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Notable Photographers Updated 3/12/19
Arthur Fields Photography I Notable Photographers updated 3/12/19 Walker Evans Alec Soth Pieter Hugo Paul Graham Jason Lazarus John Divola Romuald Hazoume Julia Margaret Cameron Bas Jan Ader Diane Arbus Manuel Alvarez Bravo Miroslav Tichy Richard Prince Ansel Adams John Gossage Roger Ballen Lee Friedlander Naoya Hatakeyama Alejandra Laviada Roy deCarava William Greiner Torbjorn Rodland Sally Mann Bertrand Fleuret Roe Etheridge Mitch Epstein Tim Barber David Meisel JH Engstrom Kevin Bewersdorf Cindy Sherman Eikoh Hosoe Les Krims August Sander Richard Billingham Jan Banning Eve Arnold Zoe Strauss Berenice Abbot Eugene Atget James Welling Henri Cartier-Bresson Wolfgang Tillmans Bill Sullivan Weegee Carrie Mae Weems Geoff Winningham Man Ray Daido Moriyama Andre Kertesz Robert Mapplethorpe Dawoud Bey Dorothea Lange uergen Teller Jason Fulford Lorna Simpson Jorg Sasse Hee Jin Kang Doug Dubois Frank Stewart Anna Krachey Collier Schorr Jill Freedman William Christenberry David La Spina Eli Reed Robert Frank Yto Barrada Thomas Roma Thomas Struth Karl Blossfeldt Michael Schmelling Lee Miller Roger Fenton Brent Phelps Ralph Gibson Garry Winnogrand Jerry Uelsmann Luigi Ghirri Todd Hido Robert Doisneau Martin Parr Stephen Shore Jacques Henri Lartigue Simon Norfolk Lewis Baltz Edward Steichen Steven Meisel Candida Hofer Alexander Rodchenko Viviane Sassen Danny Lyon William Klein Dash Snow Stephen Gill Nathan Lyons Afred Stieglitz Brassaï Awol Erizku Robert Adams Taryn Simon Boris Mikhailov Lewis Baltz Susan Meiselas Harry Callahan Katy Grannan Demetrius -
KATY GRANNAN Page 1
KATY GRANNAN page -1 KATY GRANNAN Born in 1969, Arlington, Massachuse>s Currently lives and works in Berkeley, California EDUCATION 1999 MFA, Yale University, New Haven, CT 1991 BA, University of Pennsylvania, Philadelphia, PA AWARDS 2005 Aperture Award to an Emerging ArLst 2004 The Baum: Award for Emerging American Photographers 1999 Rema Hort Mann FoundaLon Grant SELECTED INDIVIDUAL EXHIBITIONS 2017 Lady into Fox, FraenkelLAB, San Francisco, CA 2015 Katy Grannan: The Nine and The Ninety-Nine, FOAM, Amsterdam, the Netherlands Hundreds of Sparrows, Salon 94, New York, NY The 99 & The Nine, Sherrick & Paul, Nashville, TN 2014 The 99, Fraenkel Gallery, San Francisco, CA 2012 The Sun & Other Stars: Katy Grannan & Charlie White, LACMA, Los Angeles, CA 2011 Boulevard, Fraenkel Gallery, San Francisco, CA Boulevard, Salon 94, New York, NY FRAENKELGALLERY.COM [email protected] KATY GRANNAN page -2 2008 The Westerns, Fraenkel Gallery, San Francisco, CA Another Woman Who Died in Her Sleep, Greenberg Van Doren Gallery, New York, NY Lady into Fox, Salon 94, New York, NY 2006 MysIc LaKe. Fraenkel Gallery, San Francisco, CA Blaffler Gallery, Art Museum of the University of Houston, Houston, TX MysIc LaKe, Greenberg Van Doren Gallery, New York, NY 2005 Pictures, Greenberg Van Doren, St. Louis, MO MysIc LaKe Fi\y One Fine Art Photography, Antwerp, Belgium Sugar Camp Road / Morning Call, Jackson Fine Art, Atlanta, GA 2004 Arles Photography FesIval, Arles, France Sugar Camp Road / Morning Call, Michael Kohn Gallery, Los Angeles, CA 2003 Sugar Camp -
KATY GRANNAN Born in 1969, Arlington, MA Lives and Works in Berkeley, CA EDUCATION 1999 MFA, Yale University, New Haven, CT 19
KATY GRANNAN Born in 1969, Arlington, MA Lives and works in Berkeley, CA EDUCATION 1999 MFA, Yale University, New Haven, CT 1991 BA, University of Pennsylvania, Philadelphia, PA SOLO EXHIBITIONS 2017 Lady into Fox, FraenkelLAB, San Francisco, CA 2015 Hundreds of Sparrows, Salon 94, New York, NY The Nine and The Ninety-Nine, FOAM, Amsterdamn, Netherlands; Sherick & Paul Gallery, Nashville, TN 2011 The Happy Ever After: The Believers and Boulevard Series, Salon 94, New York, NY Boulevard, Fraenkel Gallery, San Francisco, CA 2008 Lady Into Fox, Salon 94, New York, NY Another Woman Who Died In Her Sleep, Greenberg Van Doren Gallery, New York, NY