Sharon Walters, Multiplicity of Being, 2024.
© Sharon Walters, courtesy HackelBury
SUMMER PREVIEW
As summer commences, there are wonderful exhibitions of both historical and contemporary photography at AIPAD member galleries around the world. We’re highlighting three of them in this issue.
John Waters, Reconstructed Lassie, 2012.
© John Waters, courtesy Fraenkel Gallery, San Francisco
A MONSTER OF A SHOW
As the popularity of Yorgos Lanthimos’s 2023 film Poor Things suggested, the influence of Mary Shelley’s Frankenstein has not waned since the book was published in 1818. Jeffrey Fraenkel and writer and curator Jordan Stein were drawn to the book’s themes as well and together devised the exhibition Fraenkenstein, on view at the Fraenkel Gallery through August 10. With photographs, sculptures, collage, paintings, and films by more than 20 artists, including Diane Arbus, Hans Bellmer, Nan Goldin, Katy Grannan, Martine Gutierrez, Peter Hujar, Wardell Milan, and Richard Misrach, the show explores the fear of the unknown and the anxiety around unchecked progress and invention, themes in the book that resonate today. From John Waters’s cosmetically altered Lassie to Diane Arbus’s 1958 photograph of Frankenstein’s Daughter being shown, the works on view reflect the story’s resonance in popular culture.
Katy Grannan, Anonymous, Bakersfield, CA, 2011.
© Katy Grannan, courtesy Fraenkel Gallery, San Francisco
Diane Arbus,“Frankenstein's Daughter” [close up with shoulders], 1958.
© The Estate of Diane Arbus
Peter Hujar, Thek Working on the Tomb Figure, 1967.
© 2024 The Peter Hujar Archive, LLC / Artists Rights Society (ARS), New York,
courtesy Fraenkel Gallery, San Francisco
Later this summer, Fraenkel Gallery is celebrating its 45th anniversary with an 11-day film festival at San Francisco’s historic Roxie Theater, July 9-20. Ten gallery artists – Robert Adams, Sophie Calle, Kota Ezawa, Lee Friedlander, Nan Goldin, Martine Gutierrez, Christian Marclay, Richard Misrach, Hiroshi Sugimoto, and Carrie Mae Weems – each selected two films that will be shown as a double bill. The artists chose films with special meaning to them, not necessarily their favorites. “Since this is the gallery's 45th anniversary,” said Fraenkel, “we wanted to do something different, something we've never done before. And since so many artists love film and have personal connections to it, a film festival felt like a project worth exploring. Each of the films seems a direct reflection of the artist's own interests. Lee Friedlander choosing The African Queen and Casablanca comes from an entirely different universe than Martine Gutierrez's selections of Ghost in the Shell and Blade Runner. Aside from being able to see so many great films, we also have the pleasure of knowing 100 percent of the funds will go to supporting the 110-year old Roxie Theatre, one of San Francisco's great neighborhood treasures.”
Still from Casablanca
Still from Blade Runner
A MASTER OF GRAPHIC ABSTRACTION
Jean-Claude Gautrand, Gazoville (#3), 1966.
© Estate Jean-Claude Gautrand, courtesy Les Douches la Galerie, Paris
Les Douches la Galerie is presenting an exhibition of vintage work by Jean-Claude Gautrand (1932-2019), Le Temps Irrémédiable, on view through July 13. Gautrand’s high-contrast, graphic, black-and-white photographs document the disappearance of structures and constructions, as time and other forces combine to erase them. A curator, critic, and historian, as well as a photographer, Gautrand was not interested in using photography to illustrate or document, but rather to explore a greater artistic freedom with the medium. Along with Jean Dieuzaide and Pierre Riehl, Gautrand founded the movement Libre Expression in 1964, which was committed to imagery that was abstract, graphic, and explored psychological expression. His series Métalopolis explored the Paris ring road, transforming metal structures and supports into geometric abstractions. Gautrand’s book Recompositions was published in the spring by Contrejour editions, and the exhibition at Les Douches la Galerie is on view in advance of the retrospective Libres expressions, dedicated to Gautrand, at the Musée Réattu in Arles June 29 - October 6.
Jean-Claude Gautrand, La mort du pin (#2), 1967.
© Estate Jean-Claude Gautrand, courtesy Les Douches la Galerie, Paris
Jean-Claude Gautrand, Métalopolis, Sing Sing, 1964.
© Estate Jean-Claude Gautrand, courtesy Les Douches la Galerie, Paris
Jean-Claude Gautrand, Recherches, Cosmonaute, 1961.
© Estate Jean-Claude Gautrand, courtesy Les Douches la Galerie, Paris
Sharon Walters, Breathe, 2023.
