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July 1, 2019–April 30, 2020

LOOKING BACK

TEN YEARS OF PIER 24 PHOTOGRAPHY

Pier 24 Photography Located on San Francisco’s Embarcadero, Pier 24 Photography offers a venue to experience and quietly contemplate photography. In addition to presenting ongoing exhibitions, publications, and public programs, Pier 24 Photography houses the permanent photography collection of the Pilara Foundation.


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RESTROOMS

ENTRANCE

Please note that corresponding gallery numbers are located in the center of each gallery floor throughout the exhibition.


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Barbara Probst Diane Arbus Richard Avedon Paul Strand

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About Face

10–11 The City that Never Sleeps Diane Arbus Lee Friedlander Garry Winogrand

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Artists in the Studio Richard Avedon

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Eden Robert Adams

04  Persons of Interest: Mugshots from the Twentieth Century

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The City by the Bay

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Deadpan Portraiture

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Incidents Henry Wessel

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Henry VIII and His Wives Hiroshi Sugimoto

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Grotto Thomas Demand

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Industry and Labor

16 Samalada Adou

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The Last Supper: Acts of God Hiroshi Sugimoto

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Sleeping by the Mississippi Alec Soth

Dorothea Lange


Diane Arbus, Untitled (20) 1970–71 4


LOOKING BACK

The first of two consecutive exhibitions that Pier 24 Photography will present on the occasion of its tenth anniversary, Looking Back features photographers and subjects the Pilara Foundation collected in depth before this space opened. Many of these core photographers—including Robert Adams, Diane Arbus, Richard Avedon, Dorothea Lange, and Hiroshi Sugimoto—have been instrumental to the medium’s development. Reflecting the Foundation’s significant focus on the genre, the exhibition’s opening galleries highlight a wide range of portraiture, ranging from mugshots and works by unknown photographers to iconic images by celebrated figures in the history of photography. The main gallery—entitled “About Face”—spans more than 120 years of the medium, presenting the portrait through the lenses of nearly fifty different artists. With its other thematic galleries, Looking Back also reconsiders subjects explored previously in some of the ten exhibitions since Pier 24 opened. These installations incorporate recent additions to the collection, reframing the themes explored in earlier presentations and demonstrating their continued relevance.

Looking Back is not meant to reflect the breadth of the collection as a whole but rather

to focus on some of the key building blocks of the Foundation’s collection. In 2020, Looking Forward—the second of the anniversary exhibitions—will examine works collected primarily since Pier 24 Photography’s founding. Together, these shows will consider the Pilara Foundation Collection’s origins, recent history, and future trajectory.

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Left to right: Barbara Probst, Exposure #31: N.Y.C., 249 W. 34th Street, 01.02.05, 4:41 p.m., 2005 Diane Arbus, from the series Untitled 1970–71 6


PROBST, ARBUS, AVEDON, STRAND | GALLERY

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All photographs: Diane Arbus Left to right, top to bottom: Untitled (17) 1970–71 Untitled (21) 1970–71 Untitled (3) 1970–71 Untitled (8) 1970–71 Untitled (12) 1970–71 Untitled (10) 1970–71 Untitled (1) 1970–71 Untitled (5) 1970–71 Untitled (20) 1970–71 Untitled (7) 1970–71 Untitled (6) 1970–71 Untitled (24) 1970–71 8


PROBST, ARBUS, AVEDON, STRAND | GALLERY

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I like to photograph people who have strength and dignity in their faces. Whatever life has done to them, it hasn’t destroyed them. —Paul Strand

Paul Strand, Blind Woman, New York, 1916 10


PROBST, ARBUS, AVEDON, STRAND | GALLERY

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Left to right: Richard Avedon, Roger Tims, Jim Duncan, Leonard Markley, Don Belak, coal miners, Reliance, Wyoming, August 29, 1979, 1979 Paul Strand, Blind Woman, New York, 1916 12


PROBST, ARBUS, AVEDON, STRAND | GALLERY

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ABOUT FACE | GALLERY

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There are probably more photo portraits in the world than bricks. It is also the most charismatic genre, because portrait photographs prick us time and time again. —Gerry Badger

Top to bottom: Pieter Hugo, Yaw Francis, Agbogbloshie Market, Accra, Ghana, 2009 Peter Hujar, Queen with Fur Stole, Halloween, 1979 15


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ABOUT FACE | GALLERY

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Left to right: Consuelo Kanaga, She Is a Tree of Life to Them, 1950 [Photobooth self-portrait of William Eggleston taken during his exhibition at the Museum of Modern Art in New York], 1976 Maurizio Anzeri, PINK, 2012 Frank A. Rinehart, Burn Some Man, Cocapah, 1898 Richard Learoyd, Jasmijn, away from the Light, 2008 Peter Hujar, Queen with Fur Stole, Halloween, 1979 18


