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Since the invention of photography almost 175 years ago, the medium has proven itself understandably adept at capturing what is there to be photographed: the solid, the concrete, that which can be seen. Another tradition exists, however; a parallel tradition in which photographers and artists have attempted to depict via photographic means that which is not so easily photographed: dreams, ghosts, god, thought, time. The Unphotographable explores this parallel tradition, and is published to coincide with an exhibition of the same name at Fraenkel Gallery in San Francisco, presenting photographs by anonymous amateurs alongside those of artists such as Diane Arbus, Bruce Conner, Liz Deschenes, Adam Fuss, Man Ray, Christian Marclay, Ralph Eugene Meatyard, Alfred Stieglitz and Hiroshi Sugimoto. Jules-Bernard Luys and Émile David are represented by a photograph taken toward the end of the nineteenth century, of fluidic emission from the fingers of two hands; Richard Misrach captures a sandstorm in California in 1976; and Conner is represented by “Angel Light,” one of the Angels series of dramatic, life-sized photograms he created in 1973–75, and which explore the disjunction between vision and phenomenological experience. Since opening in 1979, Fraenkel Gallery has presented close to 300 exhibitions exploring photography and its interrelations with the other arts, and The Unphotographable is one of its most ambitious projects to date. The catalogue is edited with an essay by Jeffrey Fraenkel, and includes 50 images in color.

Published to mark the esteemed Fraenkel Gallery's 35th year, The Plot Thickens is an eye-opening expedition through the history of the medium, with approximately 90 wide-ranging photographs by artists as diverse as Diane Arbus, Christian Marclay, Robert Adams, Bernd & Hilla Becher, Mel Bochner, Walker Evans, Sol LeWitt, Lee Friedlander, Alec Soth, Katy Grannan, Hiroshi Sugimoto and Richard Learoyd. In the tradition of Fraenkel Gallery's award-winning anniversary publications from years past (such as Furthermore, 20Twenty and The Eye Club), The Plot Thickens includes a trove of images by unknown photographers, virtually none of which have been reproduced before. Designed by Katy Homans and printed with extraordinary fidelity, The Plot Thickens is a meditation on the inexplicable essence of the medium and an essential new publication for anyone who cares seriously about art and photography..

A sumptuous clothbound collection of work by British photographer Richard Learoyd, famed for his luminous camera obscura portraitsBringing together more than 70 photographs from the past ten years, this luxurious volume includes Learoyd's (born 1966) widely acclaimed portraits of clothed or nude models, made with the massive camera obscura that he built in his studio, which produces one-of-a-kind color photographs. Sandra S. Phillips writes of these portraits: "There is something incontrovertibly present in the people he photographs; they are more alive, more beautiful, and more fallible―even more vulnerable―than the people we see in most pictures.Also featured are landscapes made in California, England and Spain, as well as still lifes of animals and flowers. Presenting the highlights of Learoyd's career, and organized in reverse chronological order, this volume shows how Learoyd's images are rooted in the history of art, but were made with the intention of challenging the authority of painting.

Traffic signs, sandwich boards and posters: Friedlander’s portrait of words in the worldFor more than five decades, Lee Friedlander has repeatedly been drawn to the signs that inscribe the American landscape, from hand-lettered ads to storefront windows to massive billboards. Incorporating these markings with precision and sly humor, Friedlander’s photographs record a kind of found poetry of desire and commerce.Focusing on one of the artist’s key motifs, Lee Friedlander: Signs presents a cacophony of wheat-paste posters, Coca-Cola ads, prices for milk, road signs, stop signs, neon lights, movie marquees and graffiti. The book collects 144 photographs made in New York and other places across the US, and features self-portraits, street photographs and work from series including The American Monument and America by Car, among others. Illegible or plainspoken, crude or whimsical, Friedlander’s signs are an unselfconscious portrait of modern life.Lee Friedlander (born 1934) began photographing in 1948. Among his many monographs are Sticks and Stones, Self-Portrait, Letters from the People, Cherry Blossom Time in Japan and At Work, among others. His work was included in the influential 1967 exhibition New Documents at the Museum of Modern Art, New York, curated by John Szarkowski. Among the most important living photographers, Friedlander is in the collections of museums around the world.

