PHOTO L.A. CELEBRATES ITS 20TH ANNIVERSARY FROM JANUARY 13-17, 2011, IN SANTA MONICA; WILLIAM EGGLESTON AND STEPHEN SHORE WILL BE THE HONORED GUESTS AT THURSDAY NIGHT BENEFIT PREVIEW FOR LACMA PHOTO DEPT.; CONTEMPORARY WORKS / VINTAGE WORKS WILL BE EXHIBITING AT PHOTO LA IN BOOTH B-401; MIAMI ART WEEK SEES STRONG ACTIVITY AND BIG CROWDS AS ECONOMY FLOATS BACK; SWANN'S DECEMBER AUCTION BRINGS IN $842,937; BUT SELLS ONLY 61% OF THE LOTS; AIPAD ANNOUNCES DATES FOR SHOW, MARCH 16-20, AND ADDS SIX NEW MEMBERS; GRAHAM NASH VISITS EASTMAN HOUSE ON JAN. 22 TO BE NAMED HONORARY SCHOLAR; AXA AWARDS PHOTO CONSERVATION GRANT; PHOTO GALLERY CELEBRATES 40TH ANNIVERSARY
PHOTO L.A. CELEBRATES ITS 20TH ANNIVERSARY
FROM JANUARY 13-17, 2011, IN SANTA MONICA;
WILLIAM EGGLESTON AND STEPHEN SHORE
WILL BE THE HONORED GUESTS AT THURSDAY
NIGHT BENEFIT PREVIEW FOR LACMA PHOTO DEPT.
With a 20th anniversary in the offing, Photo LA will now join with ArtLA Projects and will tack on another day to its schedule, plus will add an elegant new tented canopy entry. The show will now run from Thursday, January 13, through Monday, January 17, 2011 at the Santa Monica Civic Center in Santa Monica, CA.
Photo LA XX, celebrating its 20th Anniversary, is the longest running art fair west of New York and is one of the largest photo-based art fairs in the country and internationally. It brings together photography dealers from around the globe, displaying the finest contemporary photography, video and multimedia installations along with masterworks from the 19th and 20th century.
ArtLA was created in 2004 as a public event bringing together a mix of national and international galleries, artists, collectors and curators for a visual dialogue on the current art scene. Its ongoing commitment to presenting the most challenging art being produced today has led to the creation of artLA projects, an ongoing city-wide program of dynamic and innovative installations, exhibitions, seminars and conversations with established and cutting-edge artists in all media.
Photo L.A. XX + ArtLA projects, returns to the historic Santa Monica Civic Center with an added 7,000 sq. ft. tented canopy entry. This grand entrance will provide space for sculpture, installations, book signings and seating. Attendees will enjoy an expansive lobby that includes a Phaidon bookstore, seating area, café, coffee bar and cupcake corner. There is a new VIP balcony lounge and video viewing area.
Programming for Photo LA XX + artLA projects includes an exclusive screening of controversial artist David Wojnarowicz's Smithsonian censored video, "A Fire in My Belly.”
ArtLA projects will be providing activities for children at the Little Collector Lounge, which will be open to the public throughout the run of the fair.
Photo LA XX will host the benefit preview reception for the Wallis Annenberg Department of Photography at LACMA on the evening of January 13th from 6-9 pm. Artists William Eggleston and Stephen Shore will be the Honored Guests.
For information and how to order tickets to the benefit, go to: http://www.lacma.org/photola
. Benefit tickets are $80 and include cocktails and light refreshments as well as a fabulous night of photography on display by over 56 national and international galleries. Tickets will be held at the Will Call table at the fair and include a one-day return pass. Please note: there is a $2 per ticket service fee for online purchases. All sales are final. There are no refunds or exchanges.
Regular exhibit show hours will run Friday, January 14-Sunday, January 16, from 11 am-7 pm; and on the new day, Monday, January 17, from 11 am-6 pm.