Fraenkel Gallery, San Francisco, CA The Westerns, Fraenkel Gallery, San Francisco, CA 2006 Mystic Lake, Greenberg Van Doren Gallery, New York, NY; Fraenkel Gallery, San Francisco, CA Katy Grannan, Fraenkel Gallery, San Francisco, CA 2005 Pictures, Greenberg Van Doren, St. Louis, MO Mystic Lake, Fifty One Fine Art Photography, Antwerp, Belgium Sugar Camp Road / Morning Call, Jackson Fine Art, Atlanta, GA 2004 Arles Photography Festival, Arles, France Sugar Camp Road / Morning Call, Michael Kohn Gallery, Los Angeles, CA 2003 Sugar Camp Road / Morning Call, Fifty One Fine Art Photography, Antwerp, Belgium Sugar Camp Road, Artemis Greenberg Van Doren Gallery, New York, NY Morning Call, Salon 94, New York, NY 2001 Dream America, Fifty One Fine Art Photography, Antwerp, Belgium 2000 Dream America, Lawrence Rubin Greenberg Van Doren, New York, NY Dream America, Kohn Turner Gallery, Los Angeles, CA GROUP -
Diane Arbus Born 1923 in New York
This document was updated November 25, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Diane Arbus Born 1923 in New York. Died 1971 in New York. EDUCATION 1955-1957 Studied photography with Lisette Model, New York 1928-1940 Ethical Culture Fieldston School, New York SOLO EXHIBITIONS 2020 Diane Arbus: Photographs, 1956-1971, Art Gallery of Ontario, Toronto, February 22 – May 17, 2020 2019 Our Lady of the Flowers: Diane Arbus | Carol Rama, Lévy Gorvy, Hong Kong, September 26 – November 16, 2019 [two-person exhibition] 2018 Diane Arbus Untitled, David Zwirner, New York, November 2 – December 15, 2018 Diane Arbus: A box of 10 photographs, Smithsonian American Art Museum, April 6, 2018 – January 27, 2019 [catalogue] 2017 Diane Arbus: In the Park, Lévy Gorvy, New York, May 2 – June 28, 2017 2016-2019 diane arbus: in the beginning, The Metropolitan Museum of Art, New York, July 12 – November 27, 2016 [itinerary: San Francisco Museum of Modern Art, San Francisco, January 21 – April 30, 2017; Museo de Arte Latinoamericano de Buenos Aires Malba, Buenos Aires, July 14 – October 9, 2017; Hayward Gallery, London, February 13 – May 6, 2019] [catalogue] 2016-2018 Diane Arbus: American portraits, National Gallery of Australia, Canberra, June 6 – October 30, 2016 [itinerary: Lake Macquarie City Art Gallery, Booragul, Australia, July 9 – August 20, 2017; Heide Museum of Modern Art, Bulleen, Australia, March 17 – June 17, 2018; Art Gallery of South Australia, Adelaide, Australia, July 16 – September -
Katy Grannan, Tabitha Soren, and Aruna D'souza Complete the Lineup
FotoFocus Expands Second Century: Photography, Feminism, Politics Symposium Katy Grannan, Tabitha Soren, and Aruna D’Souza complete the lineup of featured speakers Anne Collier, Woman with a Camera (35 mm, diptych), 2009. Inkjet print, 20⅜ × 24 inches. Courtesy of the artist; Anton Kern Gallery, New York; Galerie Neu, Berlin; The Modern Institute/Toby Webster Ltd., Glasgow; and Marc Foxx Gallery, Los Angeles. © Anne Collier Image approved for limited use. Cincinnati, OH – FotoFocus is expanding its Second Century: Photography, Feminism, Politics symposium, taking place at Memorial Hall on Saturday, October 7, 2017. Tabitha Soren, a photographer who is featured in numerous publications such as The New Yorker and on the cover of New York Times Magazine, and Katy Grannan, whose photographs are included in the collections of the Whitney Museum of American Art and The Metropolitan Museum of Art among others, will host a keynote conversation discussing their means and methods of representing American life through their work. Prior to the keynote, Aruna D’Souza, writer and critic, will offer a commentary on the intersection of feminism and other movements in relation to photography. The comment and the keynote conversation will conclude the day-long symposium that addresses a range of topics revolving around feminist approaches to photography and lens-based art in today’s socio-political climate. “We are pleased to add not one but three distinguished speakers, each bringing a distinct perspective and voice to the day's conversation," says Kevin Moore, FotoFocus Artistic Director and Curator. "The reality is, women's views of the world are varied, as are their approaches to representing the world through photography.” Free and open to the public, the symposium begins at 10 a.m. -
