Monday, December 4, 2023
Remembering Tony Vaccaro on the anniversary of his 100th birthday and subsequent passing
Wednesday, June 1, 2022
Queens, New York: lunch with the Maestro. Tony Vaccaro photographed by Ashley Gilbertson
Via Instagram
June 1, 2022
Queens, New York: lunch with the Maestro. Tony Vaccaro photographed by Ashley GilbertsonMonday, November 15, 2021
Gallery Photographers Margaret Bourke-White and Alfred Eisenstaedt Included in “Masters of Photography" Exhibit
Via The San Diego Union Tribune
November 14, 2021
“Things as They Are: City, Society and Conflict” covers everything from a chilling shot of Nazi minister of propaganda Joseph Goebbels by Alfred Eisenstaedt in 1933. Two of Bourke-White’s prints are on view in the “Things as They Are: City, Society and Conflict” section. One is a 1951 image of the U.S. Navy aircraft carrier Boxer, stationed in San Diego, the other is of the Buchenwald concentration camp liberation in 1945. "
Thursday, December 17, 2020
Steve McCurry on Tony Vaccaro in "Unsung Heroes" Project
In the behind-the-scenes video below, Steve McCurry talks us through this three choices for the #MyUnsungHeroes project. First up is 98-year-old fellow photographer Tony Vaccaro who is best known for his powerful pictures of World War II – but who hit the news this year as a Covid-19 survivor. In the picture that McCurry takes, Vaccaro is seen holding portraits that he took of Pablo Picasso and Sophia Loren during his post-war career as a fashion & magazine photographer.
Video: Steve McCurry takes you behind the scenes of the portraits he shot for the Xiaomi #MyUnsungHeroes portrait project
"One of the things I admire about Tony is that he photographed in virtually impossible circumstances during the war; he even sometimes developed his film in his helmet at night", explains McCurry.
“Heroines and heroes, from all walks of life, are the backbone in this difficult moment when we all need to toughen up and carry on. I would really want to make a memory to make these faces remembered."
The other two heroes he chose were closer to home –his four-year-old daughter Lucia, and his Studio & Exhibitions Manager Camille Clech.
--Tony Vaccaro celebrates his 98th birthday on December 20, 2020. View the exhibition "Tony Vaccaro at 98" here. A brief bio film about Tony may be viewed on our YouTube channel here.
Monday, June 1, 2020
NY Times Obituary: John Loengard, Life Photographer and Chronicler, Dies at 85
He shot compelling portraits of the Beatles, Georgia O’Keeffe and many others. He also celebrated photography, and Life magazine, in several books.
“As we were having lunch, she pulled out from the sideboard boxes of the rattles that she’d collected,” he recalled in “Life Photographers: What They Saw” (1998), a collection of 43 interviews he conducted (and one that someone else conducted of him). “I figured O’Keeffe would like to be known to the readers of Life magazine as a killer. I asked if I might take pictures at the table.
“‘Certainly,’ she said. “I photographed her hand moving the rattles around one of the little boxes, with a wooden match.”
The O’Keeffe photos, some of which appeared in Life, were included in a book, “Georgia O’Keeffe/John Loengard: Paintings and Photographs,” published in 2006.
Friday, November 17, 2017
Art Shay, 70 years in American streets
Upon returning to civilian life, Shay then wrote Sunday features for the Washington Post before becoming a staff reporter for Life magazine. In San Francisco at age 26, he became Life’s youngest bureau chief. His specialty was story ideas and he wrote text and captions for photographers such as Alfred Eisenstaedt, Peter Stackpole, Wallace Kirkland and Francis Miller.
In 1951, Shay left his staff position at Life magazine and became a freelance photographer. He found success shooting for major magazines including Life, Time, The New York Times Magazine, and more. Shay earned a reputation for getting the shots editors wanted. As former editor of Life and Fortune Roy Rowan put it: “Art Shay’s extraordinary talent lies in capturing the human spirit of all those who come before his lens.”
Shay’s images range from photographs of nine US Presidents, to the early 1960s Post cereal box baseball card photographs, to a forty-year ongoing essay of a local shopping mall. He is the author of nearly 70 books, including several dozen nonfiction children’s books. His last formal assignment was in 1988, when he shot the night the lights went on at Wrigley Field for Time Magazine. He is first of all a wanderer of the different streets throughout the United States, as one picture of the streets of Chicago in 1950 shows it. “I took this street montage near 26th and California Ave,” he recalls. “It’s a lovely accident, created by a mis-wound Super Ikonta B. The Super Ikonta B's main feature was an 80mm lens that focused through a range finder and you focused it by turning around one element. I was playing around with the camera because I thought it was peculiar that it took 11 shots on a roll. I shot this, essentially four frame, montage while shooting out from my 1949 Pontiac car window.”
Art Shay
Exhibition Extended Through January 21, 2018
Monroe Gallery of Photography
112 Don Gaspar Ave
Santa Fe, NM 87501
USA
http://www.monroegallery.com/
Tuesday, August 23, 2016
International Photography Hall of Fame Induction & 50th Anniversary Celebration Honors Ernst Haas
IPHF announced its 2016 class of Photography Hall of Fame inductees. Eight photographers and photography industry visionaries who embody the spirit, artistry and innovation of modern photography have been selected for induction:
- Ken Burns, documentary filmmaker
- Ernst Haas, 20th century professional photographer
- Steve Jobs, former Apple Inc. chairman and CEO and technology pioneer
- John Knoll, co-creator of Adobe Photoshop
- Thomas Knoll, co-creator of Adobe Photoshop
- Annie Leibovitz, portrait photographer
- Graham Nash, creator of fine art digital printing, photographer and musician
- Sebastião Salgado, documentary photographer and photojournalist
“As we look ahead to the next 50 years of the IPHF, we are honored to continue to recognize and celebrate photographers and industry professionals that have made significant contributions to the profession, helping to shape and define modern photography,” said Patty Wente, executive director of the IPHF. “This year’s inductees represent the perfect combination of innovation and artistry; bridging photography’s pioneering past with its fantastic future.”
