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Just completed the latest edition of my Collector's Guide, 140 pages, available at cost. See my newsletter at https://bit.ly/4diQBNV or email me at info@frankrodick.com for more information. #collectorsguide, #frankrodick, #frankrodickphotography

Photograph by Chris Earnshaw: The Staten Island Ferry, 1971, during a class trip with Walt Whitman High School. “He was a mess. I think he was Eastern European. He looked up once and moaned....There were asylums, but people just stayed away and

My first newsletter of 2024 is available. There's stuff on Chris Earnshaw, @evearnoldphotographer, @thephotoreview competition, a piece by @andrewnormanwilson_actually that I found very funny, an article by @colehaddonwashere, and more, including new

"untitled self, no. 35," from the series Untitled Selves, eighteen self-portraits completed 2017. Exhibited Canada, Asia, Latin America.
Image size: 100 x 80 cm / 40 x 32 in.
© Frank Rodick, 2017
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#expressionist

Poster from 2018 exhibition "Untitled Selves," at Toronto Metropolitan University, curated by Don Snyder.
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#expressionistphotography
#portrait
#selfportrait
#monochrome
#alternativeportrait
#alternativephotography
#bl

"untitled self, no. 44," from the series Untitled Selves, self-portraits completed 2017. Exhibited Canada, Asia, Latin America. Permanent collection: Museum of Fine Arts, Houston.
Image size: 100 x 80 cm / 40 x 32 in.
© Frank Rodick, 2

"everything will be forgotten, no. 3.1" made in 2015, constructed from photo shot by my father Joseph Rodick around 1962 per the reverse of the image. Though they're based on images of me from decades ago as a small boy, this series was my

Reverse side of one of the small photos shot by my father of me as a child, which I used to make the series "everything will be forgotten." My father was very proud of his handwriting, which also appears in my series "The Last Words of

Constructed from a set of snapshots of myself as a child, shot by my father "about 1962," found in the proverbial shoebox full of photos that I found in my deceased parents' belongings ten years ago. From these snapshots I made the series &

This is the first panel from the triptych "three studies for a mouth (explorations in statecraft, love, and the passing of woes)" from the series Revisitations, small-scale works, some installed in wooden boxes. This image comes from a phot

Second panel from the triptych "three studies for a mouth (explorations in statecraft, love, and the passing of woes)" from the series Revisitations, small-scale works, some installed in wooden boxes. This second image in the triptych shows

Third panel from the triptych "three studies for a mouth (explorations in statecraft, love, and the passing of woes)" from the series Revisitations, small-scale works, some installed in wooden boxes. This is the the third image in the tript

Pacing, and talking, onstage in front of a projection of "7532, no. 2 (the death of Frances)" during a lecture in Medellín, where, as part of Zoomlab 2015, I gave artist talks, had a few exhibitions, and taught a course for universit

From a 1990s newspaper clip where they photographed me at the same spot—the southwest corner of Dundas and Yonge in Toronto—where I took the original photograph for the Liquid City image "untitled no. 52," which I’m holdin

My second camera….
#instamatic #hawkeye #kodak

The three copper-toned panels of my triptych "you must console me, no. 2," from the series Arena, 2002-2005.

As with "in her hand, the cupful of whispers," the title is culled from Döblin's Berlin Alexanderplatz. This is the

"in her hand a cupful of whispers," from the series Arena. An image that's a personal favourite and probably the gentlest in a series that's not so gentle.

I cobbled the title together from a favourite book, "Berlin Alexanderplatz,&qu

$The five iron-toned panels of my polyptych "porneia," from the series Arena, 2002-2005. The faces are drawn from video that I ripped from old television signals back in the days of cable, which I then photographed on 2 ¼ square film$

Details from "the gift, no. 1" from the 2006-2009 series Faithless Grottoes.

These are from the first and second panels of the diptych, which measures 36 x 62 in / 91.4 x 157.5 cm with panels side by side.

“the gift, no. 1,” 2

"The longest night has twenty faces," from the 2006-2009 series Faithless Grottoes.

Title for this work loosely adapted from a poem by the great Paul Celan. 48 x 53 inches / 121.9 x 134.6 cm chromogenic print mounted on dibond.

“Th

DECEMBER 2023

INSTAGRAM

You can now follow Frank Rodick on Instagram @frankrodick.

FALL 2023

RECENT ACQUISITIONS

Thanks to the generosity of Anne Tucker, the Museum of Fine Arts Houston acquired untitled self, no. 23 (right) from the series untitled selves.

The Raclin Murphy Museum of Art acquired in her hand, a cupful of whispers from the series Arena.

The New Mexico Museum of Art acquired the triptych 3 a.m. (engram), also from the series Arena.

in her hand, a cupful of whispers, 2005, from the series Arena

untitled self, no. 23, 2017, from the series untitled selves

3 a.m. (engram), 2002, from the series Arena

JULY 2023

THE MOONS OF SATURN MONOGRAPH
Images by Frank Rodick, text by Nancy Brokaw.

A dialogue in word and image, by two longtime collaborators.

Available for purchase online at photo-eye Bookstore and the phooks.

Don Snyder interviews Frank Rodick

JULY 2023

KEEPING WATCH: A CONVERSATION WITH FRANK RODICK

Don Snyder—artist, curator, and professor—interviews Frank Rodick, focusing on three series: Frances, Joseph, and untitled selves.