Happy!

My friend Jay posted a comment in response to my assertion that the just finished AIPAD Fair “offered encouraging signs that we're on our way out of the worst as far as the economy is concerned." and asked me to elaborate. As he pointed out, it’s often useful to look for economic indicators beyond the headlines.

So to elaborate, the fair was a smash in terms of attendance. I don’t have the number but every day for five days the Armory was packed. The general consensus among dealers was that financially they were ahead of expectations particularly in terms of $ volume rather than number of prints sold. So people weren’t just buying cheap stuff, they were buying good stuff. Most importantly, after my previous two visits to the same Armory just weeks ago to the ADAA (Art Dealer’s Association of America) Show and the Works on Paper Show – two of the glummest shows I’ve been to in a long time – the energy level at AIPAD was through the roof. At the end of the fair, I thanked one of the organizers and told him “I’m very happy.” And he replied that for the first time in many years this was the exact phrase nearly every one had used. In previous years people had said “I had a great fair” or “I had a lousy fair” or “I sold a shit-load of work” but never before had people said they were happy!

Welcome to spring.

Aisle 4

After nearly a week of living in the Armory, we're now on our last day. (It runs from 11 - 6 today.) Art fairs are both energizing and exhausting, but overall this one has been great - showing not just the strength and depth of interest in photography, but also offering encouraging signs that we're on our way out of the worst as far as the economy is concerned.

Aisle 4, by coincidence, seemed to offer the most of the old favorites starting with Cartier-Bresson's "Easter Sunday. Harlem. New York. 1947" at Eric Franck (above).

Across the aisle at Robert Mann, a particularly nice early print of Ansel Adams' "Moonrise" at Robert Mann.

At Gitterman, a late 1920s photo of the Brooklyn Bridge by William D. Richardson.

At Michael Shapiro a 1968 Pirkle Jones from his Black Panther documentary series. Here a couple at a Free Huey Rally in Oakland, CA.

And providing equal opportunity to the male nude, a 1984 photograph by Edna Bullock from a series clearly responding to Edward Weston.

Lastly at Shapiro, a 1965 Jim Marshall of the Rolling Stones at the San Francisco Civic Auditorium.

At Mack Lee, Edward Weston's seminal "Tina Reciting" from 1924.

At Photology a trio of small Luigi Ghirri's anticipating Thomas Struth's museum series.

At Fetterman, a Sebastiao Salgado from his latest series of endangered landscapes.

And an Alan Grant of Audrey Hepburn and Grace Kelly backstage at the 1956 Academy Awards.

At Deborah Bell, Louis Faurer's classic "Bowing at the Collections"

And now truly last from AIPAD, but not least - at Edwynn Houk, Lynn Davis's new "Iguaza Falls, Brazil".

Aisle 3

Aisle 3 seems a little sleepy at first, but it has a subtle charm different from the other aisles. Case in point, the above Atget of roses at Gallery 19/21.

Next comes one of the sleeper hits of the show, a cabinet of dozens of photographs of the same woman, obsessively framed and arranged, in the cornucopia of vernacular photographs that fill the booth of David Winter of Winter Works on Paper.

The full cabinet.

Detail of the above.

One of many good things at Contemporary Works/Vintage Works - a Mapplethorpe of Lisa Lyon's legs.

And one of my favorite Irving Penn photographs - "Girl in Bed" from 1949.

Also at Contemporary Works/Vintage Works, I thought I'd seen most of the good Inauguration photos but this pigment print made from a daguerrotype by master dag maker Jerry Spagnoli was a nice mix of old and new.

At Yancey Richardson, a row of portraits of Russian and and Latvian children by Dutch photographer Helen Van Meene.

At Bonni Benrubi a vibrant new Camera Obscura image by Abelardo Morell.

And at Hemphill, a now scarce row of cinema screen pictures by Hiroshi Sugimoto.These were made by leaving the shutter open for the entire duration of a film's projection making the screen go totally white while lighting the ambient location.