The Induction and 50th Anniversary Celebration Event for the 2016 inductees will take place on October 28, 2016 – additional details will be announced soon
Ernst HaasErnst Haas (1921-1986) is acclaimed as one of the most celebrated and influential photographers of the 20th Century, and considered one of the pioneers of color photography. In the 1950's he began experimenting with Kodachrome color film and went on to become one of the premier color photographers of the decade. In 1953, Life featured his groundbreaking 24-page color photo essay on New York City, the first time such a large color photo feature was published in the magazine. In 1962, a retrospective of his work was the first color photography exhibition held at New York's Museum of Modern Art (MoMA). Throughout his career, Haas traveled extensively, photographing for Life, Vogue and Look, to name a few of many influential publications. Haas has continued to be the subject of museum exhibitions and publications such as "Ernst Haas, Color Photography" (1989), "Ernst Haas in Black and White"(1992) and "Color Correction" (2011).
Tuesday, June 16, 2015
Santa Fe Public Radio "At Noon" features Margaret Bourke-White exhibition
Listen here.
Saturday, June 13, 2015
Happy Birthday Margaret Bourke-White
Tuesday, October 14, 2014
Screening of the film Remembering Edward Weston
Via The New Mexico Museum of Art
Celebrating its rich collection of photographs and the key role the medium has played in shaping New Mexico history, culture, and tourism, the museum presents a series of exhibitions in the year-long series Focus on Photography (March 7, 2014 – April 19, 2015). In conjunction with these exhibitions, the museum will host gallery talks by photographers as well as a photography film series:
October 18: Remembering Edward Weston is filled with stories and memories of this much-loved and influential photographer. The film includes interviews with two of Weston’s sons, his former wife Charis Wilson, historian Beaumont Newhall, and many others. Curator of Photography Katherine Ware will introduce the film with a short slide presentation about Edward Weston in New Mexico.
Friday, November 25, 2011
JOHN LOENGARD: DEVELOPMENT OF PHOTOGRAPHY
Anyone intuiting that famed photographer John Loengard chose the name “Age of Silver” for his new book and show opening today at Monroe Gallery because it referred to a development process for photographs would be ... entirely correct.
“Any lens can form an image, but the way to make the picture permanent was a mystery for centuries,” Loengard said in an email interview. “In the 1830s two men, independently, discovered that using the chemistry of silver was the solution. Television, of course, is electronic photography, but silver remained the basis of still photography until the start of the 21st century. I wanted to pay tribute to silver and to a few of those who have made fabulous use of it.”
His new book is an ode to the art form to which Loengard has dedicated his life. The exhibition of photographs opens with a reception and book signing today and continues through Jan. 29.
“I hope my enthusiasm for my subjects comes through. I got interested in photography when I was 11 years old, so I’ve spent 66 years taking pictures,” Loengard said. “Some of these photographers were my idols; some are my colleagues. I’ve edited the work of others, and I’ve hired some to take pictures. I’m immersed in photography. It’s a human occupation that I love.”
Loengard was born in New York City in 1934 and received his first assignment from LIFE magazine in 1956, while still an undergraduate at Harvard. He joined the magazine’s staff in 1961 and in 1978 was instrumental in its re-birth as a monthly, serving as picture editor until 1987.
Under Loengard’s guidance in 1986, LIFE received the first award for “Excellence in photography” given by the American Society of Magazine Editors. In 1996, Loengard received a Lifetime Achievement Award “in recognition of his multifaceted contributions to photojournalism” from Photographic Administrators, Inc.
In “Age of Silver,” Loengard has focused his lens on some of the most important photographers of the last half-century, including Annie Leibovitz, Ansel Adams, Man Ray, Richard Avedon, Sebastiao Salgado, Alfred Eisenstaedt, Henri Cartier-Bresson, Harry Benson and others. Loengard caught them at home and in the studio, posed portraits and candid shots of the artists at work and at rest. It is the work of 40 years.
Far from an attempt to put forth a singular definition of modern photographic practice, this beautifully printed book instead presents evidence of the unique vision and extremely personal style of every artist pictured.
Loengard has published a half-dozen books, including “Pictures Under Discussion,” which won the Ansel Adams Award for book photography in 1987; “Celebrating the Negative,” and “Georgia O’Keeffe at Ghost Ranch.”
His book “LIFE Photographers: What They Saw” was named one of the year’s top 10 books for 1998 by The New York Times. Loengard wrote an extensive introduction for the major book “The Great LIFE Photographers,” published in 2004. “As I See It,” a monograph of his photography, was published by Vendome Press in 2005. “Image and Imagination,” a book of photographs of Georgia O’Keeffe paired by O’Keeffe paintings, was published by Chronicle Books in 2008.
His interest in O’Keeffe originally was sparked by the fact that she had been married to the photographer Alfred Stieglitz, but he grew interested in the artist herself, especially her calm attraction to the camera.
“When I photographed the painter Georgia O’Keeffe, in 1966, the fact that she was the widow of the great photographer Alfred Stieglitz was what intrigued me most,” he said. “Of course, she didn’t want to talk about him — except, maybe, a funny story about being in charge of the Stieglitz family laundry during summers in the Adirondacks at Lake George — but she had learned how she looked to the camera from the scads of photographs he’d taken of her. She was the most perfect model I have ever photographed.”
