE=DATE:20210327
DTSTAMP:20260505T003907
CREATED:20201218T160745Z
LAST-MODIFIED:20201218T160745Z
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SUMMARY:Christian Marclay
DESCRIPTION:Fraenkel Gallery is pleased to present new work by Christian Marclay\, incorporating collage\, video animation\, and photography. The exhibition continues Marclay’s investigation into the relationship between sound and image through sampling elements from art and popular culture\, and reflects the anxiety and frustration of the current global pandemic and political crises. The exhibition will be on view in the gallery from January 21 to March 26\, 2021\, and will be accompanied by a musical performance in which Marclay’s collage No! serves as a score\, on a date to be scheduled soon. \nThe voice is at the center of the exhibition. In a series of photographs showing screaming faces\, cut and torn fragments from comic books\, movie stills\, and images found on the internet are arranged into haunting\, mask-like composites\, and then recorded by the camera. Capturing the paper’s inherent creases and tears\, the photographs mix analog and digital elements\, and investigate the computer screen as a contemporary physical surface. \nThis exhibition marks the premiere of Fire\, 2020\, a hypnotic new animation. Using small pieces cut from comic books\, the single-channel video work is an impressionistic representation of fire. Hundreds of photographs shown in rapid succession suggest a flip book\, creating the illusion of a flickering\, fiery mosaic in motion. Flames are also the subject of Raging Fire\, 2020\, a large collage made of paper cutouts from comic book illustrations of fire. The piece transforms representations of all manner of war\, catastrophe\, explosion\, and arson into abstracted yellows\, oranges\, and reds in a variety of styles. \nAlso on view will be No!\, 2019\, a set of 15 original collages made from comic book fragments\, and No!\, 2020\, a graphic score for a solo voice that comprises a facsimile of the 2019 collages. While earlier works such as Manga Scroll\, 2010\, incorporated onomatopoeias disconnected from their generative action\, No! uses vocal utterances\, facial expressions\, and body movements to prompt a performance. Writes Marclay\, “Like my earlier graphic scores dating back to the 1990s\, the use of words that illustrate their sonic counterparts engages non-traditional visualizations of sound as a possibility for generating music.” As in his music and video works\, which splice together found recordings and film footage\, the comic book segments are culled and re- contextualized in vibrant\, dynamic ways. \nChristian Marclay (born 1955) works in a sampling aesthetic\, using fragments from the ephemera of popular culture to create new forms and meanings. Marclay’s work has been shown in museums and galleries internationally\, including recent major one-person exhibitions at Museu d’Art Contemporani de Barcelona and Los Angeles County Museum of Art\, as well as Kunsthaus\, Zurich; Museum of Contemporary Art\, Chicago; San Francisco Museum of Modern Art; and the Whitney Museum of American Art\, New York. Marclay received the Golden Lion award for best artist at the 54th Venice Biennale for his 24-hour virtuosic video piece\, The Clock\, which has been shown widely to great acclaim. His work is in the collection of Centre Georges Pompidou\, Paris; Kunsthalle Zurich; Museum of Modern Art\, New York; Musée d’Art Contemporain\, Montreal; Philadelphia Museum of Art; San Francisco Museum of Modern Art; Tate Modern\, London; Walker Art Center\, Minneapolis; and the Whitney Museum of American Art\, New York\, among others.
URL:https://artinamericaguide.com/event/christian-marclay/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20201029
DTEND;VALUE=DATE:20210116
DTSTAMP:20260505T003907
CREATED:20200810T154421Z
LAST-MODIFIED:20201123T215131Z
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SUMMARY:Wardell Milan
DESCRIPTION:Fraenkel Gallery is pleased to present new work by Wardell Milan. The gallery’s second solo show of the New York-based artist will be on view from October 29\, 2020 to January 15\, 2021. \nThe exhibition features Milan’s ongoing series “Death\, Wine\, Revolt\,” which combines photography\, drawing\, painting\, collage\, and sculpture to explore themes of over-indulgence\, destruction\, and revolution. While earlier series such as “Parisian Landscapes” looked inward\, to personal questions of freedom and desire\, Milan made the works on view in response to the turmoil of the global moment. \nIn several large-scale works\, Milan uses enlargements of his own photographs of specific locations—the Lorraine Motel in Memphis\, where Martin Luther King was assassinated\, or the city of Venice—setting his images in dialogue with historical sites of racist violence or political rebellion. Populating the works are a range of human figures\, often nude\, whose bodies are pieced together from fractured drawings and photographs\, and overlaid with blue and white paint. Some groupings suggest erotic coupling or violent encounters\, and many arrangements are based on photographic sources. In 2020\, Los Feliz\, Los Angeles\, Milan positions five figures in white Ku Klux Klan hoods against his own photograph of the city’s hills. The arrangement of bodies is based on a found image of a Klan social gathering\, and presents the white nationalists in a bland\, contemporary California suburb. In The Parade\, the arrangement of figures echoes Diane Arbus’s Untitled (7)\, from her final body of work made in a home for the developmentally disabled in New Jersey. \nAlso on view are a selection of smaller works\, including white-on-white cut paper collages depicting hooded Klansmen\, and paintings from Milan’s ongoing series of tulips. While earlier flower paintings were inspired by the 17th-century Dutch tulip craze\, the new works deconstruct the flowers\, transforming them into chaotic arrangements of petals and leaves\, hinting at the dissolutions the past year has wrought. \nWardell Milan (b. 1977\, Knoxville\, Tennessee) studied photography and painting at the University of Tennessee and Yale University. His works are in the collections of The Museum of Modern Art\, New York; The Art Institute of Chicago; Museum of Contemporary Photography\, Chicago; Denver Art Museum; Brooklyn Museum\, New York; The Morgan Library & Museum\, New York; San Francisco Museum of Modern Art; The Studio Museum in Harlem\, New York; UBS Art Collection; and Whitney Museum of American Art\, New York\, among others. Milan’s work was the subject of the 2015 monograph between late summer and early fall\, edited by Cay Sophie Rabinowitz and published by Osmos Books.
