Art Chicago, America's longest running international contemporary art fair, looks like it is heading back to recapture some of its former glory and status under new capable management and in a new spacious home at the Chicago Merchandise Mart. Exhibit space will double from last year to over 200,000 sq. ft., and the selection process was extremely vigorous with only about a third of the applicants being accepted. Nearly a third of the exhibitors are international galleries. Over 30,000 visitors to the show are expected.
One hundred and thirty-two exhibitors will be on display at Art Chicago itself, which will be held on the seventh floor of the Chicago Merchandise Mart, in conjunction with the Merchandise Mart Antiques Fair (on the eighth floor), the Artist Project (in the lobby), the Intuit Show of Outsider Art (also on the eighth floor) and the Bridge Art Fair (a show of young galleries showing emerging contemporary work, which will be held across the street on the 12th floor of 350 West Mart Plaza).
The entire city of Chicago appears to have gotten solidly behind the show, and special art events are planned all over the city under the banner of ARTropolis, much of it free to Art Chicago attendees and VIPs. Educational programs, guided tours, music, theatre and dance performances are planned at a variety of venues throughout the city: from major museums to small galleries, from world-class concert halls to cutting-edge clubs, from lakefront parks to exclusive private parties. Visit http://www.artropolischicago.com to find specific details on the events and activities planned.
Exhibitors focusing on photography include Contemporary Works/Vintage Works, Ltd., Charles Cowles Gallery, Stephen Daiter Gallery/Daiter Contemporary, Catherine Edelman Gallery, Peter Fetterman Gallery, Flowers, HackelBury Fine Art Ltd., Robert Koch Gallery, Paul Kopeikin Gallery, Robert Mann Gallery, Lawrence Miller Gallery, Yossi Milo Gallery, P.P.O.W., Inc., Weinstein Gallery and Stephen Wirtz Gallery. In addition numerous exhibiting art dealers and galleries will also be showing photography, which has become the hottest area of contemporary art.
Art Chicago will open Thursday, April 26 with an evening Preview to benefit Best Buddies International, from 6-9 p.m. Best Buddies is a nonprofit 501(c)(3) organization dedicated to enhancing the lives of people with intellectual disabilities by providing opportunities for one-to-one friendships and integrated employment.
The regular show hours for Art Chicago will run: Friday, April 27, 11 a.m.-7 p.m.; Saturday, April 28, 11 a.m.-7 p.m.; Sunday, April 29, 11 a.m.-6 p.m.; and Monday, April 30, 11 a.m.-6 p.m. Admission is $15 and includes entrance to the other fairs at the Merchandise Mart, including Antiques Fair, the Artist Project, the Intuit Show of Outsider Art and the Bridge Art Fair.
Art Chicago is committed to addressing the needs of important collectors through "Gold Pass Program," a luxury program designed to cater to their needs. For more information, please contact David Rosen at firstname.lastname@example.org . For more detail on Art Chicago and its extensive educational programs, just click on: http://www.artchicago.com/ .
For clients and readers of my newsletter, please contact me at 1-215-822-5662 (or my cell at 1-215-518-6962) or by email at email@example.com, if you are planning to attend, so that I can get you the most advantageous credentials for the show. Also, please let me know if you would like me to bring anything special to our booth at the fair. Contemporary Works/Vintage Works will be in booth 7-4022.
The Merchandise Mart is bordered by Wells and Orleans Streets on the east and west, and Kinzie Street and the Chicago River on the north and south. From I-90/94, exit east at Ohio Street. Turn south on Wells Street and drive four blocks to The Mart. The Chicago River is on the Merchandise Mart's south side.
The Association of International Photography Art Dealers' (AIPAD) Photography Show '07 will run from this Thursday, April 12 through Sunday, April 15, 2007. This will be the second year the Photography Show is held at the New York 7th Regiment Armory, a significant historic venue in the art world.
The Photography Show '07 features 94 fine art photography exhibitors from around the world and is expected to attract over ten thousand visitors. Photo identification is required to get into the Armory.