Georgia O'Keeffe on roof, Abiquiu, 1967 |
Monroe Gallery of Photography was founded by Sidney S. Monroe and Michelle A. Monroe and is celebrating its 10th anniversary this year.
“Time flies,” Sidney Monroe said. “We keep thinking we’re new, but all of a sudden we realize we’re 10 years old.” He said they regard the Loengard exhibition as a perfect celebration of 10 years in Santa Fe.
WHAT: “Age of Silver,” photographs and book by John Loengard
WHEN: Today through Jan. 29 WHERE: Monroe Gallery of Photography, 112 Don Gaspar
CONTACT: 505-992-0800; monroegallery.com
Friday, November 18, 2011
JOHN LOENGARD EXHIBITION CELEBRATES "AGE OF SILVER"
Monroe Gallery of Photography, 112 Don Gaspar, is pleased to announce an exhibition of photographs by John Loengard celebrating his new book, "Age of Silver", an ode to the art form to which he dedicated his life. The exhibition opens with a reception and book signing on Friday, November 25 from 5 to 7 PM. The exhibition continues through January 29, 2011. Signed copies of the new book will be available throughout the exhibit.
La Lettre de la Photographie: John Loengard Age Of Silver
Life: John Loengard's 'Age of Silver'
David Schonauer's "The Big Picture": Books: Loengard’s Ode to the Age of Silver
Wall Street Journal Gift Guide: Photography Books
Sunday, October 2, 2011
The Unseen Eye: Photographs from the W.M. Hunt Collection
All eyes will be on George Eastman House International Museum of Photography and Film this fall as it presents one the largest exhibitions in its history — The Unseen Eye: Photographs from the W.M. Hunt Collection. More than 500 photographs by the masters of the medium will be on view Oct. 1, 2011 through Feb. 19, 2012. The Eastman House is dedicating all of its primary gallery space to this exhibition.
Earlier this year The New Yorker referred to the collector as “the legendary” W.M. Hunt. He is a renowned curator and dealer who has been collecting photographs for 40 years. A self-described “champion of photography,” he is well-known for his “eye” and sense of humor. Hunt describes the collection as “magical, heart-stopping images of people in which the eyes cannot be seen.”
The photographs of The Unseen Eye have a common theme — the gaze of the subject is averted, the face obscured, or the eyes firmly closed. The images evoke a wide range of emotions and are characterized, by what, at first glance, the subject conceals rather than what the camera reveals.
Eastman House will present the first major U.S. exhibition of the collection, from which Aperture is simultaneously publishing a book titled The Unseen Eye: Photographs from the Unconscious, to be released in October. Highlights from the collection have previously been seen in Europe at the Rencontres de la Photographie in Arles, France; the Musée de l'Elysée in Lausanne, Switzerland; and Foam-Fotografiemuseum in Amsterdam, The Netherlands.
“This collection and exhibition represent a very personal journey for me,” Hunt said. “It is my conscious made manifest. These are all photos of me. But they’re all of you, too. They are evocative, whimsical, representational, many things. I love the mystery of it. You have to react, to come to the image, to make up your own story.”
The collector’s first purchase was an Imogen Cunningham photograph, in which the subject’s eyes are veiled and unseen by the camera. This now extensive collection of haunting photographs reflects Hunt’s surreal vision and includes Weegee's multi-imaged portrait of Andy Warhol in sunglasses, the breakthrough news photo of Ruth Snyder in the electric chair in 1928, and Robert Mapplethorpe's photographs of artist Alice Neel shortly before her death. Vintage and contemporary black and white images join photographs in vibrant colors to create a picture of humanity from birth to death, from the banal to the transcendent.
The featured works range from daguerreotype to digital by photographers such as Berenice Abbot, Richard Avedon, Robert Frank, Lee Friedlander, Annie Leibovitz, Robert Mapplethorpe, Irving Penn, Man Ray, Edward Steichen, Edward Weston, and Joel-Peter Witkin, as well as 19th-century work from Nadar, Alinari, and Roger Fenton. The whole range of photographic processes, as well as different formats, is featured via the 500 photographs, selected from the 1,500 images in the collection. The most recent acquisition is a triptych of film stills from Jean-Luc Godard’s “Le Petit Soldat.” The largest is a hand-colored self-portrait by Dutch artist Teun Hocks and the smallest is a photo-booth self-portrait by the Surrealist André Breton. The oldest object is a gravure of the Shroud of Turin by Secondo Pio.
The exhibition also includes work by contemporary photo-based artists — some of whom have not yet been shown at Eastman House — such as Mitch Epstein, Steven Klein, and Kiki Smith. Hunt is a long-time supporter of emerging talent. He selected a portrait by Carrie Levy as the cover image of his book’s U.S. version. As a dealer he introduced talents such as Elinor Carucci, Luc Delahaye, Michael Flomen, Bohnchang Koo, Luis Mallo, Erwin Olaf, and Paolo Ventura, and as a writer he has worked with Bill Armstrong, Mark Beard, Manuel Geerinck, and Jeff Sheng — all of whom are represented by work in the collection and exhibition.
The Unseen Eye exhibition features little wall text, but it does include video commentaries by Hunt, with personal responses to these images gathered over many years and his insights into the psychology of collecting.
Eastman House will feature a small accompanying exhibition of “unseen eyes” selected by Hunt from the museum’s unparalleled permanent collection. These range from Dorothea Lange’s 1933 photograph “White Angel Bread Line,” to an unattributed 1850 daguerreotype of a blind man holding a cat. A related online exhibition will include hundreds of vernacular photographs —snapshots — from Hunt’s collection.