Enduring icons of American culture, the car and the highway remain vital as auguries of adventure and discovery, and a means by which to take in the country's vast scale. Lee Friedlander is the first photographer to make the car an actual "form" for making photographs. Driving across most of the country's 50 states in an ordinary rental car, Friedlander applied the brilliantly simple conceit of deploying the sideview mirror, rearview mirror, the windshield and the side windows as a picture frame within which to record the country's eccentricities and obsessions at the turn of the century. This method allows for fascinating effects in foreshortening, and wonderfully telling juxtapositions in which steering wheels, dashboards and leatherette bump up against roadside bars, motels, churches, monuments, suspension bridges, landscapes and often Friedlander's own image, via sideview mirror shots. Presented in the square crop format that has dominated his look in recent series, and taken over the past decade, the nearly 200 images in America by Car are easily among Friedlander's finest, full of virtuoso touch and clarity, while also revisiting themes from older bodies of work (Friedlander occasionally used aspects of automotive architecture in photographs from the late 1960s and early 1970s). Never has America been photographed so penetratingly and ingeniously as in Friedlander's latest body of work.

In this introduction to set theory and logic, the author discusses first order logic, and gives a rigorous axiomatic presentation of Zermelo-Fraenkel set theory. He includes many methodological remarks and explanations, and demonstrates how the basic concepts of mathematics can be reduced to set theory. He explains concepts and results of recursion theory in intuitive terms, and reaches the limitative results of Skolem, Tarski, Church and Gödel (the celebrated incompleteness theorems). For students of mathematics and philosophy, this book provides an excellent introduction to logic and set theory.

The Dual State, first published in 1941, remains one of the most eruditebooks on the logic of dictatorship. It was the first comprehensive analysis of the rise and nature of National Socialism-and the only such analysis written from within Hitler's Germany. Ernst Fraenkel's courageous ethnography of law was widely acclaimed upon publication, and it has influenced considerably postwar debates about the nature of the "Third Reich." But The Dual State also has relevance for the study of dictatorship in the twenty-first century. Fraenkel's innovative concept of "the dual state," with its two halves-the normative state (which generally respects its own laws and regulations) and the prerogative state (which violates them wantonly)-illuminates powerfully the complicated relationship between law and order in many countries around the world. It speaks directly to the idea of an authoritarian rule of law. This republication of Fraenkel's classic makes it once again available to scholars and students in law, the social sciences, and the humanities. It includes Fraenkel's 1974 preface to and two appendices from the first German edition-never before published in English. An extensive introduction by Jens Meierhenrich places Fraenkel's ethnography of law in historical and theoretical context.

First edition, first printing. Soft cover. Photographically illustrated wrappers with French folds,. Photographs by fifty 19th-20th-century masters. Text by Jeffrey Fraenkel. Designed by Robin Weiss. 108 pp., with 51 tritone and four-color plates beautifully printed by the Allethaire Press, Williamsburg, Massachusetts, from separations by Robert J. Hennessey. Published on the occasion of the 1995 exhibition Seeing Things at Fraenkel Gallery, San Francisco, and the Palacio de los Condes de Gabia, Granada, Spain.

A global journey showing how philosophy can transform our biggest disagreementsTeaching Plato in Palestine is part intellectual travelogue, part plea for integrating philosophy into our personal and public life. Philosophical toolkit in tow, Carlos Fraenkel invites readers on a tour around the world as he meets students at Palestinian and Indonesian universities, lapsed Hasidic Jews in New York, teenagers from poor neighborhoods in Brazil, and the descendants of Iroquois warriors in Canada. They turn to Plato and Aristotle, al-Ghaz?l? and Maimonides, Spinoza and Nietzsche for help to tackle big questions: Does God exist? Is piety worth it? Can violence be justified? What is social justice and how can we get there? Who should rule? And how shall we deal with the legacy of colonialism? Fraenkel shows how useful the tools of philosophy can be―particularly in places fraught with conflict―to clarify such questions and explore answers to them. In the course of the discussions, different viewpoints often clash. That's a good thing, Fraenkel argues, as long as we turn our disagreements on moral, religious, and philosophical issues into what he calls a "culture of debate." Conceived as a joint search for the truth, a culture of debate gives us a chance to examine the beliefs and values we were brought up with and often take for granted. It won’t lead to easy answers, Fraenkel admits, but debate, if philosophically nuanced, is more attractive than either forcing our views on others or becoming mired in multicultural complacency―and behaving as if differences didn’t matter at all.