On Saturday, April 14 at 10 AM, there will also be a presentation at the Guggenheim Museum, called "The Passionate Eye", a conversation between Henry Buhl and Jennifer Blessing. A short film on Henry Buhl by James Danziger will also be shown. This event is free to the public on a first-come, first-served basis. Information on the program and other details of the exhibit show are on the AIPAD web site at http://www.aipad.com .
I Photo Central dealers Charles Schwartz, Ltd. and Contemporary Works/Vintage Works, Ltd. will both be exhibiting at the AIPAD fair. Please let either of us know if there are specific images that you would like to see at this show. Call Charles Schwartz at 1-212-534-4496 and myself, Alex Novak, at 1-215-822-5662. You can review our images on http://www.iphotocentral.com or on our individual websites.
Charles Schwartz Ltd., which will be in booth 317, will be featuring images of African-American slaves and African-American slaves after emancipation. The booth will also be showing a dozen cased images of the George F. and Mary H. Lee family. The photographs in this collection include portraits of the Lees and their retarded son, G. Burtis. Another great rarity on display will be an 1862 view by Victor Prevost of Willowdell Arch with the team that created Central Park standing on the pathway over the span.
From the 20th-century, Schwartz will exhibit a series of the Bunraku Puppet Theater by Taikichi Irie, whose photo retail shop in Osaka was destroyed by U.S. bombing raids in 1945. All the other known vintage prints from this series are believed destroyed. A series by W. Eugene Smith on Nurse Midwife Maude Callen will also be exhibited in the booth.
From China and the 21st century, Schwartz will be showing important contemporary artist Shi Guorui's unique 4 x 12 foot camera obscura photograph. Recent images by Guorui have sold at auction for over $45,000.
My own company, newly renamed as Contemporary Works/Vintage Works, Ltd., will be exhibiting in booth 425 at the far back left of the hall. We will feature the stunningly beautiful prints of the dance and theater work of Max Waldman and the gemlike vintage contact prints of Steiglitz's lover and protégé Dorothy Norman. We will also show an important circa 1877 panorama (13-3/8 x 44-3/8 inches) of a train heading east on Rockville Bridge, PA by Frederick Gutekunst. Other work to be available includes the rare and surreal work of Belgium artist Marcel Marien.
In addition, we will also be showing 20th-century masterworks from Irving Penn, Edward Steichen, Man Ray, Andre Kertesz, Henri Cartier-Bresson, Horst, Francois Kollar, Brassai, Édouard Boubat, Robert Doisneau, Edward and Brett Weston, Manuel Alvarez Bravo, Harry Callahan and many others.
My company also has in inventory major contemporary work by Arthur Tress (vintage prints, large-scale classic images and new color work), Marcus Doyle (large color, including several new images), Lisa Holden (large-scale color work, including unique painted pieces), Krzysztof Pruszkowski (black & white prints), Stanko Abadzic (black & white prints), Joel D. Levinson (vintage black & white prints and color work), Charlie Schreiner (contemporary daguerreotypes and prints) and Ted Jones (modern gum prints).
Special events at the AIPAD show include a preview benefit for Henry Buhl's foundation, the Association of Community Employment Programs (A.C.E.) for the homeless and its initiatives, the SoHo & TriBeCa Partnerships; a special invitational preview party the evening before the fair opens to the public; lectures, guided tours and other events connected with the event. The Benefit Preview will be held on Wednesday, April 11 from 7-10 p.m. Tickets are $75 each for the benefit. Cocktails and hors d'oeuvres will be served.
The show is open to the public Thursday, April 12, 2-7 p.m.; Friday, April 13, and Saturday, April 14, 12-8 p.m.; and Sunday, April 15, 12-6 p.m. Tickets are available at the door and are $20 per person for a one-day pass, $30 for three days or $40 for four days. The Photography Show '07 will be held at the 7th Regiment Armory, located at Park Avenue and 67th Street, New York, N.Y. For additional information, go to AIPAD's website at http://www.aipad.com or call 1-202-986-0105.
Phillips de Pury & Co. has scheduled a pair of April photography auctions and published three separate oversized catalogues for these events.
