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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..

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.

Mel Bochner (born 1940) coined some of Postminimalist and Conceptual art's most characteristic strategies--the gallery as subject, language as material, the photo documentation of works as the work itself, the appropriation of ephemeral materials by other artists--and directed those strategies towards a radical excavation of all that had been rendered peripheral to art's content. In the mid- to late 1960s, Bochner became deeply involved with photography, producing a groundbreaking group of photographs that hover tantalizingly between painting and photography. Mel Bochner: Photographs and Not Photographs presents reproductions of these early works, as well as the artist's classic 1970 essay "Misunderstandings (A Theory of Photography)" and a selection of wall drawings and paintiings. Bochner has collaborated closely on the design of this beautifully produced volume, the cover of which is made of sturdy plexiglas.

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.

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.

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.

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".

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

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..

The Fraenkel Gallery celebrates its 20th anniversary with a special exhibition and corresponding catalogue entitled 20Twenty. Including works by 68 photographers and spanning the history of the medium, this project focuses on masterworks as well as entirely unknown photographs by anonymous practitioners. The artists include Arbus, Brassai, Cornell, Duchamp, Eggleston, Kertesz, LeWitt, Man Ray, Modotti, Rodchenko, Ruscha, Stieglitz, Strand, and Warhol, among many others. Moving backwards, forwards, and sideways through the past 160 years, the works interweave in unexpected ways themes that photographers have addressed since the invention of the medium. Through its concentration on a group of photographs which have propelled, sustained, and re-invented the medium, 20Twenty involves the viewer in photography's intricate past, present, and future.

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.

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.

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.

This book offers a new algebraic approach to set theory. The authors introduce a particular kind of algebra, the Zermelo-Fraenkel algebras, which arise from the familiar axioms of Zermelo-Fraenkel set theory. Furthermore, the authors explicitly construct these algebras using the theory of bisimulations. Their approach is completely constructive, and contains both intuitionistic set theory and topos theory. In particular it provides a uniform description of various constructions of the cumulative hierarchy of sets in forcing models, sheaf models and realizability models. Graduate students and researchers in mathematical logic, category theory and computer science should find this book of great interest, and it should be accessible to anyone with a background in categorical logic.

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.

In this classic biography, available for the first time in paperback, Manvell and Fraenkel have drawn on interviews with members of Goering's family, his former associates, his enemies and his servants.

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.

Every five years or thereabouts, the renowned Fraenkel Gallery in San Francisco finds itself with a number of unrelated works of photography that stand out as special, and which ultimately get collected in one of the gallery's award-winning and sought-after quintannual publications. These publications, every one of which has been a masterpiece of photography publishing, and swiftly becomes a rarity, constitute a kind of ultimate connoisseur's survey of photographic gems. As with previous anniversary publications, the present trove, collected in Furthermore, includes a fantastic collection of images by photographers unknown, such as an X-ray of a change purse, a Polaroid from a prison yard, a collage of the moon's surface radioed to earth from an unmanned spacecraft--all of which appear, as usual, alongside several dozen photographs made by serious artists with complicated intentions. Among those serious artists are Diane Arbus, Andy Warhol, Robert Adams, Bernd and Hilla Becher, Sol LeWitt, Lee Friedlander, Hiroshi Sugimoto, Richard Misrach and Irving Penn. Marking the Fraenkel Gallery's thirtieth anniversary, Furthermore is designed by Katy Homans and printed with extraordinary fidelity by Meridian Printing. The cover reproduces the only known print of Morton Schamberg's 1918 Dada masterpiece, "God." Furthermore is a meditation on the inexplicable essence of the medium, and an essential new publication for anyone who cares seriously about art and photography.Jeffrey Fraenkel opened Fraenkel Gallery in San Francisco in 1979. Since that time the gallery has presented almost 300 exhibitions spanning the history of photography. Fraenkel has authored or edited more than a dozen books investigating aspects of the medium, including The Eye Club, Edward Hopper & Company and The Book of Shadows.