Tuesday, March 29, 2011



In April 2009, the inaugural Month of Photography Los Angeles (MOPLA) showcased the enormous photography community, inclusive of commercial, fine art and photojournalism. As the second largest photography community in the United States, Los Angeles provides a distinctive backdrop to the celebration of the photographic image.

MOPLA was established and exists to advance the celebration of Photography through a variety of events and programs designed to inspire and invigorate the photography professional, enthusiast, emerging professional and collector.

MOPLA's two-fold mission is to advance dynamic programming designed to engage and stimulate the photography community, as well as to present a comprehensive resource of exhibitions and events in April.

2011 THEME
MOPLA 2011’s theme, Adaptations and Reverberations, embodies the fluidity and versatility of the photographic medium. While technology allows the art of photography to change and grow, classic approaches reverberate throughout. Utilizing old and new techniques, photographers represent a variety of subjects, including music, another art form that embraces new techniques, while incorporating and reinventing those that have come before. MOPLA 2011 celebrates music and photography in Los Angeles – a city whose own history reflects reverberations and adaptations of its own art and culture.

PROGRAM SCHEDULE: Exhibitions, Discussions, Projections, Events

Website here.

Monday, March 28, 2011

International Pillow Fight Day

Beatles Pillow Fight, Hotel George V, Paris, 1964
Harry Benson: Beatles Pillow Fight, Hotel George V, Paris, 1964

Via the Los Angeles Times

Offbeat Traveler: International Pillow Fight Day

If you have the urge to hit someone, show up at Pershing Square on April 2 with a pillow for International Pillow Fight Day. When the air horn sounds at 2 p.m., watch the feathers fly, not just in Los Angeles but in almost 100 cities worldwide.

The basic rules for this free event include using only soft pillows, swinging them lightly and not swinging at someone who doesn't have a pillow. There is no set end time for the event, but participants are asked to help with cleanup once the pillow fight has concluded.

Los Angeles <br />2 p.m. <br />Pershing Square<br /> <a href="http://www.pillowfightlosangeles.com">pillowfightlosangeles.com</a>

International Pillow Fight Day

( Spencer Weiner / Los Angeles Times )
Los Angeles
2 p.m.
Pershing Square

Full list of city websites and slide show here.

Friday, March 25, 2011

Swann Auction: Yesterday's top selling photograph was Alfred Eisenstaedt's Children at Puppet Theater, 1963

Swann Galleries

The Spring auction season has started. First up yesterday, Swann (via Swann blog)

FRIDAY, MARCH 25, 2011
Yesterday's Top Lots: Fine Photographs

Adam Clark Vroman, Arizona and New Mexico, Volume II, album with more than 165 platinum prints, 1897. Sold for $62,400 on March 24, 2011.

Two rare photographic albums were the top lots in yesterday's Fine Photographs auction at Swann. Adam Clark Vroman's Arizona and New Mexico, Volume II, 1897, which featured more than 165 platinum prints of Native Americans, their dwellings, the famous Snake Dance and more, brought $62,400, a record price for both Vroman and the album. Linnaeus Tripe's album, Photographs of the Elliot Marbles, which can be read about here, brought $57,600.

Alfred Eisenstaedt, Children at Puppet Theatre, Paris, silver print, 1963, printed 1991. Copyright Time Inc. Sold for $48,000.

The day's top selling photograph was Alfred Eisenstaedt's Children at Puppet Theater, 1963, which sold for $48,000.
Also, via Swann's Twitter: "Bert Stern's unique contact sheet of Marilyn Monroe sold yesterday at Swann's Fine Photographs auction for a record $22,800"
Related: Born December 6: Alfred Eisenstaedt

The World Photography Festival and Sony World Photography Awards are coming to London

The World Photography Festival and Sony World Photography Awards are coming to London!
April 26 - May 1

Share your work, meet other photographers, learn new skills and get involved! Find inspiration and get your creative juices flowing during our week-long programme of events at Somerset House, and get ready to be dazzled by the vast photographic talent presented at the Sony World Photography Awards 2011 Gala Ceremony.