Programming includes off-site events, collecting seminars, a panel discussion, Troubled Waters (on photography's impact on environmental issues), and The La Brea Matrix Project--in addition to lectures by Uta Barth, Lyle Ashton Harris, Michael Light, Andrew Moore, and David Taylor, among others. The tentative programming schedule follows:
Friday, January 14th
9:30 am, Collecting Seminar TBA
12 pm, Christina Caputo and Alex Klein, Panel Discussion "Words Without Pictures Revisited"
2 pm, Rex Weiner, Lecture "On Independent Printing and Publishing"
4 pm, Jeff Sheng in Conversation with Kaycee Olsen
6 pm, Melanie Willhide in Conversation with Kaycee Olsen
Saturday, January 15th
9:30 am, Collecting Seminar with Chrissy Crawford Malone
10 am, Lyle Ashton Harris, Lecture
12 pm, Uta Barth, Lecture
1 pm, Arthur Tress, Signing of His New Book "Skate Park", also at other times in the Contemporary Works/Vintage Works booth (B-401)
2 pm, Michael Light in Conversation with David Ulin
3 pm, The La Brea Matrix, Panel Discussion with Stephen Shore
4 pm, Ron Jude. Book-signing at Artbook|D.A.P. Booth
5 pm, Zoe Crosher in Conversation with Jan Tumlir
5 pm, Joey L. Meet and Greet at the Photokunst booth
Sunday, January 16th
9:30 am, Collecting Seminar with Weston Naef
11 am, Andrew Moore, Lecture
1 pm, Troubled Waters, Panel Discussion, including Ernest H. Brooks II, Jean Michel Cousteau, Jeanne Falk Adams, Dorothy Kerper Monnelly, Arthur Ollman, and moderator Doug Stewart. The panel will explore black and white photography as a voice for the marine environment.
3 pm, David Taylor, Lecture
5 pm, Carole Thompson, Lecture "William Eggleston's Staggering Achievement"
Monday, January 17th
9:30 am, Collecting Seminar with Julie Rose Novakoff, Principal of Nova Fine Art, LLC
1 pm, Sara Terry and Amy Arbus, Panel Discussion "Two Approaches towards Story Telling"
3 pm, Dawn of Man, Panel Discussion "Guerrillaism 101" Illegal Projections in Urban Spaces
4 pm, Nic Rad, Performance "The Celebritist Manifesto"
5 pm, Josh Peters in Conversation with Geoff Tuck
Lectures and panel discussions are held at the Doubletree Guest Suites, 1707 4th Street, Santa Monica, CA 90405, located across the street from the Santa Monica Civic Auditorium. Collecting Seminars will take place at the Santa Monica Civic Auditorium.
Additional programming will be announced. For more details on the show, you can go to: http://www.photola.com
. To contact show management, phone: 1-323-937-5525; fax: 1-323-937-5523; or for general information: firstname.lastname@example.org
, or email@example.com
CONTEMPORARY WORKS / VINTAGE WORKS WILL
BE EXHIBITING AT PHOTO LA IN BOOTH B-401
Contemporary Works/Vintage Works will be exhibiting shortly at Photo LA from January 13-17, 2011 at the Santa Monica Civic Center, CA. We will be in the front of the exhibition hall near the entrance and in the middle in booth B-401, which is the largest booth in the fair, and hope to see you there. Remember that the venue has changed back to the Santa Monica Civic Center, and the fair is celebrating its 20th anniversary.
Nineteenth-century photographers that we will have in portfolios will include: James Anderson, Eugene Atget, Edouard Baldus, Bisson Frères, Charles Clifford, Louis De Clercq, William Henry Jackson, Gustave Le Gray, Charles Nègre, Auguste Salzmann and Felix Teynard (just ask us to see them).