Hunt has had a long relationship with Eastman House as well as with photography. “George Eastman House is excited about this special collaboration with this insightful collector,” said Dr. Alison Nordström, Eastman House curator of photographs and director of exhibitions. “We have always understood ourselves as a collection of collections, beginning with Kodak’s Eastman Historical Collection and the collections of Gabriel Cromer, Alden Scott Boyer, Alvin Langdon Coburn, and Edward Steichen. The idiosyncratic eye of an individual private collector offers a rich and varied complement to our institutional holdings.”
W.M. Hunt and Featured Artists in Person
Eastman House will welcome W.M. Hunt for a public lecture about The Unseen Eye at 6 p.m. Friday, Oct. 21, in the Dryden Theatre, followed by a booksigning and reception for museum members. The Unseen Eye: Photographs from the Unconscious (Aperture, $75) will be sold on site at the Eastman House Store following the lecture. Admission will be $12 adults, $10 seniors, and $5 students.
The next day, from 9:30 a.m. to 12 p.m. Saturday, Oct. 22, Hunt and artists whose work is featured in The Unseen Eye will present a panel discussion of their work next door to Eastman House at The Hutchison, 930 East Ave. Following the talk, the artists will sign copies of Hunt's book and photo books of their own. Included with museum admission: $12 adults, $10 seniors, and $5 students. Tickets can be purchased that day at Eastman House or The Hutchison.
Friday, September 2, 2011
NEWLY DISCOVERED ERNST HAAS COLOR PHOTOGRAPHS
A new book of recently discovered "new" color photographs by Ernst Haas has generated a lot of interest.
Ernst Haas is unquestionably one of the best-known, most prolific and most published photographers of the twentieth century.
Paradoxically, however, there was also a side of his work that was almost entirely hidden from view. Parallel to his commissioned work Haas constantly made images for his own interest, and these pictures show an entirely different aspect of Haas’s sensibility: they are far more edgy, loose, complex and ambiguous – in short, far more radical than the work which earned him fame. Haas never printed these pictures in his lifetime, nor did he exhibit them, probably believing that they would not be understood or appreciated. Nonetheless, these works are of great complexity, and rival (and sometimes surpass) anything done at the time by his fellow photographers
Exhibition at London's Atlas Gallery September 14 - October 22
Prints available from Monroe Gallery of Photography
Saturday, March 19, 2011
SCENES FROM THE AIPAD PHOTOGRAPHY SHOW
Sunday, March 6, 2011
THE AIPAD PHOTOGRAPHY SHOW PREVIEW: EXHIBITION HIGHLIGHTS
AIPAD Photography Show in New York
Via Photography-Collection.com
March 6, 2011
79 fine art photography galleries will present a wide range of artworks including contemporary, modern, and 19th century photographs, as well as photo-based art, video, and new media, at the Photography Show New York of the Association of International Photography Art Dealers (AIPAD). The 31st edition of The AIPAD Photography Show New York will open with a Gala Preview on March 16 to benefit the John Szarkowski Fund, an endowment for photography acquisitions at The Museum of Modern Art in New York City.
Exhibitors
A wide range of the world’s leading fine art photography galleries will exhibit at The AIPAD Photography Show New York. In addition to galleries from New York City and across the country, a number of international galleries will be featured from Canada, the UK, France, Germany, Argentina, Israel, Japan, and China.Among the 79 galleries in the Show will be six galleries showing for the first time at AIPAD. The new AIPAD members showing are: Galerie f5,6, Munich; VERVE Gallery of Photography, Santa Fe; and Vision Neil Folberg Gallery, Jerusalem. The new guest exhibitors are June Bateman Fine Art, New York; Paul Cava Fine Art Photographs, Bala Cynwyd, PA; and James Hyman Photography, London. A complete exhibitor list is available here.
Exhibition Highlights
A solo exhibition of Alec Soth’s most recent body of work, Broken Manual, will be on view at Weinstein Gallery, Minneapolis. The series explores the lives and habitats of people who live off the grid and outside society. A portion of this work was featured in Soth’s recent survey show, From Here to There: Alec Soth’s America at the Walker Art Center in Minneapolis. An accompanying catalog by Steidl was published last year. A number of portraits will be on view at The AIPAD Photography Show New York. Gary Edwards Gallery, Washington, DC, will show a portrait of Chairman Mao from 1963 by an unknown Xinhua Agency photographer. The portrait is said to have been printed in over 100 million copies. It is the basis of the gigantic portrait hanging on Tiananmen Gate, facing Tiananmen Square in Beijing; and Andy Warhol’s Mao screenprints of 1972 are based on this photograph, as well. Mariana Cook photographed the artist William Kentridge last July in South Africa and the portrait will be exhibited at Lee Marks Fine Art, Shelbyville, IN. Cook is known for her portrait of Barack and Michelle Obama. Andrea Meislin Gallery, New York, will show work from Naomi Leshem’s Sleepers series taken over a period of four years in Israel, Germany, Switzerland, France, and the United States. Leshem photographs teenagers in their homes as they sleep. After waiting about an hour and half, the sleepers enter a period of tossing and turning that Leshem calls the “dance in the night.” During this time, she captures their portraits as her subjects drift between conscious and subconscious. A portrait of a doll, Anna, 2010, by Canadian artist Fausta Facciponte will be on view at Stephen Bulger Gallery, Toronto. Facciponte examines the way objects are preserved, decayed, or forgotten as they are passed along from one owner to the next. The spare beauty of seascapes and landscapes from Sze Tsung Leong’s ongoing series entitled Horizons will be seen at Yossi Milo Gallery, New York. Leong was born in Mexico City and now lives and works in New York. The Berlin-based Jessica Backhaus explores the play of light and color on the rippling water in Venice and Burano, Italy, at Laurence Miller Gallery, New York.