“Humans, unlike other living creatures, want to make and look at pictures.” So begins the introduction to the jaw-dropping array of photographs in Long Story Short, the latest in Fraenkel Gallery’s idiosyncratic surveys of photography since the medium’s invention 180 years ago.A surprising and unconventional slice of photography’s history, Long Story Short is also an abbreviated tour of Fraenkel Gallery’s approach to photography. Published to mark the gallery’s 40th (and still counting) year, this sumptuously designed and printed volume presents work by photography’s masters alongside that of little-known artists and anonymous thrift shop finds.Among the images to be discovered here are Eadweard Muybridge’s 1887 study of a contortionist performing extreme body movements; Man Ray’s 1923 ghostlike rayograph of an irradiated banjo; and a female impersonator applying her lipstick backstage, as seen by Diane Arbus in 1959.Interwoven among these are anonymous photographs of a tornado touching ground near Oak Bluffs, Massachusetts, in 1896; astronaut Buzz Aldrin standing beside an American flag on the moon in 1969; and a lawn mower flying inexplicably over a meadow in 1974. Presented in approximate chronological order, the unconventional flow of images conveys a profound sense of photography’s infinite riches, and is a meditation on the inexhaustible possibilities of the medium itself.

Winner of the Fraenkel Prize, Wiener Library for the Study of Holocaust and GenocideAn Open Letters Monthly Best History Book of the YearA New York Post “Must-Read”In the most crucial phase of the Second World War, German troops confronted the Allies across lands largely populated by Muslims. Nazi officials saw Islam as a powerful force with the same enemies as Germany: the British Empire, the Soviet Union, and the Jews. Islam and Nazi Germany’s War is the first comprehensive account of Berlin’s remarkably ambitious attempts to build an alliance with the Islamic world.“Motadel describes the Mufti’s Nazi dealings vividly...Impeccably researched and clearly written, [his] book will transform our understanding of the Nazi policies that were, Motadel writes, some ‘of the most vigorous attempts to politicize and instrumentalize Islam in modern history.’”―Dominic Green, Wall Street Journal“Motadel’s treatment of an unsavory segment of modern Muslim history is as revealing as it is nuanced. Its strength lies not just in its erudite account of the Nazi perception of Islam but also in illustrating how the Allies used exactly the same tactics to rally Muslims against Hitler. With the specter of Isis haunting the world, it contains lessons from history we all need to learn.”―Ziauddin Sardar, The Independent

Presences by Richard Learoyd. Published in 2011 by Fraenkel Gallery as a catalogue to accompany Learoyd's exhibition. 74 pages, 26 color photographs, soft cover with no dust jacket, 14" x12".

Published to mark the esteemed Fraenkel Gallery's 35th year, The Plot Thickens is an eye-opening expedition through the history of the medium, with approximately 90 wide-ranging photographs by artists as diverse as Diane Arbus, Christian Marclay, Robert Adams, Bernd & Hilla Becher, Mel Bochner, Walker Evans, Sol LeWitt, Lee Friedlander, Alec Soth, Katy Grannan, Hiroshi Sugimoto and Richard Learoyd. In the tradition of Fraenkel Gallery's award-winning anniversary publications from years past (such as Furthermore, 20Twenty and The Eye Club), The Plot Thickens includes a trove of images by unknown photographers, virtually none of which have been reproduced before. Designed by Katy Homans and printed with extraordinary fidelity, The Plot Thickens is a meditation on the inexplicable essence of the medium and an essential new publication for anyone who cares seriously about art and photography..

Winner of the 2014 Fraenkel Prize in Contemporary HistoryIn the most crucial phase of the Second World War, German troops, fighting in regions as far apart as the Sahara and the Caucasus, confronted the Allies across lands largely populated by Muslims. Nazi officials saw Islam as a powerful force with the same enemies as Germany: the British Empire, the Soviet Union, and the Jews. Islam and Nazi Germany's War is the first comprehensive account of Berlin's remarkably ambitious attempts to build an alliance with the Islamic world. Drawing on archival research in three continents, David Motadel explains how German officials tried to promote the Third Reich as a patron of Islam. He explores Berlin's policies and propaganda in the Muslim war zones, and the extensive work that authorities undertook for the recruitment, spiritual care, and ideological indoctrination of tens of thousands of Muslim volunteers who fought in the Wehrmacht and the SS. Islam and Nazi Germany's War reveals how German troops on the ground in North Africa, the Balkans, and the Eastern front engaged with diverse Muslim populations, including Muslim Roma and Jewish converts to Islam. Combining measured argument with a masterly handling of detail, it illuminates the profound impact of the Second World War on Muslims around the world and provides a new understanding of the politics of religion in the bloodiest conflict of the twentieth century.