© Sharon Walters, courtesy HackelBury
A WOMAN'S WORLD
Using magazines and her own photographs, Sharon Walters meticulously hand-cuts images from magazines as well as her own photographs, using them to create visual conversations about empowerment, diversity, and representation. Walters’s solo exhibition Seeing Ourselves, on view at HackelBury Fine Art through July 6, features hand-assembled collages that honor Black women and the multiplicity of Blackness. The title of the show refers to Frances Borzello's 2016 book, which surveyed centuries of self-portraits by white Western women. Walters's work responds to the lack of similar images of Black women in mainstream Western media and art. The arresting portraits and self-portraits often feature figures floating above a white background, casting intricate shadows, or in front of a verdant, leafy setting. The assemblages are rich and visually dense, with cutouts that highlight form and embrace negative space. All these artworks portray an array of female portraiture that point to limitless possibilities. Walters, who hosts the Seeing Ourselves podcast, which explores depictions of people of African descent in museum collections, was recently awarded a creative practice fellowship with the Royal Museums Greenwich.
Sharon Walters, Fractured Introspection, 2024.
© Sharon Walters, courtesy HackelBury
Sharon Walters, Serenity, 2024.
© Sharon Walters, courtesy HackelBury
COMMEMORATIONS: BRENDA EDELSON
Photo by Janet Russek
From Martijn van Pieterson: “With great sadness we would like to announce the passing of Brenda Edelson. Brenda was a curator, collector, and a friend. She touched a great many people in the world of photography and had a great eye. Her collection of Japanese and Chinese photography was second to none and she was generous in sharing her knowledge and insights. She will be dearly missed.”
Janet Russek adds, “Brenda Edelson, collector and supporter of the arts, had an incredible eye for beauty in prints, textiles, and Japanese basketry. Her connoisseurship was unmatched. Always ahead of her time, Brenda searched out extraordinary works. She collected, not just for herself but with great generosity, gifting to the Baltimore Museum, where she worked for many years and was honored there for her lifetime commitment.
Member shows open this month:
Danziger Gallery, Jonathan Smith: Capri and the Amalfi Coast, through June 28
Deborah Bell Photographs, Summer Review, June 27 - July 26
Duncan Miller Gallery, The Art of Gum Bichromate, June 15 - August 2
Edwynn Houk Gallery, In the Studio, through August 3
Fahey/Klein Gallery, Anatomy of Devotion: Works by Günter Blum and George Platt Lynes, through July 20
Galerie Bildhalle, Where Are You – Chantal Elisabeth Ariëns, through July 20
Galerie Sit Down, Florian Ruiz, through July 28
Hans P. Kraus, Jr., Paris: City of Light & Shadow, through July 18
Hulett Collection, Danny Lyon: Thirty Photographs, 1962-1980, June 29 - August 24
IBASHO, Fleeting Moments: Naohiro Ninomiya, through August 4
Jackson Fine Art, Lalla Essaydi: Conflicted Identities, Shanequa Gay: Gateway to the South, through June 29
Jenkins Johnson Gallery, Right Is Right, through June 22
Keith de Lellis Gallery, PAJAMA: Paul Cadmus, Jared French, and Margaret French
Kicken Berlin, 50 Years | 50 Photographs, through December 20
Koslov Larsen, Concentrique: Laura Bonnefous and Blandine Soulage, June 28 - August 23
Laurence Miller Gallery, Simone Rosenbauer: Like Ice in the Clouds (Japan), through July 31
Lisa Sette Gallery, Summer, through September 28
Marshall Gallery, Land/Space: Rodrigo Valenzuela and the New Topographics, June 22 - August 17
Michael Hoppen Gallery, Okashi, through June 30
Monroe Gallery of Photography, 1964, through June 23
Nailya Alexander Gallery, Summertime, June 10 - August 21
Obscura Gallery, Michael P. Berman: The Gila at 100, through June 29
Paci Contemporary, Twenty, through September 20
Peter Fetterman Gallery, Michael Kenna: Japan / A Love Story, through July 20
PGI, Elijah Gowin: The Last Firefly, through July 20
Robert Klein Gallery, Sage Sohier: Passing Time, through June 21
Robert Koch Gallery, Ljubodrag Andric: India, through August 3
Stephen Daiter Gallery, Under the Influence of Water, Brad Temkin and Joseph D. Jachna, through August 9
Throckmorton Fine Art, Frida Kahlo: Forever Yours …, through September 7
Yancey Richardson Gallery, Laura Letinsky, For, and Because Of … and Bryan Graf: Midnight Swim, through July 3
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Sharon Walters, Multiplicity of Being, 2024.