New landscapes by Victoria Sambunuris from her recent Border series will be exhibited at Yancey Richardson Gallery, New York. New work by Alex Prager will also be on view. Richard Renaldi’s Smashed Water Tower, Electra, Texas, 2005, from his acclaimed series and publication Figure and Ground (Aperture, 2006), takes an element of the quintessential American landscape one step further, documenting its sculptural quality and inherently making a statement about American society today. The work will be on view at Robert Morat Galerie, Hamburg. Focusing on the urban landscape, Jeff Chien-Hsing Liao’s Nathan’s, 2010, from his Coney Island series, will be shown at Julie Saul Gallery, New York. Recently, Liao’s work was seen in a three person show at the J. Paul Getty Museum, at the Bronx Museum of the Arts with a commissioned project on the 100th anniversary of the Grand Concourse, and at the Queens Museum in an exhibition of his Habitat 7 series. New work by Abelardo Morell will be on view at Bonni Benrubi Gallery, New York, including images of a landscape in Florence and a rooftop view of the Brooklyn Bridge made with a camera obscura. GalerÃa Vasari, Buenos Aires, will show the work of photographers, such as Annemarie Heinrich and Juan Di Sandro, who immigrated to Argentina between the 1930s and ‘50s. Originally from Europe, they belonged to a generation that had been trained at the most refined avant-garde schools and there is no doubt of their fundamental role in the development of modern photography in Argentina. Michael Hoppen Gallery, London, will exhibit work from the Diorama Map series by the Japanese artist Sohei Nishino (born 1982). This will be the first time his work has been shown in the United States. The series is an ongoing project to map the world’s great cities – to date Tokyo, Osaka, Hiroshima, Kyoto, Shanghai, Hong Kong, Paris, New York, London – using a unique process of photography and collage. An intense month of shooting thousands of photographs on black-and-white film from hundreds of locations across the city is followed by several months of developing, printing, cutting, pasting, and arranging of the re-imagined city into a huge photographic collage. The final piece is re-shot using a large format camera to create a single grand photographic print. Niko Luoma is one of the leading professors at the University of Art and Design, Helsinki, and is an integral part of the Helsinki School. His series of abstract chromogenic prints are inspired by nature in flux, every day events, chaos, chance, and time. Luoma uses a simple mathematical system in exposing negative space and composing each work based on ideas of symmetry. The photographs will be on view at Bryce Wolkowitz Gallery, New York. Fiona Pardington’s large-scale photographs in her series Ahua: A Beautiful Hesitation document the sculptures of indigenous peoples encountered during French explorer Dumont d’Urville’s 1837 voyage to the South Pacific and will be on view at Lisa Sette Gallery, Scottsdale, AZ.
John Cleary Gallery, Houston, TX, will show work by Andre Kertesz, and Ansel Adams, as well as Maggie Taylor’s most famous image, Girl with a Bee Dress, 2004. Peter Fetterman Gallery, Santa Monica, CA, will present a one person show of new work by Sebastiao Salgado. HackelBury Fine Art Ltd., London, will show recent work by Doug and Mark Starn. Grey Villet was considered a master of the classic “fly on the wall” style of photojournalism. His gelatin silver print The Little Rock Nine enter classroom to register after escort from Army’s 101st Airborne Division, September 25, 1957 will be on view at Monroe Gallery of Photography, Santa Fe, NM. Charles Schwartz Ltd., New York, will show a collection of more than 100 photographs and ephemera relating to the capture of Jefferson Davis. Soon after he was apprehended at the end of the Civil War, it was reported fictitiously that Jefferson Davis had attempted to escape by disguising himself as a woman in his wife’s dress and bonnet. Once this rumor was released and taken up by the media, it spread like wild fire, as the country found an easy target for its anger and loathing of Davis. In addition, the Republicans in the North wanted to degrade the former President of the Confederacy in any way they could, so they encouraged this false report with such vigor that it soon became generally accepted as the truth. James Hyman Photography, London, will present a curated exhibition surveying the history of British social photography over the past 150 years. From Talbot to Fox expands upon the genre to highlight a unique form of photography which has concentrated on themes of class, society, consumer culture, and the British political landscape. Deborah Bell Photographs, New York, will exhibit black-and-white photographs by Andy Warhol (c. 1981-86) taken from street life, providing insight into “Andy’s eye.” Barry Singer Gallery, Petaluma, CA, will show John Baldessari’s Blue Boy (with yellow boy: one with Hawaiian tie, one in dark), 1989, a three-color lithograph that is similar to one shown last year in the Baldessari retrospective at the Metropolitan Museum of Art, New York. A new work by Chris Jordan, Plastic Bags, 2010, from his series Running The Numbers: An American Self-Portrait will be the highlight at Kopeikin Gallery, Los Angeles. The photograph depicts Botticelli’s The Birth of Venus using 230,000 plastic bags, the estimated number of plastic bags used around the world every ten seconds.
Panel Discussions
The Photography Show New York will present a schedule of panel discussions on Saturday, March 19, 2011 at the Veteran’s Room at the Park Avenue Armory. The panels include PHOTOGRAPHY NOW: HOW ARTISTS ARE THINKING TODAY, which will discuss the issues contemporary photographers and artists are dealing with now. Among the panelists are Julie Saul, Julie Saul Gallery, and artists Shirin Neshat and Alec Soth.