Twentieth-century and contemporary artists include: Nobuyoshi Araki, Ilse Bing, Brassai, Janusz Maria Brzeski, Anne Brigman, Harry Callahan, Henri Cartier-Bresson, Robert Doisneau, Robert Frank, Lee Friedlander, Heinz Hajek-Halke, Otto Hofmann, Horst Paul Horst, Yasuhiro Ishimoto, Pierre Jahan, André Kertész, Francois Kollar, Dorothea Lange, Jacques-Henri Lartigue, Clarence John Laughlin, Robert Mapplethorpe, Daniel Masclet, Ralph Meatyard, Laszlo Moholy-Nagy, Loewy & Puiseux, Barbara Morgan, Helmut Newton, Frank Paulin, Irving Penn, Robert Polidori, Robert Rauschenberg, Willy Ronis, Sherril Schell, Osamu Shiihara, Julius Shulman, Arthur Siegel, Aaron Siskind, Robert L. Sleeth, Jr., Edward Steichen, Josef Sudek, Raoul Ubac, Brett Weston and Edward Weston.
We will also have contemporary work on display by Arthur Tress, Lisa Holden and Mitch Dobrowner. Arthur Tress will be signing copies of his new book, "Skate Park" on Saturday, January 15th, from 2-4 pm, and at other times in our booth by arrangement. Other work by our represented artists can be shown. Just ask.
We will have a limited number of one-day passes for our clients, so please contact us soon at firstname.lastname@example.org
, or call us at 1-215-822-5662 if you wish to have us reserve one for you at the Will Call desk at the show.
MIAMI ART WEEK SEES STRONG ACTIVITY
AND BIG CROWDS AS ECONOMY FLOATS BACK
"We humans do not need to leave earth to get to a hostile, deadly, alien environment. We already have Miami."--humorist Dave Barry
By Alex Novak
It had been three years since I exhibited down in Miami during Art Week. The last time it was with the Association of International Art Photography Dealers (AIPAD) in December 2007. It was the group's one and only fair in Miami. For me it was a huge one--still my best ever results at a fair of any kind. Some of the other dealers there saw similar spectacular six-figure results, including Robert Klein, Barry Singer, Bruce Silverstein, Michael Shapiro, HackelBury Fine Art and Catherine Edelman. The show also got generally good reviews in the press and by art buyers with an interest in photography.
Some of these dealers and other AIPAD members found other venues when the AIPAD board cancelled its second show in Miami just a few months before the second show was to go on. Reportedly that decision was based on numbers that were only a single booth shy of break-even at the time, but it was a year when AIPAD was facing financial challenges.
I and others still think that was an unfortunate decision (for AIPAD, its dealers and photography's position in the market), but none-the-less photography is still well and alive in Miami during this tumultuous week, albeit spread out among many venues.
Photo Miami had been sold, but didn't survive its second year under new management, reportedly stranding many contemporary photography dealers, especially from Europe, which found themselves shut out of any shows this year.
All of these problems with photography shows and their show managements didn't reflect the actual strength and interest in the photography-based medium itself. Ironically, that is stronger than ever.
The primary places to see photography for sale did gravitate to the bigger art fairs here: Art Basel Miami Beach, Art Miami, Scope and Pulse. The huge numbers of shows have now shrunk from an announced high of 28 in 2008 to a mere nine fairs this year.
But the shows that are left have also grown in size, although not always for the better. Art Basel MB grew last year by bringing in the beach trash from its sandy container show and adding it to its perimeter, which took on the appearance of a third-world country art flea market. Art Miami added another tent to the two in place from last year, effectively increasing the show space by another 50% this year. That move cannibalized some of the exhibitors at other smaller shows, including Pulse and Scope, although Pulse picked off a couple of Art Miami's exhibitors in return.