URL:https://artinamericaguide.com/event/wardell-milan-death-wine-revolt-the-nonsense-of-the-world/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200908
DTEND;VALUE=DATE:20201023
DTSTAMP:20260505T003907
CREATED:20200810T154448Z
LAST-MODIFIED:20201012T173800Z
UID:71973-1599523200-1603411199@artinamericaguide.com
SUMMARY:I’m Not the Only One
DESCRIPTION:Fraenkel Gallery is pleased to present I’m Not the Only One\, a group exhibition that explores solitude alongside our relentless yearning to connect\, in photographs and videos from 19 artists that echo and reflect our current socially distant world. The show will be on view from September 8 to October 22\, 2020. \nI’m Not the Only One is the title of Mishka Henner’s 2015 video\, which opens the show. In it\, Henner digitally combines 18 videos sourced from YouTube showing individuals performing Sam Smith’s hit song of the same title\, alone in their bedrooms and makeshift studios. Stitched together\, these solo performances transform the song’s lonely angst into a powerful but immaterial chorus of solidarity and connection. Ironically\, the current Covid-19 climate has treated us to a myriad of similar choirs from around the world\, intentionally singing alone together. Henner’s prescient piece\, envisioned long before a global sheltered-in-place reality\, takes on a new layer of meaning today. \nOther works in the first gallery explore the pull between being alone and being part of something larger. In Alec Soth’s 2013 photograph a lone figure seems to dance across an empty expanse of concrete on the Facebook campus\, emphasizing solitude and physical distance in contrast with the internet’s promise of ubiquitous connection. And in Katy Grannan’s 2018 image Schatzi\, Gerlach\, Nevada\, a woman holds her wine glass over a backyard fence in a gesture that simultaneously juxtaposes neighborliness with isolation. \nIn the second gallery\, Nan Goldin’s French Chris on the convertible\, NYC\, 1979\, presents a figure lost in his own swoon\, suggesting an ecstatic kind of solitude. Also on view are images that alternately highlight the physical and emotional space between subjects. In Richard Misrach’s Boy Scouts\, Pyramid Lake Indian Reservation\, Nevada\, 1991\, children stand in waist-deep water\, dispersed in an arrangement that suggests the complexity of adolescent friendships. In an airport photograph by Garry Winogrand a man greets a woman while holding a sign that reads “Welcome to California Jane.” The pair’s subtle gestures suggest shy anticipation\, while the space between them presents more questions than it answers. \nChristian Marclay’s seminal 1995 video Telephones is the gravitational force in the final room of the exhibition. This skillfully edited arrangement of clips from movies shows people using telephones the way they were originally intended to be used: dialing\, ringing\, greeting\, and listening. The carefully sequenced fragments coalesce into a conversation between speakers who never seem to connect. In the same room\, Johnnie Chatman’s series I Forgot Where We Were… depicts the artist alone in the grand vistas of the West. Set in the romantic and expansive American landscape\, Chatman’s silhouette presents a stark image of individuality and isolation. \nThis unprecedented time of social distance has upended many of the usual ways we find connection while underscoring that which we truly value. The intention of this exhibition is to bring us together and to acknowledge our connectedness in a world that can sometimes feel broken apart.