PICTURES INTO PAGES: PHOTOGRAPHY BOOK PUBLISHING NOW will explore how now more than ever, beautiful photography books are in demand, coveted by many, and considered an important part of a collector’s repertoire. Speakers will include Steven Kasher, Steven Kasher Gallery; Eric Himmel, Vice President, Editor-in-Chief, Abrams; Lesley Martin, Publisher, Aperture Foundation; Nion McEvoy, Chairman & CEO, Chronicle Books; Anthony Petrillose, Managing Editor, Rizzoli; and Gerhard Steidl, Publisher, Steidl.
NEW CURATORS/NEW DIRECTIONS will focus on the work of a photography curator at a top museum. Curators will discuss their goals and reflect on how photography has become more integrated into both exhibitions and collections over the last 10 years. The speakers will include Rick Wester, Rick Wester Fine Art, Inc.; Simon Baker, Curator of Photography and International Art, Tate; Roxana Marcoci, Curator, Department of Photography, The Museum Of Modern Art; Britt Salvesen, Department Head and Curator, Photography Department, Prints and Drawings Department, The Los Angeles County Museum of Art; Brian Wallis, Chief Curator, International Center of Photography; and Matthew S. Witkovsky, Curator and Chair, Department of Photography, The Art Institute of Chicago.
THE VOICE OF EXPERIENCE: BEHIND THE SCENES AT AIPAD GALLERIES will review how leading AIPAD dealers organize exhibitions and work with collectors. Speakers will include Jill Arnold, Director of Business Development, AXA Art Insurance Corporation; Howard Greenberg, Howard Greenberg Gallery; Peter MacGill, Pace/MacGill Gallery; Yancey Richardson, Yancey Richardson Gallery; and Martin Weinstein, Weinstein Gallery.
AIPAD AND THE IPAD: NEW TECHNOLOGY AND PHOTOGRAPHY will look at how all forms of new media technology are affecting the field of photography – from bloggers and Facebook to Flickr and YouTube. Speakers will include: Barbara Pollack, artist and arts journalist; Jen Bekman, Founder + CEO, 20×200 , Jen Bekman Projects; Bill Charles, Bill Charles Represents, New York, and Scott Dadich, Executive Director, Digital Magazine Development, Conde Nast.
Tickets are $10 for the panel discussions and are available on a first-come first-served basis.
Show Information
The AIPAD Photography Show New York will run from Thursday, March 17 though Sunday, March 20, 2010 at the Park Avenue Armory at 67th Street in New York City. Show hours are as follows:
Thursday March 17 11 a.m. to 7 p.m.
Friday March 18 11 a.m. to 7 p.m.
Saturday March 19 11 a.m. to 7 p.m.
Sunday March 20 11 a.m. to 6 p.m.
The admission is $25 daily. A show catalogue is available for $10. A run-of-show ticket is $40 and includes a show catalogue. Student admission is $10 with a valid student ID. No advance purchase is required. Tickets will be available at the door. For more information, the public can call AIPAD at 202-367-1158 or visit http://www.aipad.com/.
Gala Benefit Preview
The AIPAD Photography Show New York will present a Gala Benefit Preview on Wednesday, March 16 from 5:00 to 9:00 p.m. The evening will benefit the John Szarkowski Fund, an endowment for photography acquisitions at The Museum of Modern Art in New York City. The fund was established to honor John Szarkowski, one of the most influential curators in photography and a photographer in his own right. Ticket information is as follows:
Benefactor 5:00 p.m. to 9:00 p.m. ($5,000 4 tickets)
Patron 5:00 p.m. to 9:00 p.m. ($750, 1 ticket)
Sponsor 6:00 p.m. to 9:00 p.m. ($250, 1 ticket)
Friend 7:30 p.m. to 9:00 p.m. ($100, 1 ticket)
For more information or to purchase tickets, please contact The Museum of Modern Art, 212/708-9680 or email specialevents@moma.orgs
Related: Monroe Gallery of Photography at the 2011 AIPAD Photography Show
Thursday, March 3, 2011
COLLECTING PHOTOGRAPHY: Beauty Before Age?
As prices for vintage photographs rise, some collectors are forgoing the aura of an original in favor of a sharper image.
Via Art + Auction Magazine
At Christie’s New York last April, a rare signed print from 1925 of Imogen Cunningham’s exotic close-up "Magnolia Blossom" (est. $250-350,000) sold for $242,500. A month later at Swann Galleries, in New York, another print of the same image brought just $31,200. Why the disparity? The Swann version was "late," executed in the 1960s or ’70s, while the Christie’s one was vin- tage. In the photography market, where rarity and provenance are revered, those designations mean the difference between six figures and seven. For young collectors, they also mean the difference between an unattainable treasure and a prize within their financial grasp.
A vintage print must have been made from the original negative within a variable but typically short span of years from the date the image was taken and with the artist’s direct involvement. Later, or modern, prints are also made from original negatives but beyond the time limit for vintage designation, and they may be executed by the photographer himself, by technicians or collaborators working under his supervision, or posthumously, with the authorization of the artists’s estate. Vintage material is increasingly rare. As a result, says Denise Bethel, the longtime head of photography at Sotheby’s New York, "we are seeing an even bigger increment in price between the early print and the later print."
"Shell (Nautilus)," a vintage print from 1927 by the American photographer Edward Weston, was the first photo to exceed $100,000 at auction, going for $115,500 at Sotheby’s in 1989 to the noted Houston collector Alexandra R. Marshall. She consigned it back to the house in October 2007, when it brought an artist record $1.1 million (est. $600-900,000). This past April yet another early print of the image from a private collection turned up at Sotheby’s and, in the middle of a market downturn, still made $1.08 million, far exceeding its cautious estimate of $300,000 to $500,000.