( Content/Uploads/2011
Est. 1902 (https://www.artnews.com/wp- content/uploads/2011/05/article- 2003.jpg) Alec Soth's subject in Falls #26, 2005, is a staple of American art—and one of the world's most photographed sites. COURTESY GAGOSIAN GALLERY The year 2005 may be remembered as a watershed in the history of photography, a crucial date when one generation of artists lifted off into blue sky while another was brought down to earth, left once again to ponder its slave-master relationship to technology. When Kodak (https://www.artnews.com/t/kodak/) announced last June that it would no longer manufacture black-and-white printing papers, the decision did more than terminate 117 years of production. By severing a vital supply line long taken for granted, the company reminded photographers of their humbling dependence on equipment and materials—and how quickly both they and the equipment and materials can go out of date. Painters endure regular critical warnings that brushing pigment on canvas is irrelevant, but at least they can work their entire lives without fear of their basic tools becoming obsolete. “I’d been expecting it but not quite believing it would come to pass,” says photographer Tod Papageorge (https://www.artnews.com/t/tod-papageorge/), who, at 66, can’t remember a time when Kodak Polycontrast paper didn’t exist. The gloomy tidings from Rochester were followed a few months later by news that Agfa (https://www.artnews.com/t/agfa/) was bankrupt. For artists who had regarded the German company as a buffer against the hegemony of Kodak, this announcement provoked an even deeper crisis. -
2013 Anonymous Was a Woman Award
For immediate release Contact: Lauren Katzowitz Shenfield Philanthropy Advisors, LLC [email protected] 212-517-8108 – office 914-419-3729 – mobile June 19, 2013 Anonymous Was A Woman Ten Women Artists Receive $25,000 Grants 18th Annual Award Cycle “Its great benefit was that it lifted me up – like in a basket with a balloon – to another level of living and dreaming as an artist.” - Sheila Pepe, Anonymous Was A Woman Award Winner, 2011 Anonymous Was A Woman announced today the ten artists selected to receive the Foundation’s eighteenth annual awards. The “no strings” grant of $25,000 enables women at a significant juncture in their lives or careers, to continue to grow and pursue their work. This year’s winners include artists ranging in age from 40 to 78 working in painting, photography, video, sculpture and performance art. 2013 Award Winners Alice Aycock Diana Cooper Suzan Frecon Katy Grannan Sharon Hayes Suzanne Lacy Liza Lou Sarah Oppenheimer Yvonne Rainer Mickalene Thomas FJC A Foundation of Philanthropic Funds To qualify for the Award, an artist must be a U.S. citizen or resident alien at least 40 years of age. The winning artists were recommended by nominators from 14 states and chosen by a panel of women professionals in the arts. Lauren Katzowitz Shenfield, director of the program, explained, “Anonymous Was A Woman Awards provide important recognition in artists’ personal and artistic development. The financial gift helps artists buy time, space, materials, and equipment, often at early stages of a new project, as well as important emotional support. In itself, the Award helps artists feel recognized and honored by other distinguished women who seek no credit for the role they play.” The name of the grant program, Anonymous Was A Woman, refers to a line in Virginia Wolf’s A Room of One’s Own. -
P H O T O N E W S L E T T