To show the kind of interest in photography here: a very well attended photography show was presented at the Cisneros Fontanals Art Foundation. The exhibition, "Inside Out: Photography after Form, Selections from the Ella Cisneros-Fontanals Collection" was curated by Simon Baker and Tanya Barson (http://www.cifo.org
), and will remain open until March 6, 2011. As Berlin photo dealer Rudolf Kicken noted to me, "This CIFO event was a magnificent platform to connect people to the idea of basic photographic principles."
The Cisneros Fontanals Art Foundation is a non-profit organization that was established in 2002 by Ella Fontanals Cisneros and her family to foster cultural exchange among the visual arts. CIFO is dedicated to the support of emerging and mid-career contemporary multi-disciplinary artists from Latin America, who are challenging the established boundaries that define much of contemporary art today.
Another Latin American photographer/artist who seemed to be every where was Vik Muniz, whose new art film, "Waste Land" was selected as this year's Art Basel Miami Beach's Art Film event. The film follows Muniz as he journeys from his home base in Brooklyn to his native Brazil and the world's largest garbage dump, Jardim Gramacho, located on the outskirts of Rio de Janeiro. There he collaborated with an eclectic band of 'catadores', pickers of recyclable materials, to create a new series of works. The presentation in the Lincoln Theater, which was followed by a discussion with Vik Muniz, Dan Cameron and David Koh, was, according to the press release from Art Basel, "well-attended and received several standing ovations."
If all that wasn't enough, the Art Newspaper ran three major pieces on Muniz (and one on Andreas Gursky). Artist-photographers were hot, hot, hot! One of Muniz photographs sold for a reported $90,000 at Art Basel MB. One collector told me to watch Muniz's prices, which he felt would soon join other super-stars, such as Cindy Sherman and Andreas Gursky, in the mid to upper six figure range for better pieces.
Once again, some of Miami's leading private collections--among them the Margulies Collection, the Rubell Family Collection, the De La Cruz Collection, the Mora Collection, the Scholl Collection, and the Dacra Collection--opened their homes and warehouses to Miami Art Week attendees.
Despite problems with flights from both Europe (snow/ice) and New York's LaGuardia's airport (high winds) that stranded potential buyers, both Art Basel MB and Art Miami reported new attendance records at 46,000 and 50,000 attendees respectively, although the former clearly had a better claim on those numbers.
Other shows also had good attendance. Sales were another thing entirely. Contrary to the glowing reports in the Art Newspaper and the local press, dealers were experiencing mixed results. The spottiness seemed to be a factor of booth position and pure luck. Many dealers did indeed do very well here, while others did less well. Excepting the big name New York galleries at Art Basel MB, most of the sales actually didn't seem to make it out of the $25,000-30,000 upper range for many exhibitors. But sales up to that number could be very brisk.
With over 250 art dealers exhibiting more than 2,500 works of art in the Convention Center with over a half million square feet, Art Basel Miami Beach still lays claim as being the 800-pound guerilla during this week of art. Collectors still seem to wait until that fair opens before making many commitments--as irrational as that might be. Art Miami, with only a shade over 100,000 sq. ft. and 105 exhibitors, is the next biggest show and one of the best organized of the so-called satellite shows. Pulse and Scope follow behind these two behemoths.
Over at Art Basel MB, Rudolf Kicken sold an extremely rare and early Jaromir Funke abstract, although "the partner image of the Funke unfortunately didn't make it to the fair in time and accidentally travelled around the world instead, and thus is still for sale," according to a chagrinned Kicken.
Kicken reported: "The overall mood was good, though not sensational. The trend is strongly towards contemporary work, and the consumption area with prices up to $10,000 is also growing again after a little dip in the last two years."
"We did very well. We made some interesting new contacts especially with curators, and there are some follow-up sales pending, though we have to say that the American public at ABMB is a very straight forward one and so most of the sales were carried out on location."
Kicken noted, "Among our most discussed works was a contemporary piece by Dieter Appelt, "Das Feld"/"The Field" in 27 parts, available for $160,000. For the first time we presented the strong conceptual work with solarized, lengthy time exposures by German contemporary maverick Hans-Christian Schink. Becher-trained prodigy Götz Diergarten with his everyday architecture and his convincing new series METROpolis also proved to be as strong as ever."