© Sharon Walters, courtesy HackelBury
SUMMER PREVIEW
As summer commences, there are wonderful exhibitions of both historical and contemporary photography at AIPAD member galleries around the world. We’re highlighting three of them in this issue.
John Waters, Reconstructed Lassie, 2012.
© John Waters, courtesy Fraenkel Gallery, San Francisco
A MONSTER OF A SHOW
As the popularity of Yorgos Lanthimos’s 2023 film Poor Things suggested, the influence of Mary Shelley’s Frankenstein has not waned since the book was published in 1818. Jeffrey Fraenkel and writer and curator Jordan Stein were drawn to the book’s themes as well and together devised the exhibition Fraenkenstein, on view at the Fraenkel Gallery through August 10. With photographs, sculptures, collage, paintings, and films by more than 20 artists, including Diane Arbus, Hans Bellmer, Nan Goldin, Katy Grannan, Martine Gutierrez, Peter Hujar, Wardell Milan, and Richard Misrach, the show explores the fear of the unknown and the anxiety around unchecked progress and invention, themes in the book that resonate today. From John Waters’s cosmetically altered Lassie to Diane Arbus’s 1958 photograph of Frankenstein’s Daughter being shown, the works on view reflect the story’s resonance in popular culture.
Katy Grannan, Anonymous, Bakersfield, CA, 2011.
© Katy Grannan, courtesy Fraenkel Gallery, San Francisco
Diane Arbus,“Frankenstein's Daughter” [close up with shoulders], 1958.
© The Estate of Diane Arbus
Peter Hujar, Thek Working on the Tomb Figure, 1967.
© 2024 The Peter Hujar Archive, LLC / Artists Rights Society (ARS), New York,
courtesy Fraenkel Gallery, San Francisco
Later this summer, Fraenkel Gallery is celebrating its 45th anniversary with an 11-day film festival at San Francisco’s historic Roxie Theater, July 9-20. Ten gallery artists – Robert Adams, Sophie Calle, Kota Ezawa, Lee Friedlander, Nan Goldin, Martine Gutierrez, Christian Marclay, Richard Misrach, Hiroshi Sugimoto, and Carrie Mae Weems – each selected two films that will be shown as a double bill. The artists chose films with special meaning to them, not necessarily their favorites. “Since this is the gallery's 45th anniversary,” said Fraenkel, “we wanted to do something different, something we've never done before. And since so many artists love film and have personal connections to it, a film festival felt like a project worth exploring. Each of the films seems a direct reflection of the artist's own interests. Lee Friedlander choosing The African Queen and Casablanca comes from an entirely different universe than Martine Gutierrez's selections of Ghost in the Shell and Blade Runner. Aside from being able to see so many great films, we also have the pleasure of knowing 100 percent of the funds will go to supporting the 110-year old Roxie Theatre, one of San Francisco's great neighborhood treasures.”
Still from Casablanca
Still from Blade Runner
A MASTER OF GRAPHIC ABSTRACTION
Jean-Claude Gautrand, Gazoville (#3), 1966.
© Estate Jean-Claude Gautrand, courtesy Les Douches la Galerie, Paris
Les Douches la Galerie is presenting an exhibition of vintage work by Jean-Claude Gautrand (1932-2019), Le Temps Irrémédiable, on view through July 13. Gautrand’s high-contrast, graphic, black-and-white photographs document the disappearance of structures and constructions, as time and other forces combine to erase them. A curator, critic, and historian, as well as a photographer, Gautrand was not interested in using photography to illustrate or document, but rather to explore a greater artistic freedom with the medium. Along with Jean Dieuzaide and Pierre Riehl, Gautrand founded the movement Libre Expression in 1964, which was committed to imagery that was abstract, graphic, and explored psychological expression. His series Métalopolis explored the Paris ring road, transforming metal structures and supports into geometric abstractions. Gautrand’s book Recompositions was published in the spring by Contrejour editions, and the exhibition at Les Douches la Galerie is on view in advance of the retrospective Libres expressions, dedicated to Gautrand, at the Musée Réattu in Arles June 29 - October 6.
Jean-Claude Gautrand, La mort du pin (#2), 1967.
© Estate Jean-Claude Gautrand, courtesy Les Douches la Galerie, Paris
Jean-Claude Gautrand, Métalopolis, Sing Sing, 1964.
© Estate Jean-Claude Gautrand, courtesy Les Douches la Galerie, Paris
Jean-Claude Gautrand, Recherches, Cosmonaute, 1961.
© Estate Jean-Claude Gautrand, courtesy Les Douches la Galerie, Paris
Sharon Walters, Breathe, 2023.