Aisle 2

Day two dawned on AIPAD with huge crowds and many friends and photographers dropping by including Ruth Ansel, Lynn Davis, and Richard Misrach. I continued my travels with camera down Aisle 2 and here as promised a few more of my personal picks out of the hundreds of pictures on view. Above an impressive Shinichi Maruyama at Bruce Silverstein.

Also at Silverstein this very early, almost 19th Century looking landscape by Brett Weston.

On the outside of Houk's booth, one of the greatest color photographs of all times, Joel Meyrowitz's photo-realist appearing "Dairyland" from 1976.

At Throckmorton, this intensely colored Nicholas Murray of Frieda Kahlo.

At Richard Moore - a Dorothea Lange for our time. "Daughter of Migrant Tennessee Coal Miner. Sacramento, California, 1936".

At Keith DeLellis a great Louise Dahl-Wolfe for the fashionistas.

At Higher Pictures a Scott Peterman of New York.

An explosive still life by Martin Klimas at Foley.

At Robert Morat, a quiet landscape by Peter Bialobrzeski.

And for literary types, this Irving Penn of Gisele at Rick Wester.

At Robert Klein, a rare shot of Marilyn Monroe by Garry Winogrand.

And last but not least - at Greenberg, this cool fellow by Leon Levinstein. You talkin' to me?

Aisle 3 tomorrow.

Addendum

An addendum - I had wanted one of Katharine Wolkoff's silhouette pictures for my booth - specifically to go next to Julia Margaret Cameron's profile of Alice Liddell. But UPS screwed up and the picture arrived late. Nevertheless it went up this morning and has already been much admired!

Aisle 1

The 29th annual AIPAD Photography show got off to a rollicking start last night with one of the best looking amalgam of booths ever. Modesty aside, I'll start with pictures of my own booth (above and below) and then move on to a highly subjective selection of some of the pictures that grabbed my attention from other dealers. With four aisles of about twenty booths each, I'm going to parse out my picks over the next few days starting with Aisle 1 today and ending up with Aisle 4 on Sunday, the last day of the fair. Again, if you're any where near NYC, this is one of the highlights of the photography year so try to make it and be sure to say hello.

Danziger Projects

Danziger Projects

Danziger Projects

Danziger Projects

Exhibitors were asked to select one photographer from their booth as an "Innovator" in the medium. I chose The Sartorialist.

Charles Hartman chose Corey Arnold, a deep-sea fisherman and photographer!

Also at Hartman, a smart pairing of Harry Callahan and Garry Winogrand.

At Joel Soroka, a Mamet worthy Robert Frank from his rarely seen 1955 series on Cadillac salesmen.

At William Schaeffer, an unusual Weston dune from 1936.

At Paul Hertzman, George Gardner, "Ozark Mountains, Southern Missouri, 1967"

Also at Hertzman, a rare variant from Edward Weston's seminal "Nude on the Dune" series.

At Andrea Meislin, this emotional photograph by Micha Bar-Am of hostages hugging the Israeli paratroopers who successfully freed them from the hijacked plane at Entebbe Airport in 1976.

At Joseph Bellows this pair of midwestern landscapes by John Priola.

And a 1930 X-Ray of a lily by Dr. Dain L. Tasker.

At Hyperion Press, this sweet silhouetted shot of Venice by Willy Ronis.

And a fabulous tiny circular gem by Man Ray of the greatest profile of all times - Lee Miller!

And another tiny print -this one by Jacques Henri Lartigue.

At Scott Nichols, An Avedon of Jack and Jackie Kennedy signed by everyone!

At Janet Sirmon, a fun fashion photo for LIFE Magazine by Yale Joel. I need to see whether it predates Elliott Erwitt's more famous similar pictures.

At Miller Block Gallery, a group titled "Consumer Garden", pictures of flowers made from recycled material.