Kicken mentioned that his "most spectacular piece was a László Moholy-Nagy early vintage photogram from the Bauhaus period, still available for $350,000."
Over at Art Miami, Chicago photo dealer Catherine Edelman told me: "We did unbelievably well with Gregory Scott's work. We sold out his two new photo/video pieces (ten pieces total) and have a serious waiting list of more than 15 people. Pieces ranged from $24-28,000 and were bought by a foundation in Spain, collectors in Peru, Columbia, Dallas, New York and Miami. We also sold pieces by most of the artists we brought, including a painted panel by Robert & Shana ParkeHarrison, and work by Lauren Simonutti, Julie Blackmon, Tim Tate and Jeffrey Wolin. The best results I have ever seen at an art fair in my 20+ years of doing them!"
Besides some high priced paintings and other work, Galerie Patrice Trigano sold a Lucien Clergue to an American collector. The asking prices for these pieces were $20,000-$30,000. Contessa Gallery sold six David Drebin photographs ranging from $4,800 to $24,000, plus a sculpture commission for artist Jane Manus. Eli Klein Gallery sold a number of Asian art pieces, including eight photographs Lui Bolin and three by Cui Xiuwen.
Yet Barry Singer, who had sold nearly $300,000+ each of the two previous years here, told me that he had only gotten into the upper 50s level at Art Miami this year.
My own company, Contemporary Works/Vintage Works, sold over $130,000 in photography so far, and we're still working on some after-show sales that might add another $20,000 or so. But considering our costs and that the booth was the largest by far of any of our previous spaces and one of the very largest at Art Miami, this was a disappointing result, especially in view of our previous Miami outing. Three years ago we were well over $420,000 in a smaller booth with not as many important pieces. We did give out more business cards though than ever before--nearly 500. And we had has a great week just prior to the show, our single best of the year, selling about $200,000 during Thanksgiving Week.
At Miami, all of our buyers were Americans. The lack of European and South American buyers--despite the news reports to the contrary--was interesting. We saw the same thing the last time we exhibited: reports of international buyers, but no such buyers in our own experience. This time around it could definitely be because of the poor weather conditions in most of Europe. We did see a number of South Americans, particularly Brazilian, but they weren't buying--at least not with us.
Our results certainly weren't a reflection on a lack of quality material that we brought this time round. Included on Contemporary Works/Vintage Works walls was an important and early Frank Auerbach oil painting, which was just shown at Oxford University's Courtauld Gallery at the Courtauld Institute of Art, which used this painting in its Oct. 2009-Jan. 2010 retrospective show, "Frank Auerbach: London Building Sites, 1952-1962." It got lots of attention from dozens of art dealers and consultants, as well as collectors. I felt it was probably the most important piece at Art Miami, and one of the most important pieces showing that week in Miami.
Of course, our exhibit also featured top photographic works--both contemporary and vintage.
On the contemporary side there was a significant selection of Robert Mapplethorpe, Alec Soth, Robert Polidori, Irving Penn and Mitch Dobrowner, as well as top individual contemporary pieces by Helmut Newton, Vik Muniz, Nobuyoshi Araki, Zhang Huan, and Luis González Palma. We sold two Soth's, two important Palma's, one Mitch Dobrowner and one Robert Polidori. We did have lots of interest in the rest, but, as we noted previously, the buyers seem to set themselves about a $25,000 limit, which was strange in a week of six- and seven-figure sales reports--most from over at Art Basel MB, where dealers are well known for their big "pre-sales" and announcements of those sales at the show itself for the publicity.
International artist Lisa Holden attended the fair, and Contemporary Works/Vintage Works featured a large selection of some her newest work from both the Lilith Series and the Constructed Landscape Series. Several of her pieces sold during the show, and a number more are still pending. We will show a nice selection at Photo LA as well.