Six-figure sums may be out of reach for some aficionados but they have alternatives. Consider another "Shell," this one executed in the 1970s by Weston’s son Cole. Put up in March 2009, again at Sotheby’s, and estimated at a quite modest $5,000 to $7,000, the picture was snapped up for $8,125. "There’s a whole group of new buyers who can’t spend hundreds of thousands of dollars but would be very happy to have the Cole Weston print, which, by the way, is beautiful," says Bethel, "because Cole was an absolutely amazing printer and worked with his dad, so he knew what he was aiming for."
Swann Galleries photography specialist Daile Kaplan concurs. "We’re seeing more and more clients, younger clients in particular, who know the image and want a [later] copy of it," she says. "I don’t see any reason to be reluctant [to buy a modern print] as long as the photograph has been authorized by the photographer. To me, the modern print is simply another interpretation of that original negative."
Later interpretations are often larger than the originals. Size, which enhances their wall power, adds to these prints’ value. Last October at Swann, a 20-by-16-inch print, made no later than 1967, of André Kertész’s gorgeous 1954 shot of a snow-covered Washington Square (est. $6,000-9,000), which was taken from his Greenwich Village studio, brought $22,800. In December 2009 a 10-by-8-inch print dating to the early to mid 1970s of the same image and carrying the same estimate sold for $10,200, also at Swann.
In addition to greater size, the presence of a photographer’s signature also increases the value of a modern print. Those executed closer to the date of the original shot generally command higher prices, as well. This may not be the case with every image by photographers who keep close control on their later prints. For instance, although some of Kertész’s modern prints were made 30 to 50 years later than the vintage versions, the artist authorized them. "Kertész did not print them," Kaplan explains. "A technician did, and [Kertész] signed off on the ones he felt were representative."
The clarity and beauty of the image, of course, are also major determinants of value. And here later prints may rival their vintage counterparts, at least in the eyes of connoisseurs more interested in aesthetics than in the technology’s history. "We are becoming much less focused on the technical processes and much more interested in the quality of the final result," says Josh Holdeman, the head of photography at Christie’s New York, noting that "most photographers don’t even make their own prints, so who cares?"
True, a newer print doesn’t have the golden aura of a vintage one, but many collectors actually prefer the former’s pristine clarity to the latter’s patina of authenticity. "If you have two prints of the same image and one is a vintage print and the other is newer but a far superior object, I think you’re going to have a much easier time [selling] the object that is a better picture," says Holdeman. He points to the example of William Eggleston’s striking dye-transfer print "Untitled (Near Minter City and Glendora, Mississippi)," 1970, which shows an African-American woman in a lime-green dress walking alongside a road. The picture was shot around 1970 and printed in three editions of 15, done in the 1970s, 1986, and 1999. "The one from 1999 is superior," says Holdeman. "The colors are [more] saturated. The dress really pops. That’s the one that will carry a premium over the old concepts of what equals value." Indeed, an example from this edition sold at Christie’s New York last October for $98,500 (est. $40-60,000). By comparison, a print from the 1986 edition brought $66,000 (est. $70-90,000) at Phillips de Pury & Company in New York in April 2007 — the height of the market.
Another instance in which later may trump vintage is Cindy Sherman’s "Untitled Film Stills." Most of the 30-by-40-inch photos in the series were shot and printed on cheap poster paper in the late 1970s, when they were selling for well under $1,000, before the artist’s market ignited, and, says Holdeman, "a lot of them have turned brown." Metro Pictures, Sherman’s longtime dealer in New York, confirms that some of the prints have not held up well. "The problems that a few owners encountered were paper yellowing or some of the chemicals from the print changing color, producing a pink discoloration in some parts of the image," says Metro’s Andrew Russeth. "In [a few cases], a new photo would be printed and the poster print was destroyed, so this did not create a new edition of works."
The Sherman reprints are more desirable than the originals, according to Holdeman, although he has had some trouble convincing longtime photography collectors of this. "I have to explain that their vintage "Film Still" is not one that the market wants right now. And they say, ‘No way, it’s the vintage print, and it’s the real object.’ I tell them that in the context of the current market, their vintage print would be rejected for a brand-new one that’s sparkling white."
One artist who has been particularly well served by late prints is Diane Arbus. After her death, Neil Selkirk, a photographer friend of Arbus’s, was hired by her estate to make prints of her photos from the original negatives, working closely with another of the artist’s friends, Marvin Israel. "I’m generally not interested in posthumous prints," says the San Francisco photography dealer Jeffrey Fraenkel, "but Diane Arbus’s case is sui generis. A number of pictures that have entered the canon as great Arbuses she did not live to make finished prints of."
The printing done by Selkirk, who consulted with Arbus before she died and who describes his efforts as "a committed attempt to precisely duplicate the existing prints of hers," is well received both critically and in the market. Some, such as "A Puerto Rican Housewife, New York City, 1963," debuted in the Museum of Modern Art’s Arbus retrospective in 1972.
"Not only are Selkirk’s prints respected by museums," says Fraenkel, "but it’s virtually impossible to do a true survey of Arbus’s achievements without them." Fraenkel has Arbus/Selkirk prints in his inventory priced between $11,000 and $14,000. Among these are copies of "A Naked Man Being a Woman, N.Y.C.," 1968, and "Girl with a Cigar in Washington Square Park, N.Y.C.," 1965. He has also sold a rare vintage print from 1967 of "Identical Twins (Cathleen and Colleen), Roselle, N.J." for $900,000. A vintage print of the same image came up at Sotheby’s in April 2004 and fetched $478,400. Another appeared last October at Christie’s New York, but a previous owner had trimmed the edges, so it bought in against an estimate of $250,000 to $350,000. The auction record for a vintage print by Arbus is $553,000, set at Sotheby’s in April 2008 by "A Family on the Lawn One Sunday in Westchester, N.Y.," 1968 (est. $200-300,000). Selkirk prints dating from the 1970s through the ’90s have hit the six-figure mark at auction. The circa 1972-73 print of "Child with a Toy Hand Grenade in Central Park, N.Y.C.," 1962 (est. $100-150,000), for example, made $229,000 at Christie’s in October 2007.