URL:https://artinamericaguide.com/event/im-not-the-only-one/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
GEO:37.7876041;-122.4042781
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200730
DTEND;VALUE=DATE:20200908
DTSTAMP:20260505T003907
CREATED:20200731T133059Z
LAST-MODIFIED:20200807T204731Z
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SUMMARY:On the Road
DESCRIPTION:Fraenkel Gallery is pleased to present On the Road\, the fourth installation in our series of online exhibitions\, For the Pleasure of Looking\, which highlight our philosophy of living with art. The presentation will be on view through September 7\, 2020. \nOn The Road is a celebration of the American road and the mythic role it has played in photography. The exhibition presents work from Robert Adams\, Johnnie Chatman\, Lee Friedlander\, Katy Grannan\, Peter Hujar\, Ralph Eugene Meatyard\, Richard Misrach\, Alec Soth\, Richard T. Walker\, and Garry Winogrand.
URL:https://artinamericaguide.com/event/on-the-road/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Virtual Events + Viewing Rooms
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
GEO:37.7876041;-122.4042781
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Fraenkel Gallery 49 Geary Street San Francisco CA 94108 United States;X-APPLE-RADIUS=500;X-TITLE=49 Geary Street:geo:-122.4042781,37.7876041
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200326
DTEND;VALUE=DATE:20200816
DTSTAMP:20260505T003907
CREATED:20200210T162246Z
LAST-MODIFIED:20200630T152431Z
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SUMMARY:Hiroshi Sugimoto: Opticks
DESCRIPTION:Fraenkel Gallery will be temporarily closed to the public beginning Tuesday\, March 17 in support of the health and safety of our staff and the general public\, and following guidelines from local\, state\, and federal authorities.\nFor those wishing to learn more about our current exhibition Hiroshi Sugimoto: Opticks\, please email inquiries@fraenkelgallery.com.\n\nFraenkel Gallery is pleased to present Hiroshi Sugimoto: Opticks\, an exhibition of new large-scale photographs on view for the first time in the U.S. The images depict the color of light Sugimoto observed through a prism in his Tokyo studio. Using Polaroid film\, he recorded sections of the rainbow spectrum projected into a darkened chamber\, paying particular attention to the spaces and gaps between hues. The resulting works\, each measuring approximately 5’ framed\, are vivid\, near-sculptural renderings of pure light. The exhibition will be on view from March 26 to August 15\, 2020. \nSugimoto describes his process\, which began before sunrise and depended on the clarity of the winter light: “First thing\, I would check for hints of light dawning above the eastern horizon. If the day promised fair weather\, next I would sight the ‘morning star’ shining to the upper right of the nascent dawn. Depending on how bright Venus appeared\, I could judge the clarity of the air that day—Tokyo is clear almost every day in winter thanks to the prevailing seasonal west-high east-low pressure patterns. Only then did I ready my old Polaroid camera and start warming up a film pack from the long winter night chill\,” he writes. In his studio\, he used a mirror outfitted with a special micro-adjusting tilting mechanism\, and projected light from the prism onto the mirror. By adjusting the mirror’s angle\, he could separate individual colors of light. “I could split red into an infinity of reds\,” he explains. \nIn his work\, Hiroshi Sugimoto has explored the ways photography can be used to record traces of invisible but elemental forces. His philosophical approach asks questions about the human experience of these phenomena. Inspired by the writings and research of Sir Isaac Newton and Johann Wolfgang von Goethe on the science and experience of light\, the works in Opticks examine the infinite nature and dual status of color as a physical phenomena and an emotional force. Sugimoto titled Opticks after Newton’s 1704 book of the same name\, which presented his groundbreaking experiments with prisms and light. More than 100 years later\, in 1810\, Goethe published Zur Farbenlehre (Theory of Colors)\, a study of the physical basis of colors and human responses to them\, which found Newton’s “impersonal scientific exposition wanting on artistic grounds\,” Sugimoto writes. \nLooking at light through his own prism\, he notes: \nI too had my doubts about Newton’s seven-colour spectrum: yes\, I could see his red-orange-yellow-green-blue-indigo-violet schema\, but I could just as easily discern many more different colours in-between\, nameless hues of red-to-orange and yellow-to-green. Why must science always cut up the whole into little pieces when it identifies specific attributes? The world is filled with countless colours\, so why did natural science insist on just seven? I seem to get a truer sense of the world from those disregarded intracolours. Does not art serve to retrieve what falls through the cracks\, now that scientific knowledge no longer needs a God? \nThe exhibition will also include a sculptural rendering of a mathematical model from Sugimoto’s series of conceptual forms\, along with work from other series. \nHiroshi Sugimoto was born in Japan in 1948. Starting in the 1970s\, he worked primarily in photography\, eventually adding performing arts production and architecture to his multidisciplinary practice. His work investigates themes of time\, empiricism and metaphysics. Sugimoto’s work is held in the collections of the Metropolitan Museum of Art\, New York; Museum of Modern Art\, New York; National Gallery of Art\, Washington\, DC; San Francisco Museum of Modern Art; and Tate Gallery\, London; among many others. His work has been the subject of numerous monographs. In 2017\, he founded the Odawara Art Foundation\, dedicated to traditional Japanese and international contemporary performing arts. Sugimoto is the recipient of the National Arts Club Medal of Honor in Photography; The Royal Photographic Society’s Centenary Medal; Isamu Noguchi Award; Officier de L’ordre des Arts et des Lettres; Praemium Imperiale Award for Painting; PHotoEspaña Prize; and the Hasselblad Foundation International Award in Photography\, among others.