As in the past, the booth contained some gems of vintage photography, including work by László Moholy-Nagy, Edward Weston, Raoul Ubac, Edward Steichen, Horst, Brassai, André Kertész, Dorothea Lange, Aaron Siskind, Josef Sudek, Francois Kollar, Lee Friedlander, Robert Rauschenberg, Ilse Bing, Robert Doisneau, Robert Frank, Henri Cartier-Bresson, Pierre Jahan, Brett Weston, Yasuhiro Ishimoto, Janusz Maria Brzeski (a unique collage from his famed "Sex Progress" series), Willy Ronis, Clarence John Laughlin, Loewy & Puiseux (a wall grid of large moonscapes) and Julius Shulman (another wall, but of vintage architectural views). Three of the Shulman's and Cartier-Bresson's sold, as well as several other vintage pieces, and we will be bringing many of the other pieces with us to Photo LA, and most, along with other top 20th-century pieces, can be found on our website at: http://www.vintageworks.net/search/result_list.php/7/0/1900/2019/5000/100000/BBB/0
Over at Pulse, New York City contemporary photography art dealer Julie Saul told me, "We were quite happy with the fair, particularly the work of emerging gallery artist Debbie Grossman (you can see all about her on our site). We sold over 30 prints to some very good collectors, museum people and other dealers. A large museum sale is pending. We will show the work at the gallery in April.
LA dealer Paul Kopeikin reported, "I did well at Pulse and expect strong follow-up from the show. David Schoerner’s series of eight images (I showed five) based on the Gerhard Richter’s painting "After Betty". Prints are $2,500, plus framing, and are produced in an edition of three, plus two artist proofs.
All in all, Miami's Art Week seems to have rebounded to levels closer to pre-Financial Crash years. Results, as typical, were spotty, but some hot contemporary works did very well here.
AIPAD ANNOUNCES DATES FOR SHOW,
MARCH 16-20, AND ADDS SIX NEW MEMBERS
The Association of International Photography Art Dealers (AIPAD) has announced that the AIPAD Photography Show New York, one of the world's most important annual photography events, will be held March 17-20, 2011, at the Park Avenue Armory in New York City.
The 31st edition of the show will open with a gala preview from 5-9 pm on March 16 to benefit the John Szarkowski Fund, an endowment for photography acquisitions at the Museum of Modern Art in New York City.
More than 70 of the world's leading fine art photography galleries will present a wide range of museum-quality work including contemporary, modern and 19th-century photographs, as well as photo-based art, video and new media.
Regular Show Hours:
Thursday, March 17, 11 am to 7 pm
Friday, March 18, 11 am to 7 pm
Saturday, March 19, 11 am to 7 pm
Sunday, March 20, 11 am to 6 pm
Admission for run-of-show is $40, which includes exhibition access for Thursday, Friday, Saturday and Sunday, plus one show catalogue. It does not include panel discussions.
Admission for a single daily exhibition-only access for Thursday, Friday, Saturday or Sunday is $25.
The AIPAD Photography Show New York is the longest running exhibition of fine art photography, and is considered by many to be the finest such annual event. For more details go to: http://www.aipad.com/photoshow/new-york/
AIPAD has also added six new members, including Galerie f5,6, Munich, Germany; M+B Gallery, Los Angeles, CA; Flo Peters Gallery, Hamburg, Germany; Julie Saul Gallery, New York, NY; Vision Neil Folberg Gallery, Jerusalem, Israel; Fleischmann Vintage Works, Zurich, Switzerland.