Joint Winner of Fraenkel Prize for Contemporary History 2001, London. Winner of Talmon Prize, Israel, awarded by the Israeli Academy of Sciences. Although it was one of the most common experiences of combatants in World War I, captivity has received only a marginal place in the collective memory of the Great War and has seemed unimportant compared with the experiences of soldiers on the Western Front. Yet this book, focusing on POWs on the Eastern Front, reveals a different picture of the War and the human misery it produced. During four years of fighting, approximately 8.5 million soldiers were taken captive, of whom nearly 2.8 million were Austro-Hungarians. This book is the first to consider in-depth the experiences of these prisoners during their period of incarceration.How were POWs treated in Russia? What was the relationship between prisoners and their home state? How were concepts of patriotism and loyalty employed and understood? Drawing extensively on original letters and diaries, Rachamimov answers these and other searching questions. In the process, major omissions in previous historiography are addressed. Anyone wishing to have a rounded history of the Great War will find this book fills a major gap.

In this introduction to set theory and logic, the author discusses first order logic, and gives a rigorous axiomatic presentation of Zermelo-Fraenkel set theory. He includes many methodological remarks and explanations, and demonstrates how the basic concepts of mathematics can be reduced to set theory. He explains concepts and results of recursion theory in intuitive terms, and reaches the limitative results of Skolem, Tarski, Church and Gödel (the celebrated incompleteness theorems). For students of mathematics and philosophy, this book provides an excellent introduction to logic and set theory.

The Dual State, first published in 1941, remains one of the most eruditebooks on the logic of dictatorship. It was the first comprehensive analysis of the rise and nature of National Socialism-and the only such analysis written from within Hitler's Germany. Ernst Fraenkel's courageous ethnography of law was widely acclaimed upon publication, and it has influenced considerably postwar debates about the nature of the "Third Reich." But The Dual State also has relevance for the study of dictatorship in the twenty-first century. Fraenkel's innovative concept of "the dual state," with its two halves-the normative state (which generally respects its own laws and regulations) and the prerogative state (which violates them wantonly)-illuminates powerfully the complicated relationship between law and order in many countries around the world. It speaks directly to the idea of an authoritarian rule of law. This republication of Fraenkel's classic makes it once again available to scholars and students in law, the social sciences, and the humanities. It includes Fraenkel's 1974 preface to and two appendices from the first German edition-never before published in English. An extensive introduction by Jens Meierhenrich places Fraenkel's ethnography of law in historical and theoretical context.

"There are no better biographies of Goering, Goebbels, and Himmler in existence." -- The New York Review of Books Authors Roger Manvell and Heinrich Fraenkel, notable biographers of the World War II German leaders Joseph Goebbels and Herman Goring, delve into the life of one of the most sinister, clever, and successful of all the Nazi leaders: Heinrich Himmler. As the head of the feared SS, Himler supervised the extermination of millions. Here is the story of how a seemingly ordinary boy grew into an obsessive and superstitious man who ventured into herbalism, astrology, and homeopathic medicine before finally turning to the "science" of racial purity and the belief in the superiority of the Aryan people.

This text covers the parts of contemporary set theory relevant to other areas of pure mathematics. After a review of "naïve" set theory, it develops the Zermelo-Fraenkel axioms of the theory before discussing the ordinal and cardinal numbers. It then delves into contemporary set theory, covering such topics as the Borel hierarchy and Lebesgue measure. A final chapter presents an alternative conception of set theory useful in computer science.

This book offers translations of ten influential articles and extracts on Homer by such prestigious German scholars as Wolfgang Schadewaldt, Karl Reinhardt, and Hermann Fraenkel. Ranging through such topics as similes, the adventures of Odysseus, Homeric-period social life, these key works will open entirely new perspectives for teachers and scholars in the English-speaking world. An accompanying introduction places the articles in context with contemporary scholarly concerns.