ABOUT FACE | GALLERY

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Left to right: Edward Steichen, Gloria Swanson, 1924 Andy Warhol, Self-Portrait (in Fright Wig), 1986 Lisette Model, Coney Island, 1939–41 Robert Bergman, Untitled, 1989 Robert Frank, Cynthia MacAdams, 1963 Helmar Lerski, Verwandlungen durch Licht (Nr. 595) (Metamorphosis through Light [No. 595]), 1936 Vanessa Beecroft, Rumbek, Sudan, 2006 Philippe Halsman, Refugee Girl, Paris, 1938 Hellen van Meene, Untitled (#0184), 2004 Diane Arbus, Bishop by the sea, Santa Barbara, Cal. 1964 Edward Weston, Nude, 1939 Alec Soth, Melissa, 2005 Henry Wessel, Southern California, 1985 Katy Grannan, Anonymous, Los Angeles, 2009 20


ABOUT FACE | GALLERY

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ABOUT FACE | GALLERY

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Left page: Katy Grannan, Anonymous, Los Angeles, 2009 On right, top to bottom: [Photobooth self-portrait of Norma Jeane Baker (Marilyn Monroe)], ca. 1940 Harry Callahan, Eleanor, ca. 1947 23


Left to right: Zanele Muholi, Bester III, Southwest Philadelphia, 2018 Harry Callahan, Eleanor, ca. 1947 William Eggleston, Memphis, 1969–70 Richard Avedon, Clarence Lippard, drifter, Interstate 80, Sparks, Nevada, August 29, 1983, 1983 Jitka Hanzlovå, Untitled (hunter with deer), 1994 [Photobooth self-portrait of Norma Jeane Baker (Marilyn Monroe)], ca. 1940 Irving Penn, Alexandra Beller (D), New York, 1999 Paul Graham, End of an Age #30, 1997 Judith Joy Ross, The Stewart Sisters, H.F. Grebey Junior High School, Hazleton, Pennsylvania, 1992 Todd Hido, Untitled #10502-42, 2011 Pieter Hugo, Yaw Francis, Agbogbloshie Market, Accra, Ghana, 2009 24


ABOUT FACE | GALLERY

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Left to right: Valérie Belin, Sans Titre, Série Mannequins (Untitled, from the series Mannequins), 2003 Lee Friedlander, Philadelphia, PA, 1965 Walker Evans, Allie Mae Burroughs, Wife of a Cotton Sharecropper, Hale County, Alabama, 1936 Anastasia Khoroshilova, Captain M., 2005 Irving Penn, Truman Capote, New York, 1948 Fazal Sheikh, Pramila Satar (“Lover”), Vrindavan, India, 2005 John Gutmann, Face behind Veil, 1939 Photographer unknown, Retrato Pintado (Painted Portrait), 1950s–70s Bruce Gilden, Man smoking cigarette, Tokyo, 1999 August Sander, Konditor (Pastry Chef), 1928 Eva O’Leary, Hannah, 2017 26


ABOUT FACE | GALLERY

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In portrait photography there is something more profound we seek inside a person, while being painfully aware that a limitation of our medium is that the inside is recordable only so far as it is apparent on the outside. . . . Very often what lies behind the facade is rare and more wonderful than the subject knows or dares to believe. —Irving Penn

Irving Penn, Truman Capote, New York, 1948 28


ABOUT FACE | GALLERY

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Left to right: Diane Arbus, Tattooed man at a carnival, Md. 1970 Jacques-Henri Lartigue, Renée Perle, Fingers to Lips, 1931 Jackie Nickerson, Paul, tea pruner, Malawi, 1999 Lee Friedlander, Topless Bridesmaid, Los Angeles, California, 1967 William Eggleston, Untitled, 1973 Brassaï (Gyula Halász), Prostitute Playing Snooker, Boulevard Rochechouart, Montmartre, ca. 1932 Lewis Hine, Happy street boy in Pennsylvania mill town, 1910 Robert Frank, Charleston, South Carolina, 1955 30


ABOUT FACE | GALLERY

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Ralph Eugene Meatyard, Untitled, ca. 1955 Mike Disfarmer, Heber Springs, Arkansas, ca. 1939–46 Lucas Foglia, Acorn with Possum Stew, Wildroots Homestead, North Carolina, 2006 Jim Goldberg, Chad, 2014 August Sander, Secretary at West German Radio, Cologne, 1931 31


All photographs: Richard Avedon Left to right: The Beatles: John Lennon, singer-songwriter; Paul McCartney, singer-songwriter; Ringo Starr, drummer; George Harrison, guitarist; London, August 11, 1967, 1967 Lee Friedlander, photographer, New City, New York, May 24, 2002, 2002 Oscar Levant, pianist, Beverly Hills, California, April 12, 1972, 1972 Marilyn Monroe, actress, New York City, May 6, 1957, 1957 Robert Frank, photographer, Mabou Mines, Nova Scotia, July 17, 1975, 1975 John Szarkowski, curator, New York City, July 30, 1975, 1975 32


AVEDON | ARTISTS IN THE STUDIO | GALLERY

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I always prefer to work in the studio. It isolates people from their environment. They become in a sense . . . symbolic of themselves. —Richard Avedon