And last but not least, one of several aerial photographs sprinkled around the show - "Dinghies Clustered Around Dock" by Alex MacClean.

Stay tuned for highlights from Aisle 2 tomorrow.

AIPAD

Excuse my absence from the blog as I get ready for the opening of the AIPAD show tomorrow. (That's The Association of International Photography Art Dealers.) It takes place at the Park Avenue Armory at 67th Street in New York. There's a benefit opening Wednesday night and then the show runs Thursday to Sunday, 11- 7.

I was very much focused on installing my own booth, but from what I saw of the other booths, it looks like a great show and a much needed tonic to the surfeit of contemporary art shows that have been getting steadily out of hand over the last decade.

For more details on the event and a list of the over 70 participating galleries click here.

Weekend Video

Way back in 2000, SHOWstudio was a pioneering presence in the world of online 'zines. I remember Craig McDean's 2001 short film of Karen Elson and Melissa Auf der Maur performing the song 'Devil's Plaything', shot at the Chelsea Hotel in New York, as an inspiration - showing what you could do with a hand-held camera, a good eye, cool friends, and access to some streaming video.

Ten years later, SHOWstudio are still at it. So just a simple appreciation.

More Camera Notes

Last December, Pentax announced a white version of its entry-level K2000 SLR and two bundled lenses. The "very limited edition" model comes with white versions of the smc DA L 18-55mm F3.5-5.6 AL and smc DA L 50-200mm F4-5.6 AL lenses.

In today’s highly competitive camera market, distinctive colors have proved a useful marketing tool, but this one – halfway between summer whites and Star Wars storm trooper chic – takes distinctive design to a whole new level.

I haven’t had a chance to play with the camera, but post it today because:

1) I got this offer via e-mail

2) I’m on vacation with my family and so looking for anything halfway worthwhile to post

3) You have to admit it does look very cool!

Fashion Notes from All Over

In one of the more refreshing new ad campaigns, the venerable British fashion label Aquascutum have teamed with Tim Walker for their spring/summer '09 campaign. I wrote about Walker earlier on the occasion of his show and book release, but it's nice to see someone find the right outlet for his whimsicality.

In the meantime, I'm away with my family this week (kids' spring break), but that doesn't mean there's any break from blogdom. My daughter was flipping through her favorite magazine, Teen VOGUE, on the plane when I glanced over and saw this spread of photos by Juergen Teller for Marc Jacob. I'm a huge fan of the Juergen/Jacobs collaboration, but even I thought this might be going a bit far for Teen VOGUE. And my daughter (13), who's a huge fan of "Gossip Girl" (which is pretty out there), agreed.

Lastly, Tommy Ton of the blog Jak & Jil just shot his first ad campaign for Chinese luxury retailer Lane Crawford. It's very Sart meets Martin Parr, but I have to hand it to the guy, he's got an eye!

Of Grace Longoria, Dolphins, and Unicorns

Our Tanyth Berkeley show opened on Friday to big crowds and a wildly positive response. How do I know this? We served 350 glasses of wine and sold several pictures – the latter being a rarity at openings where usually only the former takes place. The star of the night, however, had to be Grace herself who dazzled and mesmerized all who came into contact with her. To give a sense of her in motion, here’s a picture of her taken from her Facebook page. A star has many points!

Tanyth once said to me that Grace was like a unicorn. And then lo and behold, a friend of Grace’s posted a story on her wall about an albino pink dolphin spotted near the Gulf of Mexico. “Like finding a unicorn” was the comment. I looked up the story and somehow it all seems to fit together.

Weekend Video - Don't Bring Me Down

I was running on the treadmill plugged into my i-pod shuffle when this song came on. It's the version of the Beatles' "Don't Let Me Down" from the film "Across the Universe" which I know I've raved about at least once before. But connected to the music in the way you are when you run with headphones I was struck again by how the interpretations of the songs not only revitalized them but in many cases actually improved them. Let me know what you think.

