There are too many pictures now. It’s overwhelming. A flood of images that passes by, and says, “Why should we remember anything?” There’s too much to remember now, too much to take in. — Robert Frank, 2004
He never crossed over into celebrity. He’s famous because he made a mark. He collected the world. — Nan Goldin
Robert Frank—who was born in Switzerland but saw the United States with clearer eyes than any native—died yesterday in Inverness, Nova Scotia.
His book The Americans was published just over sixty years ago, and his films include Pull My Daisy (1959), Me and My Brother (1969), Cocksucker Blues (1972, Frank’s little-seen documentary of the Rolling Stones’ Exile on MainStreet tour), and Candy Mountain (1987, co-directed with RudyWurlitzer).
Parkett presents PHOTO, “the first survey exhibition of all photographic works made by artists for the journal over the last three decades. On view at Parkett’s Zurich space, the show includes some ninety works spanning a rarely seen, vast, and diverse range of photographic positions and ideas.”*
“The exhibition follows the evolution of photographic methods in the past three decades, with many of the earlier photographs making use of analog techniques, while digital editing informs the more recent works. Common threads including people and portraiture, landscapes both urban and natural, everyday objects, and abstraction, connect an otherwise expansive range of visual topics.”*
“Many of the works on view combine photographic elements with other media, such as gouache, collage, textiles, installation, or printmaking. Also on view are works, which while similar in terms of media and format, are unique and contain distinct differences within each project. Further exhibition displays include five video works, as well as a selection of artists’ inserts—the specially commissioned 10–12 book page projects published in each issue of Parkett.”*
“You can grab an issue from thirty years ago and see the context. You can grab that context and time. The internet has no historical orientation. You click on an article and you don’t know what context [it was published in]. I think this loss of memory is deplorable.” — JacquelineBurckhardt, Parkett co-founding editor**
THE FIRST SURVEY OF ALL PHOTOGRAPHIC WORKS MADE BY ARTISTS FOR PARKETT SINCE 1984*
Through September 28.
Parkett Space Zürich
Limmatstrasse 268, Zürich.
**See “Time, Context, Object—The Parkett Story,”PARIS LA 16 (2018).
PHOTO artists include: Tomma Abts, Franz Ackermann, Doug Aitken, Allora/Calzadilla, Francis Alys, Ed Atkins, John Baldessari, Yto Barrada, Vanessa Beecroft, Alighiero e Boetti, Christian Boltanski, Glenn Brown, Angela Bulloch, Maurizio Cattelan, Chuck Close, Tacita Dean, Jeremy Deller, Thomas Demand, Trisha Donnelly, Tracey Emin, Omer Fast, Robert Frank, Katharina Fritsch, Cyprien Gaillard, Ellen Gallagher, Adrian Ghenie, Gilbert & George, Robert Gober, Nan Goldin, Dominique Gonzalez-Foerster, Felix Gonzalez-Torres, Dan Graham, Andreas Gursky, David Hammons, Rachel Harrison, Christian Jankowski, Annette Kelm, Martin Kippenberger, Jeff Koons, Jannis Kounellis, Lee Kit, Zoe Leonard, Liu Xiaodong, Paul McCarthy, Marilyn Minter, TraceyMoffatt, Jean-Luc Mylayne, Bruce Nauman, Gabriel Orozco, Richard Phillips, Sigmar Polke, Richard Prince, RH Quaytman, Charles Ray, Jason Rhoades, Pipilotti Rist, Ugo Rondinone, Mika Rottenberg, Thomas Ruff, Anri Sala, Wilhelm Sasnal, Gregor Schneider, Shirana Shahbazi, Cindy Sherman, Roman Signer, Dayanita Singh, Hito Steyerl, Beat Streuli, Thomas Struth, Sturtevant, Hiroshi Sugimoto, Sam Taylor-Wood, Diana Thater, Rosemarie Trockel, Wolfgang Tillmans, Danh Vo, Charline von Heyl, Jeff Wall, Andy Warhol, Lawrence Weiner, Christopher Wool, and Yang Fudong.
“Symbols are more meaningful than things themselves.”— Jenny Holzer, from Truisms, in LARRY CLARK—WHITE TRASH
Larry Clark is one of the great New York collectors, and the walls of his Tribeca loft present an ever-changing gallery of the art he has bought, traded, been given by friends, or created himself over the last half century.
LARRY CLARK—WHITE TRASH, at Luring AugustineBushwick, is an exhibition of artworks from Clark’s personal collection. In addition to the work below, participating artists include: Vito Acconci, Richard Artschwager, Donald Baechler, Max Blagg, Lisa Bowman, Chris Burden, Jeff Elrod, Leo Fitzpatrick, Robert Frank, Paul Gauguin, Robert Gober, Mark Gonzales, MartinKippenberger, Sherrie Levine, Paul McCarthy, Bjarne Melgaard, Scott Myles, Méret Oppenheim, JackPierson, Jason Polan, Sigmar Polke, Christy Rupp, Philip Taaffe, Koichiro Takagi, Sally Webster, Sue Williams, Franz West, Brian Weil, David Wojnarowicz, and Christopher Wool.
Image credits (top to bottom): Joe Andoe, Spaniard in the Works, 2012, oil on canvas; Wade Guyton, Untitled, 2008, Xerox print; Mike Kelley, Blood andSoil (Potato Print), 1989, silkscreen in colors on a silk banner; Richard Prince, Untitled (Joke), 2013, ink jet on canvas; Wallace Berman, Untitled, 1967, verifax collage; Helmut Newton, LarryClark, Cannes, 1995, photograph; Raymond Pettibon, No Title (They Ought To…), 1985, pen and ink on paper.
About a year ago, Paolo Roversi and Ezra Petronio developed a project to “share our stock of remaining outdated Polaroid film with a few artists and photographer friends to do a project and call it The Last Boxes.”*
The results have just been published in the 46th issue of Petronio’s SELF SERVICE. The Spring/Summer 2017 issue is a mix of new and old, and includes the work of Robert Frank, GuyBourdin, Nobuyoshi Araki, Bruce Weber, Collier Schorr, Peter Beard, CarloMollino, Craig McDean, and Peter Lindbergh.
A back-of-the-book section includes additional Polaroids by EdwardEnninful, M/M Paris, India Mahdavi, Fabian Baron, Saskia deBrauw, Julien d’Ys, Kate Moss, Alasdair McLellan, Snowdon, Susan Koller, David Sims, and more.