Richard Avedon, Andy Warhol, artist, April 5, 1969, 1969 34


AVEDON | ARTISTS IN THE STUDIO | GALLERY

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Left to right: Richard Avedon, June Leaf, sculptress, Mabou Mines, Nova Scotia, July 18, 1975, 1975 Richard Avedon, Francis Bacon, painter, Paris, France, April 11, 1979, 1979 Richard Avedon, Truman Capote, writer, New York City, October 10, 1955, 1955 36


AVEDON | ARTISTS IN THE STUDIO | GALLERY

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All photographs: photographer unknown Left to right: [Mugshot of Charles “Lucky” Luciano], n.d. [Mugshots, Philadelphia, Pennsylvania], 1955–64 [Mugshots at incarceration, in street clothing on right and prison stripes on left], n.d. [Metal Bertillon drawer with 51 mugshots on cards from New York, Pennsylvania, Washington, DC, and Virginia], 1911–27 38




PERSONS OF INTEREST: MUGSHOTS FROM THE TWENTIETH CENTURY | GALLERY

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Photographer unknown, [mugshots, Philadelphia, Pennsylvania], 1955–64 40




PERSONS OF INTEREST: MUGSHOTS FROM THE TWENTIETH CENTURY | GALLERY

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PERSONS OF INTEREST: MUGSHOTS FROM THE TWENTIETH CENTURY | GALLERY

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Classic mugshots, which typically pair a full-face picture with a profile, tend to be as impersonal as photobooth pictures but more brutally matter-of-fact. The results aren’t intended as character studies; they’re descriptive, recording a hooked nose, a jutting chin, a mole, a scar— features that can be used to identify the suspect if he ever comes to the police’s attention again. There’s no photographer behind the camera hoping to open a window on his subject’s soul, but because most mugshots are taken shortly after a suspect’s arrest, in a moment fraught with tension, fury, defiance, and shame, they can be incredibly revealing. Only the most carefully composed arrestee can avoid being emotionally naked. —Vince Aletti

Photographer unknown, [metal Bertillon drawer with 51 mugshots on cards from New York, Pennsylvania, Washington, DC, and Virginia], 1911–27 43


Photographer unknown, [mugshots, Chicago, Illinois], 1941–50 44




PERSONS OF INTEREST: MUGSHOTS FROM THE TWENTIETH CENTURY | GALLERY

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Photographer unknown, [mugshots, Scranton, Pennsylvania], 1900–1940s 46




PERSONS OF INTEREST: MUGSHOTS FROM THE TWENTIETH CENTURY | GALLERY

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All photographs: photographer unknown Left to right: [Mugshots, Washington state], 1915–23 [Mugshots, Fulton County Prison Farm, Atlanta, Georgia], 1940s–60s [Mugshots, France], 1922–30 [Mugshots in profile, France], 1922–30 48




PERSONS OF INTEREST: MUGSHOTS FROM THE TWENTIETH CENTURY | GALLERY

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Photographer unknown, [mugshot album, San Francisco Police Department, California], 1943–46 Photographer unknown, [mugshot album, San Quentin State Prison, California], 1921 50




PERSONS OF INTEREST: MUGSHOTS FROM THE TWENTIETH CENTURY | GALLERY

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Objectively styled pictures dramatically curtail our expectations that we can know anything essential about a person through their photographic image. The ideas that the signs of our biographical details are mapped onto our faces and that our eyes are the windows into our souls is brought into question. If there are realities or truths held within the deadpan portrait, they revolve around very subtle signs of how people react to being photographed; the observations artists make are about how their subjects address the camera and photographer in front of them. ­—Charlotte Cotton

Mikhael Subotzky and Patrick Waterhouse, Lift Portrait, 24, Ponte City, Johannesburg, 2008 52


DEADPAN PORTRAITURE | GALLERY

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Left to right: Rineke Dijkstra, Almerisa, Asylum Center, Leiden, the Netherlands, March 14, 1994, 1994 Rineke Dijkstra, Almerisa, Wormer, the Netherlands, June 23, 1996, 1996 Rineke Dijkstra, Almerisa, Wormer, the Netherlands, February 21, 1998, 1998 Rineke Dijkstra, Almerisa, Leidschendam, the Netherlands, March 19, 2000, 2000 Rineke Dijkstra, Almerisa, Leidschendam, the Netherlands, December 9, 2000, 2000 Rineke Dijkstra, Almerisa, Leidschendam, the Netherlands, April 13, 2002, 2002 Rineke Dijkstra, Almerisa, Leidschendam, the Netherlands, June 25, 2003, 2003 Rineke Dijkstra, Almerisa, Leidschendam, the Netherlands, March 29, 2005, 2005 Rineke Dijkstra, Almerisa, Leidschendam, the Netherlands, March 24, 2007, 2007 Rineke Dijkstra, Almerisa, Zoetermeer, the Netherlands, January 4, 2008, 2008 Rineke Dijkstra, Almerisa, Zoetermeer, the Netherlands, June 19, 2008, 2008 Alec Soth, Daniel, Niagara Falls, Ontario, 2004 54