Camera Review - Panasonic DMC TZ5

A completely unsolicited review. Last night was my daughter's class performance of "The Pirates of Penzance" so I grabbed a camera I bought about a year ago, the Panasonic DMC-TZ5, and shot a bunch of pictures with the flash off. I didn't think much about it, until I downloaded the pictures, and then I was completely amazed by the quality of these totally automated snaps.

I'll let the pictures speak for themselves (you can click on the images to see them at full size) but technically speaking, I was zoomed about halfway in, shooting at the full picture size of 9MB, in regular automated shooting mode. I have not done anything to the files and bear in mind that posting a picture somehow always seems to slightly flatten out and diminish the image.

The camera is just slightly bigger than a deck of cards and when closed, the lens protrudes about 3/8 of an inch from the body, making it just out of true pocket size. That quibble is of course more than compensated for by the quality of the pictures. And it takes pretty good video too!

Animal Planet

Alexander Safonov.
 Common dolphins charging a 'ball' of bait during the sardine run off the east coast of South Africa.

Here at The Year in Pictures, we always enjoy a good animal picture (and we've been incredibly busy setting up the new gallery) so to keep things fresh and for a change of pace are a selection of some of the shortlisted wildlife images from the Sony World Photography Awards.

Ken Conger. A gathering of bald eagles in South Alaska.

Alejandro Jose De Oliveira Sanchez. Jellyfish.

Federico Veronesi. African elephants in Amboseli National Park, Kenya.

Lisa Maree Williams. 
A joey koala clutches a fake substitute mother at the Australian Wildlife hospital, the largest wildlife hospital in the world, Queensland, Australia.

Tanyth & Grace

Grace, 2008.

I first met Tanyth Berkeley in 1997 when she was working as an intern to Sheila Metzner who I represented at the time. The Metzner Studio was always a fun place to visit – imbued with Sheila’s zen spirit and good humor – but I never really knew Tanyth in any way other than as Sheila’s assistant.

Fast forward to 2005 and I was passing by Bellwether Gallery on 10th Avenue and saw that Tanyth Berkeley was about to have her first solo show opening that night. I went in to get a sneak preview and was literally stunned by how good the work was. The show was called “Love Parade” and consisted of a room lined with portraits of unusual looking young women Berkeley had met and persuaded to pose for her outdoors in city parks. She called her subjects "Orchidaceae" and the photo-
graphs looked at these women as rare blooms - inviting the viewer to ponder their own response while questioning traditional notions of beauty.

Berkeley's unique style combined both painterly effect and photographic clarity in new and distinctive ways. Influenced by artists from Toulouse-Lautrec and Egon Schiele to Diane Arbus - the work signaled the arrival of an original and wholly contemporary new vision, and was recognized as such when the Museum of Modern Art selected Berkeley for their "New Photography" show in 2007.

While Berkeley moved on to various other subjects – she continued to regularly photograph one of her original "orchids", Grace Longoria, a striking albino of Mexican descent who Berkeley once described as "a combination of Marilyn Monroe and the moon". Their initial chance encounter set the stage for an ongoing relationship which has now lasted seven years. It occurred to me a while ago that this might make for a strong and original show.

I put the idea to Tanyth and Bellwether’s owner, Becky Smith, and everyone was eager to do it. By a happy coincidence, it is also the inaugural exhibition of my new space at 534 West 24th Street. So, again, please try to see the show and if you’re anywhere near please come to the opening on Friday, March 13, 6 – 8 p.m. where you’ll get to meet Tanyth and Grace and see the new gallery.

For people not used to working with the photographers, their articulateness can sometimes be surprising, so I’ll end with what I thought was a lovely thing Tanyth had to say about Grace – that she saw her “as a symbol of the infinite and unique possibilities of the natural world”.