Part I, which will be held on April 24 at 7 pm, is entitled "27 Exceptional Photographs". A little over two dozen photographs by 22 artists with a value of $4 million will be on offer. Included are works by Richard Avedon, John Baldessari, Harry Callahan, Chuck Close, Robert Frank, Andreas Gursky, André Kertész, László Moholy-Nagy, Alexander Rodchenko, Edward Steichen, Paul Strand, Hiroshi Sugimoto and Edward Weston. This sale is expected to be the first in a series of such annual auctions, which will attempt to bridge influential classic photography and its contemporary progeny.
"We wanted to address the most competitive, high-end, savvy collectors who are driving this market today without wasting their time," Rick Wester, director and worldwide head of photographs, stated. "My team and I put together an evening sale that respects the concept of important auction events. It is short, sweet, to the point and full of "no excuse" pictures. Each work exhibits incredible qualities" they are stunning, sometimes unique, of outstanding provenance, very desirable, fresh to the market and most importantly, convey the power of the photograph, something we still very much believe in."
The auction features such master work as André Kertész's Surrealist tinged icon, Meudon 1928 ($300,000-400,000), perhaps the only known vintage print; a very rare vintage print by Edward Steichen of Gloria Swanson; three of László Moholy-Nagy photograms, from 1922 and 1925; Robert Frank's "US 90, New Mexico, 1955" ($300,000-400,000), which shows his wife, the artist Mary Frank and their son Pablo, in the front seat of their car parked alongside a highway in the middle of nowhere; a "Self-Portrait, 1977" by Chuck Close ($150,000-200,000), which is a unique gelatin silver maquette, overlaid with Close's characteristic ink grid; Andreas Gursky's "Toys 'R' Us, 1999" ($1,200,000-1,800,000), which is a poignant, precise and subtle satire on the homogeneity and disassociation of consumer culture, showing two similar warehouses like bunkers, each sporting corporate names, side by side, one reading 'Toyota' and the other, 'Toys 'R' Us'.
Part I can viewed on Phillips website at http://www.phillipsdepury.com/auctions/online-catalog.aspx?sn=NY040007 .
Part II, which will be held on April 25 at 10 am and 2 pm, will include work from the collection of Alain-Dominique Perrin, executive director of the Richemont Financial Group and president of Fondation Cartier pour L’Art Contemporain in Paris.
The Perrins' collection contained a number of important prints by Irving Penn, including Penn's iconic "Harlequin Dress (Lisa Fanssagrives-Penn)", 1950 ($200,000 - $250,000); his "Picasso (B), Cannes", 1957, ($50,000-70,000); and a number of exquisite still lives, such as Frozen Foods with "String Beans, NY", 1977 ($40,000-60,000) and "New York Still-Life", 1957 ($7,000-9,000).
Other highlights of the Perrin collection in this sale include: Cindy Sherman's "Untitled Film Still #20", 1978 ($30,000-50,000); Edward Weston's "Charis, NM", 1937 ($40,000-60,000); Man Ray's Rayograph, 1927 ($150,000-200,000); Robert Frank's, "Longchamp", 1948 ($20,000-30,000); Tina Modotti's, "Glasses", 1924 ($50,000-70,000); Frantisek Drtikol's Untitled (Silhouette with Two Circles), 1928 ($50,000 - $70,000); and Peter Beard's, "Lake Rudolf", 1968 ($80,000-120,000).
Part II can viewed on Phillips website at http://www.phillipsdepury.com/auctions/online-catalog.aspx?sn=NY040107 .
The sales will take place at Phillips de Pury & Co., 450 West 15 Street, New York City, NY 10011. The viewings will run April 11-24 from 10 am-5 pm. There will be an opening reception from 6-8 pm on April 12. Condition reports and further information on lots in the sale can be obtained from: Rick Wester, worldwide head of photographs 1-212-940-1244 or email: firstname.lastname@example.org or Lisa Newlin Galeano, head of photographs, New York at 1-212-940-1247 or email: email@example.com .
Larry Gottheim's Be-hold catalog/internet absentee auction of photographs will take place on April 19th and will include some exceptional 20th-century photographs and historically important 19th century images.
A preview and reception will take place in New York City on April 12-15. The Reception will be held on April 12-14, Thursday, Friday and Saturday beginning at 5 pm at the Affinia 50 Hotel, 155 E. 50th St. (phone at hotel: 1-212-751-5710). The preview will also be held at the Affinia 50 Hotel, April 12, Thursday from 3-9 pm; April 13, Friday and April 14, Saturday from 9 am-9 pm; and April 15, Sunday from 9 am-noon.