DEADPAN PORTRAITURE | GALLERY

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Left to right: August Sander, Die Frau im fortgeschrittenen Intellekt (Intellektuelle) (The Woman of Progressive Intellect [Intellectual]), 1914 August Sander, Der Stürmer oder Revolutionär (The Fighter or Revolutionary), 1924 August Sander, Bäuerin aus dem Westerwald (Peasant Woman, Westerwald), 1912 Thomas Ruff, Portrait (E. Zapp), 1990 56


DEADPAN PORTRAITURE | GALLERY

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Left to right, top to bottom: Judith Joy Ross, P.F.C. Maria I. Leon, U.S. Army Reserve, on Red Alert, Gulf War, 1990 Judith Joy Ross, Untitled, from Portraits at the Vietnam Veterans Memorial, Washington, DC, 1984 Joel Meyerowitz, Darrell, 1983 Olga Chagaoutdinova, Untitled (Old Woman—Unnamed), 2005 Olga Chagaoutdinova, Prisoners Series, Dimitrieva 2, n.d. 58


DEADPAN PORTRAITURE | GALLERY

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SUGIMOTO | HENRY VIII AND HIS WIVES | GALLERY

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Hiroshi Sugimoto, Henry VIII, 1999 62


SUGIMOTO | HENRY VIII AND HIS WIVES | GALLERY

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In the sixteenth century, Hans Holbein the Younger, German court painter to the British Crown, painted several imposing and regal portraits of Henry VIII. Based on these portraits, the highly skilled artisans of Madame Tussauds wax museum re-created an absolutely faithful likeness of the king. Using my own studies of the Renaissance lighting by which the artist might have painted, I remade the royal portrait, substituting photography for painting. If this photograph now appears lifelike to you, you should reconsider what it means to be alive here and now. —Hiroshi Sugimoto

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All photographs: Hiroshi Sugimoto Left to right, top to bottom: Catherine of Aragon, 1999 Anne Boleyn, 1999 Jane Seymour, 1999 Anne of Cleves, 1999 Catherine Howard, 1999 Catherine Parr, 1999 64


SUGIMOTO | HENRY VIII AND HIS WIVES | GALLERY

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Left to right, top to bottom: Madan Mahatta, Inside the Escorts Factory, I, 1964 Albert Renger-Patzsch, 30 000 KVA Dampfturbine (Kraftwerk), Ruhrchemie, Oberhausen, Deutschland (30,000 kVA steam turbine [power station], Ruhrchemie, Oberhausen, Germany), ca. 1938 Albert Renger-Patzsch, Polymerisations-Anlage, Ruhrchemie, Oberhausen, Deutschland (polymerization plant, Ruhrchemie, Oberhausen, Germany), ca. 1938 Albert Renger-Patzsch, Wassergasgeneratoren, Ruhrchemie, Oberhausen, Deutschland (water gas generators, Ruhrchemie, Oberhausen, Germany), ca. 1938 Albert Renger-Patzsch, DĂźngemittellagerhalle, Einspeicherung, Ruhrchemie, Oberhausen, Deutschland (fertilizer warehouse, storage, Ruhrchemie, Oberhausen, Germany), ca. 1938 Albert Renger-Patzsch, Verdampfer-Anlage, Ruhrchemie, Oberhausen, Deutschland (evaporator plant, Ruhrchemie, Oberhausen, Germany), ca. 1938 Albert Renger-Patzsch, Katalysatorfabrik, Filterpressen, Ruhrchemie, Oberhausen, Deutschland (catalyst plant, filter presses, Ruhrchemie, Oberhausen, Germany), ca. 1938 66


INDUSTRY AND LABOR | GALLERY

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Left to right, top to bottom: Ed Panar, Braddock Avenue, 2013 Ed Panar, Eastbound on Pennsylvanian, February 14, 2015, 2015 Ed Panar, Eastbound on Pennsylvanian, March 21, 2016, 2016 Lewis Hine, Breaker boys in coal chute, South Pittston, Pennsylvania, 1911 Vera Lutter, RHEINBRAUN, V: August 26, 2006, 2006 Lee Friedlander, Cleveland, Ohio, 1980 Lee Friedlander, Canton, Ohio, 1980 68


INDUSTRY AND LABOR | GALLERY

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Machines large as locomotives, louder than the loudest rock group explosions, Screeching so loud you go deaf without earplugs, where the only way to speak is to gesture, Or bending to your ear as if I were telling a secret the yell from my cupped hands less than a whisper... —Antler, excerpt from Factory

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INDUSTRY AND LABOR | GALLERY

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Lewis Hine, Breaker boys in coal chute, South Pittston, Pennsylvania, 1911 71


Left to right: Daido Moriyama, Tokyo: A Sequel to a Following Story: Autumn Trip (Yokosuka), 1984 Graham Smith, Consett Iron Works, County Durham, 1978 Edward Burtynsky, Manufacturing #10ab, Cankun Factory, Xiamen City, China, 2005 Liu Zheng, Xinjiang Girl Working in a Textile Factory, Hetian, Xinjiang Province, 1996 72