SWANN'S DECEMBER AUCTION BRINGS IN
$842,937; BUT SELLS ONLY 61% OF THE LOTS
Swann Galleries December 9th auction of photographs and photo books reportedly brought in $842,937 (well below its own low estimate of about $1.2 million), but sold only 61% of the lots. The auction house may actually have done a bit better than those numbers which they had reported, because several lots sold after the auction, which did not have the best timing. The sale was held just after Art Week in Miami while many were still there or in transit, and in NYC just before Christmas, when most intelligent people try to avoid the crowds there like the plague. Prices below include Swann's buyer's premium.
The sale's top lot was the Brett Weston portfolio Twenty Photographs 1970-1977, which sold for $33,600 to a collector. Another Brett Weston picked up by a collector was his Mendenhall Glacier, for $10,200. A lot of three project prints by Edward and Brett Weston, which were featured in a 1960s television show called "The Art of Seeing," sold to a collector for $7,800.
Other celebrated portfolios included Berenice Abbott's New York II, with 12 silver prints, which sold to a collector for $21,600; and The Southwest, a portfolio containing 29 late-printed photogravures of Apache, Hopi, Navaho and other tribes by Edward S. Curtis, circa 1975, sold to a collector for $9,000.
Another Curtis sold was a dashing self portrait, in a photogravure on an oversize Van Gelder sheet, 1899, for $9,000 to another collector. Another photogravure highlight was The Hand of Man, Alfred Stieglitz's image of a train barreling toward the viewer, circa 1902, which sold to a collector for $26,400. That tied for the second highest price in the sale.
Portraits of well-known subjects included Edward Steichen and Rolf Petersen's striking Gloria Swanson, New York (for "Vanity Fair"), silver print, 1924, printed 1960s-1971, which sold to a dealer for $26,400, tying for second place overall in the sale; Henri Cartier-Bresson's Henri Matisse, Vence, France, printed early 1970s, sold to a collector for $8,400; and Richard Avedon's triptych of aged Igor Stravinsky, Composer, silver print, 1962; printed 1975, sold to a collector for $9,000.
More experimental were Man Ray's off-kilter view of Serge Lifar in "Romeo and Juliet," silver print, 1926, which sold to a collector for $16,800; and Claude Cahun's self-portrait with Roger Roussot in "Barbe-Bleue," silver print, 1929, $15,600, which apparently sold to a collector after the auction.
Classic silver prints from the mid-20th century included several Ansel Adams landscapes, including Mount Williamson, Sierra Nevada, From Manzanar, CA, printed late 1960s, which sold to a collector for $19,200.
Cartier-Bresson's On the Banks of the Marne, 1938, printed 1970s, sold apparently afterwards for $19,200, and Rue Mouffetard, 1954, printed 1980s, sold to a collector for $15,600; and Robert Frank's image of an African-American baby nurse holding her white charge in Charleston, SC, 1955, printed 1970s, sold to a collector for $14,400.
Bidders competed for images by Duane Michals, such as his A Letter from My Father, silver print, 1975, which went to a collector for $7,800, and I Dream the Perfect Day in New York City, photo-sequence consisting of 12 silver prints, 1977, which went to a dealer for $8,400.
Other works by contemporary artists included The First Apeiron Portfolio, with 18 original silver prints, including works by Emmet Gowin, Aaron Siskind, Minor White, and more, 1951-1973, printed 1975, which sold to an institution for $10,800; and Shirin Neshat's I Am Its Secret, chromogenic print, 1993, which sold to a collector for $12,000. The latter is another one of those posters. No edition, just print as many as the market will bear. I hope the market wises up. It's a nice image, but the artist is taking advantage of the market's naiveté, in my opinion. But, of course, they aren't the only one.
From the Photobooks section of the sale were early periodicals dedicated to photography, such as Camera Work, Number 11, with 11 photogravures by artists including Hill & Adamson, Steichen, Demachy and Hinton, New York, 1905, $4,080; and Art in Photography, consecutive run of six issues, Boston, 1905, $4,080.
