Fraenkel Gallery – serie
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2 produkter
2 produkter
Inbunden, Engelska, 2026
664 kr
Kommande
A compendium of never-before-published contact sheets from the iconic documentarian of the American West, spanning decades and formats, replete with his red-marker frame selections and handwritten notes Robert Adams’ photographs of the Western landscape are iconic reminders of nature’s resilience in the face of human development. But as this collection of never-before-published contact sheets shows, his precise arrangements of clouds, trees and roads under clear Colorado light were not inevitable. Instead, they are the result of Adams’ relentless searching for form and his inimitable, exacting photographic technique, as evidenced by prints marked with cropping lines, exposure times and other notes. The book pairs around 50 photographs with their original contact sheets, each showing the exposures from a single roll of medium format film, or with contact-printed 4x5 negatives and pencil-drawn printing guides. The photographs span 20 years, from the 1960s to the mid-1980s, just before Adams traded these larger negatives for a nimbler 35mm camera. Artifacts from an age when every serious photograph was a handmade object, the contact sheets offer a graphic record of what Adams was seeking, and what he set aside. As Jeffrey Fraenkel writes in his introduction, Adams’ contact sheets “remind us [Adams] was never looking for the perfect picture. He looked until the picture became one.”Robert Adams was born in 1937 in Orange, New Jersey. He became a photographer in the mid-1960s and has published more than 40 books of photographs, with the changing landscape of the American West as his primary subject. His books include The New West (1974), Los Angeles Spring (1986), Listening to the River (1994), Turning Back (2005), Tenancy (2017) and Thalia (2024). Adams lives and works in the Pacific Northwest.
Inbunden, Engelska, 2012
519 kr
Tillfälligt slut
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.