INDUSTRY AND LABOR | GALLERY

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Graham Smith, Consett Iron Works, County Durham, 1978 74


INDUSTRY AND LABOR | GALLERY

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Liu Zheng, Xinjiang Girl Working in a Textile Factory, Hetian, Xinjiang Province, 1996 75


Left to right, top to bottom: Bernd and Hilla Becher, Hochofen, Hainer Hütte, Siegen, Deutschland (Blast Furnace, Hainer Hütte, Siegen, Germany), 1961 Frank Thiel, Stadt 2/51/D (Berlin), 2001 Peter Stackpole, Bridgeman in skip box waits while final rivets are placed in the tower top, 1934–36 Lewis Hine, Derrick and workers on girder, Empire State Building, 1930–31 Peter Stackpole, Bridgemen completing the assembly of the hammerhead derrick, 1934–36 76


INDUSTRY AND LABOR | GALLERY

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Photographer unknown, [product records of machinery featuring components made by the Renold and Coventry Chain Company], 1920s–40s 78


INDUSTRY AND LABOR | GALLERY

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Hiroshi Sugimoto, The Last Supper: Acts of God, 1999/2012 80


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SUGIMOTO | THE LAST SUPPER: ACTS OF GOD | GALLERY

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I chose to interpret this as the invisible hand of God coming down to bring my monumental, but unfinished Last Supper to completion. Leonardo completed his Last Supper over five hundred years ago, and it has deteriorated beautifully. I can only be grateful to the storm for putting my work through a half-millennium’s worth of stresses in so short a time. —Hiroshi Sugimoto 82


SUGIMOTO | THE LAST SUPPER: ACTS OF GOD | GALLERY

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SOTH | SLEEPING BY THE MISSISSIPPI | GALLERY

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Left page: Alec Soth, Hotel, Dallas City, Illinois, 2002 Above, left to right: Alec Soth, New Orleans, Louisiana, 2002 Alec Soth, Patrick, Palm Sunday, Baton Rouge, Louisiana, 2002 85


Our vision of America is so shaped by television and movies. All we see are Hollywood starlets and New York cops. We sometimes forget that there are whole other lives being lived in the middle of America. And some of these lives are really inspiring. —Alec Soth

Left to right: Alec Soth, Angola, Louisiana, 2002 Alec Soth, Mother and Daughter, Davenport, Iowa, 2002 86


SOTH | SLEEPING BY THE MISSISSIPPI | GALLERY

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All photographs: Alec Soth Left to right: Jimmie’s Apartment, Memphis, Tennessee, 2002 Sugar’s, Davenport, Iowa, 2002 Peter’s Houseboat, Winona, Minnesota, 2002 Charles, Vasa, Minnesota, 2002 88


SOTH | SLEEPING BY THE MISSISSIPPI | GALLERY

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ARBUS, FRIEDLANDER, WINOGRAND | THE CITY THAT NEVER SLEEPS | GALLERIES

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A poem compresses much in a small space and adds music, thus heightening its meaning. The city is like poetry: it compresses all life, all races and breeds, into a small island and adds music and the accompaniment of internal engines. The island of Manhattan is without any doubt the greatest human concentrate on earth, the poem whose magic is comprehensible to millions of permanent residents but whose full meaning will always remain elusive. —E. B. White

Diane Arbus, Times Square from above, N.Y.C. 1958 91


Left to right, top to bottom: Diane Arbus, Times Square from above, N.Y.C. 1958 Lee Friedlander, New York City, 2002 Lee Friedlander, New York City, 2002 Lee Friedlander, New York City, 2005 Lee Friedlander, New York City, 2002 Garry Winogrand, Park Avenue, New York, 1959 92


ARBUS, FRIEDLANDER, WINOGRAND | THE CITY THAT NEVER SLEEPS | GALLERIES

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Left to right, top to bottom: Lee Friedlander, New York City, 1966 Diane Arbus, Man at a parade on Fifth Avenue, N.Y.C. 1969 Garry Winogrand, New York, 1970 Garry Winogrand, New York, n.d. Garry Winogrand, New York, 1968 Garry Winogrand, New York, 1968 Garry Winogrand, New York, 1965 Garry Winogrand, Untitled, 1966 Garry Winogrand, Untitled, 1967 94


ARBUS, FRIEDLANDER, WINOGRAND | THE CITY THAT NEVER SLEEPS | GALLERIES

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Left to right: Lee Friedlander, New York City, 1976 Lee Friedlander, New York City, 1967 Diane Arbus, Teenage couple on Hudson Street, N.Y.C. 1963 Garry Winogrand, New York, 1968 96


ARBUS, FRIEDLANDER, WINOGRAND | THE CITY THAT NEVER SLEEPS | GALLERIES

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Left to right, top to bottom: Garry Winogrand, New York, 1961 Garry Winogrand, New York, n.d. Garry Winogrand, Untitled, 1964 Garry Winogrand, New York, 1965 98