The PHOTO REVIEW NEWSLETTER July / August 2020 BLACK LIVES MATTER Black Lives Matter. This is an indisputable statement. Around the world, murders of Black people by police and vigilantes have inspired uprisings, rage, despair, and demands for systemic change. While these demands often focus on the injustices of the government, non-Black people should all be asking ourselves what systems we are a part of and how we might influ- ence these systems to be part of necessary change. As you well know, I am the editor of The Photo Review. As you might know, I am a white, cisgender, straight man, old enough to be in the at-risk group during this pan- demic. Inhabiting these places of privilege, I consider it particularly important for me to ask myself what my place is in this struggle. My family is Jewish — my father and his family were immigrants escaping pogroms in Russia, and the reality of the Holocaust was ever present in my childhood. I do not com- pare these experiences with those of Black Americans — rather, I want to express that I see my fight against various forms of white supremacy on a very personal level. I know I must use what privilege I have to work toward the implementation of the values of the Black Lives Matter movement. John Dowell: The Healing Table, 2016, from Cotton: The Soft, Dangerous Beauty of the Past, archival pigment print, 27˝x34˝ My work is situated at the intersection of fine art photography, journalism, and the art market. So that is where I’ll start. -
DIANE ARBUS Born 1923 New York, NY Died 1971 New York, NY EDUCATION 1940 Ethical Culture Fieldston School, New York SELECTED
DIANE ARBUS Born 1923 New York, NY Died 1971 New York, NY EDUCATION 1940 Ethical Culture Fieldston School, New York SELECTED SOLO EXHIBITIONS 2017 Diane Arbus: In the Park, Lévy Gorvy, New York 2016 Diane Arbus: In the Beginning, the Met Breuer, New York; also traveled to: San Francisco Museum of Modern Art, San Francisco 2013 Diane Arbus: 1971 – 1956, Fraenkel Gallery, San Francisco 2012 Diane Arbus: Affinities, Timothy Taylor Gallery, London 2011 Diane Arbus: Retrospective, Jeu de Paume, Paris; also traveled to: Fotomuseum Winterthur, Winterthur; Martin-Gropius-Bau, Berlin; and Foam: Fotografiemuseum, Amsterdam Diane Arbus: People and Other Singularities, Gagosian Gallery, Beverly Hills Diane Arbus, Peder Lund, Oslo 2010 Diane Arbus: Christ in a Lobby and Other Unknown or Almost Known Works; Selected by Robert Gober, Fraenkel Gallery, San Francisco Diane Arbus: In the Absence of Others, Cheim & Read, New York 2009 Diane Arbus, Timothy Taylor Gallery, London Artist Rooms: Diane Arbus, National Museum, Cardiff 2008 Diane Arbus: A Printed Retrospective, 1960 – 1971, Kadist Art Foundation, Paris; also traveled to: Moderna Museet, Malmö; De Hallen Haarlem, Haarlem; Contemporary Art Center, Vilnius; and Mercer Union – A Center for Contemporary Art, Toronto 2007 Something Was There: Early Work by Diane Arbus, Fraenkel Gallery, San Francisco 2005 Diane Arbus: Other Faces, Other Rooms, Robert Miller Gallery, New York 2004 Diane Arbus: Family Albums, Mount Holyoke College Art Museum, South Hadley; also traveled to: Grey Art Gallery, New York; -
KATY GRANNAN Lady Into Fox
1632 MARKET STREET SAN FRANCISCO 94102 415 347 8366 TEL For immediate release KATY GRANNAN Lady into Fox September 14 – October 21, 2017 Opening Reception Saturday, September 16, 12:30 – 2:30 p.m. FraenkelLAB 1632 Market Street, San Francisco FraenkelLAB is pleased to present Katy Grannan: Lady into Fox from September 14 to October 21, 2017. Katy Grannan’s focus has been portraiture, from her early work as a student to recent projects in the Bay Area, Los Angeles and Central Valley regions. Lady into Fox will bring together an eclectic range of works from Grannan’s multifaceted career, featuring photographs, Polaroids, video, and film. The exhibition’s title comes from one of Grannan’s favorite short stories, Lady into Fox, written in 1922 by David Garnett. Like the short story, the works in the exhibition resonate with pathos, vulnerability, and metaphor. Grannan works closely with her subjects—some collaborations have lasted ten years or more, and