© Sharon Walters, courtesy HackelBury
A WOMAN'S WORLD
Using magazines and her own photographs, Sharon Walters meticulously hand-cuts images from magazines as well as her own photographs, using them to create visual conversations about empowerment, diversity, and representation. Walters’s solo exhibition Seeing Ourselves, on view at HackelBury Fine Art through July 6, features hand-assembled collages that honor Black women and the multiplicity of Blackness. The title of the show refers to Frances Borzello's 2016 book, which surveyed centuries of self-portraits by white Western women. Walters's work responds to the lack of similar images of Black women in mainstream Western media and art. The arresting portraits and self-portraits often feature figures floating above a white background, casting intricate shadows, or in front of a verdant, leafy setting. The assemblages are rich and visually dense, with cutouts that highlight form and embrace negative space. All these artworks portray an array of female portraiture that point to limitless possibilities. Walters, who hosts the Seeing Ourselves podcast, which explores depictions of people of African descent in museum collections, was recently awarded a creative practice fellowship with the Royal Museums Greenwich.
Sharon Walters, Fractured Introspection, 2024.
© Sharon Walters, courtesy HackelBury
Sharon Walters, Serenity, 2024.
© Sharon Walters, courtesy HackelBury
COMMEMORATIONS: BRENDA EDELSON
Photo by Janet Russek
From Martijn van Pieterson: “With great sadness we would like to announce the passing of Brenda Edelson. Brenda was a curator, collector, and a friend. She touched a great many people in the world of photography and had a great eye. Her collection of Japanese and Chinese photography was second to none and she was generous in sharing her knowledge and insights. She will be dearly missed.”
Janet Russek adds, “Brenda Edelson, collector and supporter of the arts, had an incredible eye for beauty in prints, textiles, and Japanese basketry. Her connoisseurship was unmatched. Always ahead of her time, Brenda searched out extraordinary works. She collected, not just for herself but with great generosity, gifting to the Baltimore Museum, where she worked for many years and was honored there for her lifetime commitment.
Member shows open this month:
Danziger Gallery, Jonathan Smith: Capri and the Amalfi Coast, through June 28
Deborah Bell Photographs, Summer Review, June 27 - July 26
Duncan Miller Gallery, The Art of Gum Bichromate, June 15 - August 2
Edwynn Houk Gallery, In the Studio, through August 3
Fahey/Klein Gallery, Anatomy of Devotion: Works by Günter Blum and George Platt Lynes, through July 20
Galerie Bildhalle, Where Are You – Chantal Elisabeth Ariëns, through July 20
Galerie Sit Down, Florian Ruiz, through July 28
Hans P. Kraus, Jr., Paris: City of Light & Shadow, through July 18
Hulett Collection, Danny Lyon: Thirty Photographs, 1962-1980, June 29 - August 24
IBASHO, Fleeting Moments: Naohiro Ninomiya, through August 4
Jackson Fine Art, Lalla Essaydi: Conflicted Identities, Shanequa Gay: Gateway to the South, through June 29
Jenkins Johnson Gallery, Right Is Right, through June 22
Keith de Lellis Gallery, PAJAMA: Paul Cadmus, Jared French, and Margaret French
Kicken Berlin, 50 Years | 50 Photographs, through December 20
Koslov Larsen, Concentrique: Laura Bonnefous and Blandine Soulage, June 28 - August 23
Laurence Miller Gallery, Simone Rosenbauer: Like Ice in the Clouds (Japan), through July 31
Lisa Sette Gallery, Summer, through September 28
Marshall Gallery, Land/Space: Rodrigo Valenzuela and the New Topographics, June 22 - August 17
Michael Hoppen Gallery, Okashi, through June 30
Monroe Gallery of Photography, 1964, through June 23
Nailya Alexander Gallery, Summertime, June 10 - August 21
Obscura Gallery, Michael P. Berman: The Gila at 100, through June 29
Paci Contemporary, Twenty, through September 20
Peter Fetterman Gallery, Michael Kenna: Japan / A Love Story, through July 20
PGI, Elijah Gowin: The Last Firefly, through July 20
Robert Klein Gallery, Sage Sohier: Passing Time, through June 21
Robert Koch Gallery, Ljubodrag Andric: India, through August 3
Stephen Daiter Gallery, Under the Influence of Water, Brad Temkin and Joseph D. Jachna, through August 9
Throckmorton Fine Art, Frida Kahlo: Forever Yours …, through September 7
Yancey Richardson Gallery, Laura Letinsky, For, and Because Of … and Bryan Graf: Midnight Swim, through July 3
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