ARBUS, FRIEDLANDER, WINOGRAND | THE CITY THAT NEVER SLEEPS | GALLERIES

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Diane Arbus, Woman in a fur stole, N.Y.C. 1971 99


Top row, left to right, top to bottom: Lee Friedlander, Central Park, New York City, 1977 Lee Friedlander, New York City, 1970 Diane Arbus, Child with a toy hand grenade in Central Park, N.Y.C. 1962 Lee Friedlander, Central Park, New York City, 1992 Garry Winogrand, New York City, 1970–71 Garry Winogrand, Central Park, New York, 1968 Garry Winogrand, Untitled, ca. 1970 100


ARBUS, FRIEDLANDER, WINOGRAND | THE CITY THAT NEVER SLEEPS | GALLERIES

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Bottom row, left to right: Garry Winogrand, Diane Arbus, Love-in, Central Park, New York City, 1969 Diane Arbus, Two girls in identical raincoats, Central Park, N.Y.C. 1969 Diane Arbus, Young couple on a bench in Washington Square Park, N.Y.C. 1965 Diane Arbus, Two friends in the park, N.Y.C. 1965 Garry Winogrand, Peace Demonstration, Central Park, New York, 1970 101


Landscape! The subject of landscape as a photographic possibility is both pleasurable and very difficult. The subject itself is simply perfect, and no matter how well you manage as a photographer, you will only ever give a hint as to how good the real thing is. We photographers don’t really make anything: we peck at the world and try to find something curious or wild or beautiful that might fit into what the medium of photography can hold. —Lee Friedlander

Top to bottom: Lee Friedlander, New York City, 1970 Garry Winogrand, Peace Demonstration, Central Park, New York, 1970 102


ARBUS, FRIEDLANDER, WINOGRAND | THE CITY THAT NEVER SLEEPS | GALLERIES

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Left to right, top to bottom: Lee Friedlander, New York City, 1986 Garry Winogrand, New York, ca. 1968 Lee Friedlander, New York City, 1963 Diane Arbus, Woman at a counter smoking, N.Y.C. 1962 Garry Winogrand, New York, 1968 Lee Friedlander, New York City, 1983 104


ARBUS, FRIEDLANDER, WINOGRAND | THE CITY THAT NEVER SLEEPS | GALLERIES

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Left to right: Lee Friedlander, New York City, 1995 Garry Winogrand, Statue of Liberty Ferry, New York, ca. 1968 Lee Friedlander, New York City, 1976 Lee Friedlander, New York City, 1980 106


ARBUS, FRIEDLANDER, WINOGRAND | THE CITY THAT NEVER SLEEPS | GALLERIES

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Robert Adams, from the series Eden, Colorado, 1968–70 108


ADAMS | EDEN | GALLERY

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Eden, Colorado, is named after a railroad official and not the Biblical paradise. To the east of the interstate highway that bisects it are railroad tracks, gas tanks, and a prefabricated metal shed. To the west, a roadhouse (closed), a military salvage lot, a carwrecking yard, and the Westland truck stop. Extending beyond along the freeway are billboards advertising whiskey, real estate, and ice. Except for casual greetings from the waitresses in the cafe, Eden is a place without human gentleness. The air is weighted by the sound of traffic. There is, however, another aspect to this spot, one that can be set forth only in riddles. Stuart Davis, when he described his goal as an artist, talked of it: “I am not looking for something newer or greater,” he said. “Everything new and great already exists—has always existed. We need to make our connection with it.” —Robert Adams, 1968

Robert Adams, from the series Eden, Colorado, 1968–70 110


ADAMS | EDEN | GALLERY

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ADAMS | EDEN | GALLERY

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Robert Adams, from the series Eden, Colorado, 1968–70 113


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THE CITY BY THE BAY | GALLERY

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Left to right, top to bottom: Awoiska van der Molen, Portola Drive, 2018 Fred Lyon, Foggy Night, Land’s End, San Francisco, CA, 1953 John Chiara, 149 Somerset at Felton, 2013 John Chiara, 263 Goettingen, 2013 John Chiara, 225 College at Crescent, 2013 John Chiara, 1968 21st Avenue, 2013 116


THE CITY BY THE BAY | GALLERY

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Top row, left to right, top to bottom: Richard Learoyd, Bridge and Pier, 2015 Lee Merritt Blodget, Russ Building from Pine and Sansome St., San Francisco, 1948 Lee Merritt Blodget, Russ Building from Grant Ave., San Francisco, 1950 Lee Merritt Blodget, Russ Building from China Basin, San Francisco, 1948 Max Yavno, Untitled [Washington and Jackson Streets cable car], 1947 Daniel Postaer, San Francisco, Bryant Street, 2017 Pirkle Jones, High-rise Construction and Coit Tower from Russian Hill, San Francisco, 1962 118