others for only a day. The resulting artworks bear the signature of each encounter. Grannan’s debut film, The Nine, will be screened for one night only at the Roxie Theater in San Francisco on September 19 at 7pm. The Nine is a visual elegy to a childlike drifter named Kiki, whose only means of escape is through her imagination. The film, made over the course of five years, is an intimate and at times disturbing view into an America that most would rather ignore. Raw, poetic, direct, and unnerving, the film is less a window into a foreign world than a distorted mirror reflecting our own shared existence. -
DIANE ARBUS Page 1
DIANE ARBUS page /1 DIANE ARBUS 14 March 1923 – 26 July 1971 Born in New York, New York EDUCATION 1955–57 Studied photography with LiseKe Model, New York, New York < 1940 Ethical Culture School & Fieldston School, New York, New York SELECTED INDIVIDUAL EXHIBITIONS 2021 Diane Arbus: Curated by Carrie Mae Weems, Fraenkel Gallery, San Francisco, CA (3 June – 13 August) 2020 Diane Arbus: Photographs, 1956-1971, Art Gallery of Ontario, Toronto, Canada (22 February – 17 May) 2018–19 Diane Arbus: A box of 10 photographs, Smithsonian American Art Museum, Washington, DC (6 April – 27 January) 2018 Diane Arbus: UnDtled, David Zwirner, New York, NY (2 November – 15 December) 2017 Diane Arbus: In the Park, Lévy Gorvy, New York, NY (2 May – 28 June) 2016–18 Diane Arbus: American Portraits, Na]onal Gallery of Australia, Canberra, Australia (6 June – 30 October); traveled to Lake Macquarie City Art Gallery, Booragul, Australia (9 July – 20 August 2017), Heide Museum of Modern Art, Bulleen, Australia (17 March – 17 June 2018), Art Gallery of South Australia, Adelaide, Australia (16 July – 30 September) 2016–17 diane arbus: in the beginning, Metropolitan Museum of Art, New York, NY (12 July – 27 November); traveled to SFMOMA, San Francisco, CA (21 January – 30 April); Malba, Buenos FRAENKELGALLERY.COM [email protected] DIANE ARBUS page /2 Aires, Argen]na (14 July – 9 October) 2013 Diane Arbus: 1971 – 1956, Fraenkel Gallery, San Francisco, CA (31 October – 28 December) 2012 Diane Arbus: Affinies, Timothy Taylor Gallery, London, England (26 June – -
Diane Arbus, 1923 — 1971
Diane Arbus, 1923 — 1971 Diane Arbus (b. 1923, New York, d. 1971, New York) was an American photographer best known for her intimate black-and-white portraits, which have been celebrated as powerful allegories of postwar America. After forming an interest in photography in the early 1940s, Arbus began attending classes with photographer Berenice Abbott. She would later work under the guidance of Lisette Model, whose frank and humanistic street photography would influence the development of Arbus’s own style. Confrontational and often unsettling, Arbus’s photographs have been widely praised for their diverse representations of post-war American society as expanding the parameters of both acceptable subject matter and the role of the photographer. Drawn to documenting the breadth and variety of New York society, Arbus often wandered the streets of the city in search of subjects of all ages, from the refined to the marginal. Her most famous photographs illustrate Arbus’s interest in outsiders and people on the margins of society, including members of the queer community, nudists, circus performers, children, elderly people, transgender individuals. Beginning in 1962, Arbus used medium-format cameras, held at the waist, to capture her subjects in moments of candour, such as in everyday settings or at home. Her subjects often appear eerily isolated from their surroundings, an effect Arbus produced by using flash during daylight to create the appearance of space between the subject and background. Arbus was awarded the John Simon Guggenheim Fellowship in both 1963 and 1966. In 1968, Arbus’ photographs were selected for inclusion in New Documents at The Museum of Modern Art, New York, an exhibition credited with the ushering in of a new generation of American photographers.