URL:https://artinamericaguide.com/event/hiroshi-sugimoto-opticks/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
GEO:37.7876041;-122.4042781
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Fraenkel Gallery 49 Geary Street San Francisco CA 94108 United States;X-APPLE-RADIUS=500;X-TITLE=49 Geary Street:geo:-122.4042781,37.7876041
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200123T103000
DTEND;TZID=America/Halifax:20200314T170000
DTSTAMP:20260505T003907
CREATED:20191216T153425Z
LAST-MODIFIED:20200318T231323Z
UID:62541-1579775400-1584205200@artinamericaguide.com
SUMMARY:Sophie Calle: Because
DESCRIPTION:Fraenkel Gallery is pleased to present Sophie Calle: Because\, an exhibition of new works on view for the first time in the U.S. In each piece\, a felt curtain embroidered with Calle’s writing conceals a hidden photograph behind it. In presenting viewers with the text before the picture\, Calle upends the usual order in which images are read\, creating a poetic surprise or puzzle. The exhibition is Calle’s fourth at Fraenkel Gallery and will be on view from January 23 to March 21\, 2020. \nFor almost forty years\, Calle has made work that exposes intimate experience to public view\, using still images\, video\, film\, books\, performance and text. Her work has often drawn from difficult moments in her personal life. “In the process of turning these experiences into art\, they somehow become a type of fiction\,” she has said. \nBecause is part of Calle’s ongoing exploration of the relationship between narrative\, memory\, and photography\, and mixes humor and melancholy with her particular eye for irony. Subjects include the North Pole depicted in blue darkness\, in a picture Calle made “Because that’s what you do when you are at the ends of the earth\,” the text explains. She photographed the Spanish bull fighter José Tomás “Because for the first time in my life\, I’m about to ask for an autograph\,” she confesses. In Without Child \, 2018\, Calle quotes a description of herself that she found online: “‘Sophie Calle\, artist without child by choice\,’” pairing it with a photograph of herself holding a baby to her open blouse\, as if to nurse. She posed with the infant “By pure mischief\, because one happens to be around\,” her text states. \nConcurrent with Because\, Fraenkel Gallery will present a selection of work from the gallery’s archives\, curated by Sophie Calle. The presentation\, which includes work by Diane Arbus\, Katy Grannan\, Peter Hujar\, and Garry Winogrand\, among others\, focuses on images that highlight complicated relationships between couples and pairs. \nBecause will travel to the Mitsubishi Ichigokan Museum in Tokyo\, from October 24\, 2020 to January 19\, 2021\, and to the Pushkin State Museum of Fine Arts in Moscow\, from November 11 to February 14\, 2021. \nSophie Calle (b. 1953) lives and works in Paris. Her work utilizes a range of media to explore the nature of love\, intimacy\, loss and grief. Starting with her 1979 Suite Vénitienne\, in which she followed a man to Venice and documented her surveillance of him\, Calle has blended autobiography with fiction. In 2007\, she represented France at the Venice Biennale with the exhibition Take Care of Yourself\, which subsequently traveled to museums in ten countries and was accompanied by a major publication. Her work has been shown in museums around the world\, and is in the collections of The Metropolitan Museum of Art\, New York; Museum of Modern Art\, New York; Solomon R. Guggenheim Museum\, New York; Los Angeles County Museum of Art; San Francisco Museum of Modern Art; Centre Pompidou\, Paris; and Tate\, London\, among many others. In 2019\, Calle received the Royal Photographic Society’s Centenary Medal and in 2017\, she was shortlisted for the Deutsche Börse Photography Foundation Prize and received an Infinity Award from the International Center of Photography. In 2010 she was the recipient of the Hasselblad Foundation International Award in Photography.
URL:https://artinamericaguide.com/event/sophie-calle-because/
LOCATION:Fraenkel Gallery\, 49 Geary Street\, San Francisco\, CA\, 94108\, United States
CATEGORIES:Exhibition
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ORGANIZER;CN="Fraenkel Gallery":MAILTO:mail@fraenkelgallery.com
GEO:37.7876041;-122.4042781
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