THE CITY BY THE BAY | GALLERY

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Bottom row, left to right, top to bottom: Mimi Plumb, 16th & Bryant, San Francisco, 1986 Mimi Plumb, 17th & South Van Ness, San Francisco, 1986 Jim Goldberg, Robert Songer, someone that I see out my window every day, 2014 Todd Hido, #1941, 1996 Ed van der Elsken, San Francisco, 1960 Robert Frank, San Francisco, 1956 119


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THE CITY BY THE BAY | GALLERY

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It seemed like a matter of minutes when we began rolling in the foothills before Oakland and suddenly reached a height and saw stretched out ahead of us the fabulous white city of San Francisco on her eleven mystic hills with the blue Pacific and its advancing wall of potato-patch fog beyond, and smoke and goldenness in the late afternoon of time. —Jack Kerouac, On the Road

Top to bottom: Todd Hido, #1941, 1996 Ed van der Elsken, San Francisco, 1960 121


Left to right, top to bottom: Fred Herzog, San Francisco, 1962 Fred Herzog, San Francisco Placard, 1962 Max Yavno, San Francisco, 1947 Pirkle Jones, Skyscrapers on Montgomery Street, San Francisco, from Felinimus and Twig, 1948 Dorothea Lange, Consumer Relationships, 1952 Daniel Postaer, San Francisco, California Street, 2015 122


THE CITY BY THE BAY | GALLERY

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Top to bottom: Fred Herzog, San Francisco, 1962 Fred Herzog, San Francisco Placard, 1962 124


THE CITY BY THE BAY | GALLERY

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Pirkle Jones, Skyscrapers on Montgomery Street, San Francisco, from Felinimus and Twig, 1948 125


Henry Wessel, from the series Incidents, n.d. 126


WESSEL | INCIDENTS | GALLERY

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Henry Wessel, from the series Incidents, n.d. 128


WESSEL | INCIDENTS | GALLERY

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Henry Wessel, from the series Incidents, n.d. 130


WESSEL | INCIDENTS | GALLERY

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131


In many ways, Incidents is my way of saying, “Let me take you on a walk, and we’ll start here, and as we’re walking I say, ‘oh, look at that, wow look at that over there, look at this.’” And when the walk ends, that’s the experience. —Henry Wessel

Top to bottom: Henry Wessel, Incidents No. 21, n.d. Henry Wessel, Incidents No. 22, n.d. 132


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133


Henry Wessel, from the series Incidents, n.d. 134


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135


Thomas Demand, Grotto, 2006 136


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By removing the image’s reference or index, only to so painstakingly recast it, [Demand] begs us to look and look again. These resolutely “unreal” images demand that we consider reality with much greater care. —Dan Rule 137


Left to right: Adou, Fog, Child, Frost, 2006 Adou, Fog, Child, Pig, 2006 Adou, Child Tending Pigs in the Fog, 2006 138


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139


Adou, Man Clutching Goose, 2006 140


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Adou, Man and Sheep, 2006 141


I don’t know why I take photographs; if I knew I would not keep taking them. I don’t know the significance of life; if I knew I would not keep on searching. —Adou

Adou, Horse on Slope, 2006 142


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143


All photographs: Dorothea Lange Left to right: The Road West, New Mexico, 1938 Funeral Cortege, End of an Era in a Small Valley Town, California, 1938 A Sign of the Times—Depression—Mended Stockings, Stenographer, San Francisco, 1934 Demonstration, San Francisco, California, 1934 Street Demonstration, Chinatown, San Francisco, 1934 Death in Doorway, Grayson, San Joaquin Valley, California, 1938 144


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145


Top to bottom: Dorothea Lange, Migrant Mother with Two Children, Nipomo, California, 1936 Dorothea Lange, Migrant Mother with Child at Breast, Nipomo, California, 1936 146


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Dorothea Lange, Migrant Mother, Nipomo, California, 1936 147


All photographs: Dorothea Lange Left to right: Ditched, Stalled, and Stranded, San Joaquin Valley, California, 1935 Stoop Labor in Cotton Field, San Joaquin Valley, California, 1938 Childress County, Texas, 1938 Arkansas Sharecroppers, ca. 1937 Migratory Cotton Picker, Eloy, Arizona, 1940 Missouri Family of Five, Seven Months from the Drought Area, on U.S. Highway 99 near Tracy, California, 1937 148


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149


It is with responsibility that the photographer and his machine are brought to their ultimate test. His machine must prove that it can be endowed with the passion and humanity of the photographer; the photographer must prove that he has the passion and humanity with which to endow the machine. —Dorothea Lange

Dorothea Lange, White Angel Breadline, San Francisco, California (variant), 1933 150


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Dorothea Lange, White Angel Breadline, San Francisco, California, 1933 151