Japanese books that performed well were Eikoh Hosoe, Ba-Ra-Kei (Killed by Roses), one of 1500 copies signed by Hosoe and model Yokio Mishima, Tokyo, 1963, $3,120; Nobuyoshi Araki, Senchimentaru na Tabi [Sentimental Journey], first edition, Tokyo, 1971, $5,040; and Yutaka Takanashi, Toshi-e [Towards the City], two volumes, first edition, Tokyo, 1974, $4,080.
Also featured were Ansel Adams, Sierra Nevada, The John Muir Trail, first edition, one of 500 copies signed by Adams, Berkeley, 1938, $4,080; Robert Capa, Death in the Making, first edition, signed and inscribed by Capa, New York, 1938, $3,360; Robert Frank, The Lines of My Hand, first edition, Tokyo, 1972, $4,800; Andy Warhol, America, first edition, signed by Warhol on the dust jacket and on the contents page, New York, 1985, $4,080; and Mario Testino and Martin Amis, Coincidence of the Arts, limited edition of 60 copies, 1998, $4,080.
GRAHAM NASH VISITS EASTMAN HOUSE ON
JAN. 22 TO BE NAMED HONORARY SCHOLAR
Witness history as photographer and musician Graham Nash receives the title of George Eastman Honorary Scholar, and discusses his career and the exhibition "Taking Aim: Unforgettable Photographs Selected by Graham Nash", at 2 pm, Saturday, January 22, in the Dryden Theatre.
Nash is being honored for his contribution to photography as an artist and innovator. Past recipients of this title include Dennis Hopper and Jeff Bridges.
Tickets for the Jan. 22 event are on sale at the Lipson Welcome Center at George Eastman House, online at http://shop-eastmanhouse.org/index.html#tickets
, or by calling 1-585-271-3361, ext. 218.
Tickets are $20 and $40 ($15 and $35 respectively for G.E.H. members), with the higher ticket price including admission to a book signing with Graham Nash following the event.
There will also be a dinner with Graham Nash at 7 pm, Friday, January 21. This event, limited to 50 people, features an elegant four-course meal in George Eastman's Conservatory. The dinner will be followed by a private tour and discussion with Nash about the photographs he personally chose for the "Taking Aim" exhibition.
Tickets are $250 per person and can be purchased by calling Kristen Butler at 1-585-271-3361, ext. 291.
AXA AWARDS PHOTO CONSERVATION GRANT
AXA Art Insurance Corp. recently awarded its 2010-2011 global AXA Art Research Grant to Professor Bertrand Lavedrine, director of Le Centre de Recherche sur la Conservation des Collections (CRCC) in Paris, and his team of researchers. This award will support research on preventive measures to protect fine art photography and introduce an improved dosimeter, a device that monitors the impact of light on sensitive art objects--specifically photographs, prints, drawings and watercolors.
The goal of the AXA Art/CRCC collaboration is to make collectors more knowledgeable about photography’s fragile nature and to explore solutions to address its unique preservation issues. Light damage is certainly a major concern to all. AXA Art and the CRCC will also make available the results of the research findings to support collectors seeking to safeguard their photographic collections. Information on preventive maintenance techniques will be disseminated to private collectors, art dealers, and institutions through a series of newsletters, lectures and exhibitions. Since 2005, AXA Art has supported research in conservation through the framework of its global AXA Art Research Grant, which awards funding to scientific studies that contribute to the preservation of cultural assets.
PHOTO GALLERY CELEBRATES 40TH ANNIVERSARY
Panopticon Gallery of Boston will celebrate its 40th year in business, a feat only achieved by a handful of other fine art photography galleries in the United States and internationally. The gallery plans to "mark this milestone with an exciting line up of exhibitions, photography salons, book signing events and a 40th Anniversary exhibition in the fall."
The gallery is located inside the Hotel Commonwealth, 502c Commonwealth Ave, Boston, MA 02215; 617-267-8929. The gallery hours are Tuesday-Saturday, from 10 am-5:30 pm.