The online auction will be held on April 19, Thursday, starting at 2 pm EST.
For further information email: firstname.lastname@example.org or contact Larry Gottheim at 1-914-423-5806. Information and scans can be found on the Be-hold.com web site at http://www.be-hold.com/ , and there is an informative illustrated printed catalog available for purchase by contacting Be-Hold.
There are two sections to the auction: photographs on silver, metal and glass; and photographs on paper.
A highlight of the latter section is a group of prints by Johan Hagemeyer. These include an important vintage 1920 platinum-palladium print of a rare moody self portrait of the artist taken on his voyage back to visit his native Holland on the Metegama, as he exploits the abstract potential of the ship's architecture. This is signed and dated by the artist on the print, and is one of his most personal images. There is a group of later portraits by Hagemeyer from his Berkeley and Carmel studios, including one of the psychiatric theoretician Alfred Adler, as well as two views of San Francisco.
Other city views, include a fine framed 1970 print of Berenice Abbott's "New York at Night," a vintage Chicago view by Gordon Coster, and several 1940s street scenes of Milan, Ohio by Tom Leonard, whose work appeared in "House and Garden" along with Kertesz and other photographers. Several Atget views of Paris in the auction provide an opportunity to compare Atget's own print with one printed by Berenice Abbott from the same negative.
There are several vintage photographs from the FSA period, including some by Rothstein and Vachon, as well as a signed later-printed "Dust Storm, Cimarron County", which is one of Rothstein's masterpieces and is nicely framed. This period is also represented by a signed later print of Horace Bristol's "Rose of Sharon," made on his trip through the Central Valley of California with John Steinbeck. That trip later inspired Steinbeck's "Grapes of Wrath."
There is an interesting group of early work prints by Harold Edgerton from his experiments with high-speed photography at M.I.T. in the 1930's, including s series of movie frames of a mosquito that recalls Muybridge's animal motion studies.
There are pictorialist prints by Sophie L. Lauffer and Fred R. Archer. Some important portraits in the sale include those by Doris Ulmann (of her mentor Clarence White), Herman Leonard, Arnold Newman, Judy Dater, a self-portrait of Carl van Vechten and an autographed portrait of the great Indian poet and spiritual leader Tagore. Doisneau, Lartigue, Madame D'Ora, Aaron Siskind, Arthur Siegel, Garry Winogrand and others round out this section, which also include some masterful 1980s prints by the German photographer and teacher Silke Grossmann.
The auction omits much of the early small-format historical paper material that has characterized other Be-hold sales, although there is an important group of photographs of members of the Jesse James gang killed or captured at the Northfield bank robbery, including two of the Younger brothers.
The first section with its photographs on silver, metal and glass includes a ½-plate daguerreotype showing 10 members of the 1854 Yale University rowing crew in their jaunty uniforms, all identified. A stunning ¼-plate scene of a house illustrates the type of artistry that can be achieved with this subject. An important group of early "melainotype" tintypes depict classic Greek ceramics.
Other early images include several with medical themes, including images before and after death, as well as some special portraits of those quite alive before the camera.
Again, to order catalogs and for other information, call 1-914-423-5806 or go to http://www.Be-hold.com .
At a special meeting of the board of directors of the Daguerreian Society on February 7th, the board made a number of key decisions to insure the long-term viability of this organization, one of the longest running and most important photography-oriented non-profit societies in the U.S.
The society cut its Pittsburgh museum from its budget, accepted the resignation of its current president Mark Johnson, who will remain a board member, elected Matt Isenburg as interim president until a new president is selected, built a stronger committee system, and appealed for more volunteer support from its members.
The board also restated and updated its mission statement. The statement is as follows: "The Daguerreian Society is a non-profit organization of individuals and institutions dedicated to advancing an understanding and appreciation of the art, history, collection and practice of the daguerreotype, as well as other photographic processes as they relate to the daguerreotype, through the holding of an Annual Symposium, the publication of the Daguerreian Annual (Official Yearbook of the Daguerreian Society), Newsletters for its members, and by maintaining a Website."