Pier 24 Photography would like to acknowledge the following individuals and lenders for their assistance in making this exhibition possible: Robert Adams Amon Carter Museum of American Art, Fort Worth Casemore Kirkeby, San Francisco John Chiara Ola Dlugosz Randi and Bob Fisher Joël Frudden General Graphics Haines Gallery, San Francisco Todd Hido Mari Iki and Martin Maguss Ian Mullen John Rohrbach Smith Andersen North Alec Soth Yale University Art Gallery, New Haven and all of the artists included in this exhibition This publication would not have been possible without the generous contributions of the Pier 24 Photography volunteer and intern team. Director: Christopher McCall Creative Director: Allie Haeusslein Pre-Press Management: Ry Allred Editorial Associate: Mari Iki Copy Editors: Amanda Glesmann, Lindsey Westbrook Design: Bob Aufuldish, Aufuldish & Warinner Installation Photography: Charles Villyard Print Management: Sprinkel Media ISBN: 978-1-59711-005-1 Printed in the United States © 2019 Pier 24 Photography. All rights reserved. No part of this book may be reproduced in any manner whatsoever without the prior written permission of the publisher and copyright holders. Cover image: Lee Friedlander, New York City, 1963

Photography credits: Robert Adams: © Robert Adams, courtesy Fraenkel Gallery, San Francisco / Adou: © Adou, courtesy Pace/MacGill Gallery, New York / Diane Arbus: © The Estate of Diane Arbus LLC / Richard Avedon: © The Richard Avedon Foundation / Harry Callahan: © The Estate of Harry Callahan, courtesy Pace/MacGill Gallery, New York / John Chiara: © John Chiara, courtesy Haines Gallery, San Francisco / Thomas Demand: © Thomas Demand, VG Bild-Kunst, Bonn / ARS, New York / Lee Friedlander: © Lee Friedlander, courtesy Fraenkel Gallery, San Francisco / Katy Grannan: © courtesy the artist; Fraenkel Gallery, San Francisco; and Salon 94, New York / Fred Herzog: © Fred Herzog, courtesy the artist and Equinox Gallery, Vancouver / Todd Hido: © Todd Hido, courtesy Casemore Kirkeby, San Francisco / Pieter Hugo: © Pieter Hugo, courtesy the artist / Peter Hujar: © 1987 The Peter Hujar Archive LLC, courtesy Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco / Pirkle Jones: © Regents of the University of California. Courtesy Special Collections, University Library, University of California Santa Cruz. Baruch (Ruth-Marion) and Jones (Pirkle) Photographs and Papers / Dorothea Lange: © The Dorothea Lange Collection, the Oakland Museum of California, City of Oakland. Gift of Paul S. Taylor / Liu Zheng: © Liu Zheng, courtesy Yossi Milo Gallery, New York / Fred Lyon: © Fred Lyon, courtesy the artist and Peter Fetterman Gallery, Santa Monica / Irving Penn: © The Irving Penn Foundation / Thomas Ruff: © Thomas Ruff / VG Bild-Kunst, Bonn 2019, courtesy Sprüth Magers / August Sander: © Die Photographische Sammlung/SK Stiftung Kultur – August Sander Archive, Cologne; ARS, New York, 2019 / Graham Smith: © Graham Smith, courtesy Augusta Edwards Fine Art, London / Alec Soth: © Alec Soth, courtesy the artist / Paul Strand: © Aperture Foundation, Inc., Paul Strand Archive / Mikhael Subotzky and Patrick Waterhouse: © Mikhael Subotzky and Patrick Waterhouse, courtesy the artists and Goodman Gallery, Johannesburg / Hiroshi Sugimoto: © Hiroshi Sugimoto, courtesy Fraenkel Gallery, San Francisco / Ed van der Elsken: © Ed van der Elsken / Nederlands Fotomuseum, Rotterdam / Awoiska van der Molen: © Awoiska van der Molen, courtesy the artist / Henry Wessel: © The Estate of Henry Wessel, courtesy Pace/MacGill Gallery, New York / Garry Winogrand: © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco Text credit: Foreword from Robert Adams: Eden. © 1968 Robert Adams. Reprinted from the 1999 edition with the permission of Fraenkel Gallery, San Francisco Please note: Robert Adams, Eden, Colorado, 1968, is a facsimile exhibition print produced from an original gelatin silver print Courtesy Yale University Art Gallery, New Haven, purchased with a gift from Saundra B. Lane, a grant from the Trellis Fund, and the Janet and Simeon Braguin Fund

Pier 24, The Embarcadero San Francisco, CA 94105 415.512.7424 info@pier24.org www.pier24.org

Robert Adams, Eden, Colorado, 1970, is a facsimile exhibition print produced from an original gelatin silver print Courtesy Amon Carter Museum of American Art, Fort Worth


Profile for Christopher McCall

Looking Back: Ten Years of Pier 24 Photography  

Published on the occasion of the exhibition LOOKING BACK: TEN YEARS OF PIER 24 PHOTOGRAPHY July 1, 2019 – April 30, 2020 152 pages | 132 im...

Looking Back: Ten Years of Pier 24 Photography  

Published on the occasion of the exhibition LOOKING BACK: TEN YEARS OF PIER 24 PHOTOGRAPHY July 1, 2019 – April 30, 2020 152 pages | 132 im...

Profile for pier24

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