As much as later printed works are gaining acceptance, there remains a strong preference for vintage material. "Serious collectors, those specifically interested in photography as a medium, are always looking for a print closest to the source," says the New York photography dealer Deborah Bell, who shows such New York Street photographers as Sid Kaplan and Marcia Resnick, "[both] the ones who have been around for a long time [and] people just starting out." As more price-conscious collectors enter the classic-photography market and encounter the relative abundance and clarity of later printed works, however, the long allegiance to vintage will be increasingly tested.
"Beauty Before Age" originally appeared in the February 2011 issue of Art+Auction. For a complete list of articles from this issue available on ARTINFO, see Art+Auction's February 2011 Table of Contents.
Related: COLLECTING PHOTOGRAPHY - If you don't think photography is worth collecting, you're missing the big picture
Wednesday, March 2, 2011
THE TOP 10 PHOTO COLLECTORS
The Top 10 Photo Collectors
ARTnews, March, 2011
by Milton Esterow
"It depends on who you talk to," a prominent curator of photography told me when I asked him to name the world's top ten photography collectors.
He was right. I asked 20 prominent dealers, auctioneers, collectors, museum directors, and curators. No one had the same list. A further survey produced a consensus, as well as comments on other major topics in the photography world.
"I have not seen anything like it," Sandra Phillips, curator of photography at the San Francisco Museum of Modern Art, told a reporter recently. She was talking about Pier 24, a 28,000-square-foot gallery that was created last year by Andrew Pilara, a San Francisco investment banker, in an old warehouse in San Francisco that displays the collection of the Pilara Foundation, which he established. Pilara is on the list of Top Ten.
Pier 24 houses about 2,000 photographs, including works by Diane Arbus, Garry Winogrand, Edward Burtynsky, Lee Friedlander, Robert Adams, Hiroshi Sugimoto, Dorothea Lange, Richard Misrach, and many others. Admission is free, and the space is open to the public Monday through Thursday by appointment only.
Pier 24 recently presented an exhibition of the collection of Randi and Bob Fisher, who are also on the Top Ten. Bob Fisher's parents founded Gap Inc. Among the artists in the show were Edward Weston, Robert Frank, Walker Evans, Paul Strand, Alfred Stieglitz, and Andreas Gursky. Other exhibitions are being planned for Pier 24.
Another topic being discussed is the increasingly global nature of the market, with great depth in France, England, Germany, Italy, Switzerland, Russia, the Middle East, and elsewhere.
Unlike the contemporary art market, there is less speculation and less buying for investment with photography, according to several observers. Collectors are mainly buying because they experience the works and want to live with them.
Other observers point out that more and more collectors of contemporary art are collecting photography, including Eli Broad, who is on the ARTnews list of Top Ten art collectors and has bought many works by Cindy Sherman and Jeff Wall, among others. "Is Eli a photo collector? No," said one curator. "Does he have a lot of photos? Yes."
A photography auctioneer said, "We see more and more clients of other departments—Impressionist, modern, contemporary, and American painting —becoming interested in buying photography, whereas 15 years ago they would not."
The Top Ten for photography also includes Thomas Walther, who has been collecting photography for more than 30 years. In 2001 the Museum of Modern Art acquired—it was a partial gift, partial purchase—328 works by most of the leading European and American photographers of the 1920s and '30s. The list included Man Ray, Edward Steichen, Stieglitz, Paul Strand, Manuel Bravo, Paul Outerbridge, Berenice Abbott, and many others.
In 2000 the Metropolitan Museum presented the exhibition "Other Pictures: Vernacular Photographs from the Thomas Walther Collection." Dating from the 1910s through the '60s, the photos were by anonymous amateurs and were discovered in flea markets, in shoeboxes, or in family albums.
"In the last ten years," Walther told me, "I have increasingly gone into the 19th century, with works by Gustave Le Gray, Linus Tripe, Henri Le Secq, Roger Fenton, Charles Marville, Francis Frith, William Fox Talbot, and many others."
Walther has acquired about 2,000 photographs.
"I pursue my collecting with the utmost passion," he said.
The Top Ten are listed in alphabetical order, and were selected based on how active they are rather than on the size or value of their collections.
Milton Esterow is editor and publisher of ARTnews
David Dechman
New York
WEALTH MANAGEMENT
20th century
Randi and Bob Fisher
San Francisco
APPAREL (GAP, INC.)
20th century; contemporary
Sondra Gilman and Celso Gonzalez-Falla
New York
INHERITANCE; REAL-ESTATE DEVELOPMENT
20th century; contemporary
Daniel Greenberg and Susan Steinhauser
Los Angeles
ELECTRONIC EQUIPMENT
20th century
Michael Jesselson
New York
WEALTH MANAGEMENT
20th century
Elton John
London; Atlanta
ENTERTAINMENT
20th century; contemporary
Andrew Pilara
San Francisco
INVESTMENT BANKING
20th century; contemporary
Lisa and John Pritzker
San Francisco
HOTELS AND INVESTMENTS
20th century; contemporary
Thomas Walther
Zurich
INHERITANCE (MACHINE-TOOL MANUFACTURING)
19th century; 20th century
Michael Wilson
London
FILM
19th century; 20th century
Related: LOEWS MAGAZINE: COLLECTING PHOTOGRAPHY - If you don't think photography is worth collecting, you're missing the big picture