From Berkeley's first shoot with Grace in 2004.

One of the photographs exhibited at MoMA.

One of the most recent photographs taken less than a month ago.

Weekend Video - Nouvelle Vague, Part 2

A while back I posted the band Nouvelle Vague's video cut to the dance scene from Godard's "Bande a Part". It was a big hit and now either the band (or perhaps Matthias Heuermann who posted the above) have set another Nouvelle Vague song to Godard - in this case putting N.V's version of "Dancing with Myself" to the dance scene in "Vivre sa Vie".

Yo can see the original scene from the film below, and at the very bottom for any who missed it, the Nouvelle Vague/"Bande a Part" video that started it all off.

A Masterpiece by Helen Levitt

New York, 1988. Helen Levitt

While my inbox is flooded with images every day, it never bothers me as a picture takes so little time to look at. The only problem is that most of the images rarely stand out or move me. Yesterday, however, this Helen Levitt popped up advertising a new show at the Kahmann Gallery in Amsterdam and it just struck a chord with me.

Levitt, now 95, has been photographing for 70 years and is best known for her black and white street photographs of children at play. Cartier-Bresson was her friend and mentor and like him, she bought a small Leica camera in 1936, which enabled her to move quickly and freely through the streets of New York. Her color work only came to light recently, but like her fellow New York School photographer, Saul Leiter, the color work is a revelation, bringing a wonderful painterly quality to what is otherwise highly photographic work.

There's so much going on in this picture - the children's dilemma, the fabric of the woman's dress, the incidental action outside of the rectangle of the phone booth and the strange way it breaks up the picture, the intersecting lines of color, the abstract texture of the sidewalk, and of course above all the humor of the situation. Now that's a picture!

Oh Baby!

People often ask me for recommendations for a wedding photographer - which is way too much of a responsibility for me to take on – and so I always pass. When it comes to baby pictures, however, I have no hesitation in recommending Edward Mapplethorpe (yes, he is Robert’s younger brother) who has always been a talented photographer in his own right as well as having made largely unsung contributions to his brother’s work. Edward has tackled just about every subject – nudes, abstracts, conceptual work – but he’s been photographing children for close to 20 years. He insists on taking the pictures on or about the child’s first birthday. (He likes them sitting up.) And while he only shows the parents one or two frames from the shoot, as far as I know, he’s never had to show more.

What I like about his children is that they’re neither cutesy or little adults, but somewhere in-between. And if you get a crying picture, there’s always a smiling one to go with it.

You can contact Edward at edward@edwardmapplethorpe.com.

Goodbye to all that...

About six months ago, the photographer Joseph Holmes e-mailed me to see if I would let him photograph my workspace for his ongoing series of that name. As I like both my workspace and Joe's work, I was happy to co-operate and now his picture (above) is about to be all that remains as a visual record of where I've sat for the last five years, often writing this blog!

I'm indulging in a reflective moment because today is my last day sitting here before I move the gallery two blocks south to a new street front space on West 24th Street. (I'm following Rahm's advice and going counter economic trend!) The collage of pinned up images, notes, etc., are the accumulation of that period of time - a combination of to-do's, invitations, and memorable cards and images. I guess it's what is generally called an "inspiration board" and I've always thought a book of different people's inspiration boards would be a worthwhile project to put together. (Any publishers who like the idea should feel free to contact me!)

It's been a swell five years at 521 West 26th Street, but I like change (and hope). So I'm looking forward to another five years at 534 West 24th Street and you can be sure I'll be keeping you posted on my own shows as well as the other stuff that grabs me. (Nevertheless, I was pleased to see that on The Photo Blog Triangle recently posted by Jorg Colberg I was halfway between "Comment" and "Curate" and far from "Promote".)

But mark this Friday, March 13th, in your books and if you're anywhere near please come by our opening of our Tanyth Berkeley show - which will open Danziger Projects' program on West 24th Street.