With these changes, the organization has closed its financial budget gap, focused on its core membership benefits and strengthened the structure of the organization.
I have personally been a long-time member of the Daguerreian Society and can highly recommend its publications and conferences. Membership is a must for any museum or institution which deals with photography in any way (it deals with both contemporary and historical issues), for any photographer working with or considering alternative processes, such as daguerreotypes, and for any individual who is collecting photography.
You can join by contacting the society's office manager Diane Filippi at DagSocPgh@comcast.net or by calling her at 1-412-343-5525. She is usually in the office on Tuesday, Thursday or Friday. For an application and costs of membership, just go to: http://www.daguerre.org/society/applic.html .
The society's home page can be found at http://www.daguerre.org . Member and photography dealer Christopher Wahren heads up the website committee and has done a great job on bringing the website up to date as a major resource.
Details about the upcoming conference in Kansas City in November can also be found on the society website and in the I Photo Central online calendar.
Contemporary Works/Vintage Works will represent noted artist photographer Arthur Tress, focusing on his large-scale silver prints of his classic works, his large-scale color work, which he occasionally produced in triptych format, and his early vintage prints from the 1960s-70s. The company will feature his work at the upcoming Art Chicago, where a special project wall and a wall in the company's exhibit space (booth 7-4022) will be devoted to a mix of Tress's work. His prints will also be available at the firm's exhibit booth at AIPAD (booth 425).
Tress was one of the first artists in the 1970s to break way from street photography and develop a more personal vision, which included manipulating that realty in front of him instead of being just a passive observer.
As writer/curator Richard Lorenz has written, "Arthur Tress distills multiple viewpoints in his unique and ever evolving style of photography. The cultural and historical inquiry of the ethnographer, the psycho-social guidance and thought-seeding of the stage director, and the calculating, sometimes improvisational, imagination and creativity of the artist all coalesce in Tress the photographer. He is one of America's most prodigious and diversified photographers, one whose documentary reportage can be so subjective or fabricated that it subverts the genre, whose manufacture of visual Eros can present seemingly incongruous dualities of beauty and violence, and whose creation of an individual mythology in a universe of kitsch can make sense of the meaning of life, death, and the hereafter."
Numerous monographs of his work have been published, including "Arthur Tress: The Dream Collector", "Shadow: A Novel in Photographs", "Theatre of the Mind", "Reeves" and "Arthur Tress: Fantastic Voyage: Photographs 1956-2000".
His work is in the collection of numerous museums and institutions, including the New York Museum of Modern Art, the New York Metropolitan Museum, the George Eastman House, the Bibliotheque Nationale, the Centre Georges Pompidou, the Los Angeles County Museum of Art, the San Francisco Museum of Art, the Houston Museum of Fine Art, the Whitney Museum of Art, the Stedelijk Museum, the High Museum of Art, the Chicago Center for Contemporary Art, the Cincinnati Art Museum, the Art Institute of Chicago and the Milwaukee Art Museum.
You can see his work in a Special Exhibit on I Photo Central at: http://www.iphotocentral.com/showcase/showcase_view.php/97/1/1 .
Sol LeWitt, one of America's most revered and controversial modernist artists, died yesterday in New York City from complications due to cancer. LeWitt helped establish Conceptualism and Minimalism as major art movements. He often documented his work and process with photography, and apparently was highly influenced by a book of Eadweard Muybridge photograph sequences and Russian Constructivism.
According to his obituary in the New York Times, his 1980 work called 'Autobiography' "consisted of more than 1,000 photographs he took of every nook and cranny of his Manhattan loft, down to the plumbing fixtures, wall sockets and empty marmalade jars, and documented everything that had happened to him in the course of taking the pictures. But he appeared in only one photograph, which was so small and out of focus that it is nearly impossible to make him out."
You may have noticed that I have been referring to my company in a slightly different way in this newsletter and in other places, such as show catalogues. Because of the representation of a number of contemporary artists and to avoid confusion, I have decided, perhaps not very logically, to do business under two names (and occasionally under both names together): Vintage Works, Ltd., which is the parent company, and Contemporary Works, which is a subsidiary and what is commonly referred to as a DBA (doing business as) name.
The name "Vintage Works, Ltd." has been synonymous for vintage photography masterworks of the 19th and 20th-century, and will continue to be. But that name alone seemed to give the wrong impression to some contemporary collectors. We have begun to show the work of a strong stable of important international contemporary artists, including Lisa Holden, Marcus Doyle, Stanko Abadzic, Krzysztof Pruszkowski, Charlie Schreiner, Jerry Spagnoli, Joel D. Levinson, Ted Jones, and now Arthur Tress (both his vintage and contemporary work). I wanted collectors to understand that we now represent some of the best of this new work.
As a part of this process, besides showing on the I Photo Central website, there are now two separate websites for each company. Contemporary Works' new website can now be found at http://www.contemporaryworks.net .
You may also have to look for us under the C's now in show catalogues, such as AIPAD and Art Chicago, where we are listed under "Contemporary Works/Vintage Works", because we will have a fine selection of both types of work at these fairs. I look forward to meeting old and new clients at both upcoming fairs and showing you just how we have expanded. In the meantime feel free to peruse the websites.
Considering some of the upcoming shows, such as AIPAD and Art Chicago, I thought I might offer some timely words of advice for aspiring artists and photographers on show etiquette.
I would highly suggest that trying to show work and discussing it at photography and art fairs with dealers would be very inappropriate and not very helpful for you (or the dealers). Shows are an inappropriate time to try to meet gallery people. The galleries and dealers are there to sell, not to field questions from photographers. The cost of doing shows today is extremely expensive, and so dealers are focused on making sales and greeting new clients--not photographers.
I have had photographers actually break into a sales conversation with a client to try to push their work. Guess what my reaction would be to such boorish behavior.
What I always recommend is that photographers use the show to gather intelligence. See what kind of work a gallery is representing to see if there is a match. You might take a business card from their table or use the program (or catalogue) to make notes for follow-up later. Most such programs/catalogues have the key players at each company and their contact information.
Many of those exhibiting do not have galleries, but sell privately, and will likely not be able to provide you any help. Sort those out while at the fair. Then call the galleries that have the best match for your work later and ask them how (and whether) they review new photographers' portfolios. Most allocate at least one day a month for appointments such as these. Some insist on slides or jpegs sent first. Some may be closed to adding new artists. For the record, Contemporary Works/Vintage Works is not currently looking for any new artists to represent.
Never send your actual work unsolicited and without proper documentation and agreement by the gallery. Before you even do this though, I would sign up, attend and show my portfolio at one of the many such events aimed at helping photographers improve their work and portfolio. Don't try to do this with the galleries that you are approaching to represent you.
I would also use the opportunity of such fairs to get a feel for what other photographers are doing out there and how well the market accepts those approaches. Too often photographers have tunnel vision and attempt to market work that is simply unsaleable, although these images may even be good photographs for other purposes, including stock and editorial. Look around and keep an open mind.
The top photographers and artists not only do that, but also collect the best of their own influences. I have sold vintage work to many of the top name photographers/artists who recognize the debt they owe to this historical work and how it fits into today's contemporary art. They are better artists themselves because of this.
Another suggestion, don't send a photography dealer to your website where you are selling prints yourself for $150 or 150 euros. It's pretty bad business for two reasons: 1.) you just positioned yourself out of the market; 2.) a dealer isn't going to want to represent someone who is selling their own prints on the side.
If you are going to create a website, don't offer prints for sale on it. Just use it to promote yourself (and any future dealers/galleries that will handle your work). Avoid flash and music (most web surfers hate these approaches, despite what web site designers say); keep it simple, clean and easily navigable. And, as you would in your portfolio, only show your best work, not every image you've ever taken including the one in 8th grade for a class project. Also make sure your biography is written with a eye for the market. Make sure you mention the collections that your work is a part of and where your work has been shown. Professionalism, intelligence, a balanced and considerate personality, and, finally, talent are what photography galleries are looking for. Remember to show all of these qualities in how you present yourself.
(Note: for those photographer-oriented websites and blogs which wish to pick up this copyrighted article, please contact us directly for permission to reprint it with a proper courtesy line.)