Whatever your photographic taste, the World Photography Festival, along with our partners including Sony, iStockphoto and blurb, will be sure to cater to it through a wide range of exhibitions, workshops, screenings and much more. If you're looking to grow as a photographer, improve your skills or maybe you're seeking a new photographic direction; register for Portfolio Reviews, peer-to-peer sessions, or drop by to visit our resident critic for some constructive advice.

At the centre of this activity, you will find the Photographers Lounge, where you can network and socialise with fellow photographers and industry folk. Ongoing Carousel Slide Slam sessions will be the highlight of the lounge whilst coffee, snacks, cold wine and beer, is served at Tom’s café and bar.

Ticket information here.

The World Photography Organisation (WPO) proudly supports professional, amateur and student photography, lending a global platform for the photographic industry to communicate, network and showcase current trends in Photojournalism, Fine Art and Commercial Photography.

Thursday, March 24, 2011


Richard Prince, Canal Zone, 2008

Patrick Cariou photographs of Jamaican rastafarians altered and exhibited without consent by Richard Prince. Photograph: Canal Zone

Yesterday the Guardian newspaper had an extensive article about the recent US Federal Judge's ruling against Gagosian gallery and artist Richard Prince for unfair use of 'appropriated' Patrick Cariou rastafarian images. "A New York federal court has ruled that Prince and his gallery infringed Cariou's copyright when he produced a series of works in a 2008 show using 35 pictures from the book Yes, Rasta, published by Cariou in 2000, "in their entirety, or nearly so". The ruling, which may lead to an appeal, stands to cost Prince and the Gagosian, one of the world's leading contemporary galleries, with outlets in London and New York, potentially huge sums. Eight of the works from the exhibition, which was entitled Canal Zone, have together sold for more than $10m (£6m). Seven others have been exchanged for other works of art for between $6m and $8m."
Prince's "Cowboy" became the most expensive photograph ever to sell at auction when New York dealer Stellan Holm bought it at Christie’s in November 2005 for $1,248,000. Later, “Marlboro Man" (Untitled, Cowboy), set a record for a photograph when it sold for $3,401,000 at Sotheby’s in New York in 2007.

As we reported on our blog after the Fall auctions, Prince’s “Cowboy” series consisted of old Marlboro cigarette print ads that he re-photographed. And the Marlboro man was based on a LIFE magazine cover of a photograph by Leonard McCombe of a real cowboy.

Similarly, the $63.36 million realized at Phillips, de Pury by Andy Warhol's “Men in Her Life?” was done in silk-screen technique: the dark black and white picture endlessly repeats a photographic image published in LIFE magazine on April 13, 1962.

In the context of the broader art market, Photography's impact, relevance, influence, and relationship to the broader fine art field is still in its infancy. Generally, the prices for the "masters" of photography are a fraction of the prices for the masters of art. But what to think when "art" sells for millions of dollars that is directly "appropriated" from photographs? We have assembled a few relevant posts, and welcome your comments.

Renowned photojournalist Bill Eppridge: When artists appropriate the work of others

"From European collagists in the early 1900s to contemporary installation artists who cull elements from the garbage bin and the Internet, the recycling of materials and ideas has been a fertile practice in modern and contemporary art. Cubist collage, montage, Pop Art, Assemblage, and Appropriation fractured pictorial conventions and led to the upheaval of aesthetic systems of order. Photography has played a catalytic role in this revolution." -- Henry Art Gallery

Jonathon Delacour: Appropriation Art and Walker Evans: Appropriation Art  appears to be the topic du jour

Peta Pixel: Photo Theft Versus Conceptual Art

Richard Prince’s Views on Copyright

Riddle time…who is the artist that produced this image? Appropriation in Photography: II. Whose Is It, Anyway?

Related: Thoughts on the Record Fall Auctions

Steve Schapiro, Hollywood's child

©Steve Schapiro "Brando with the cat"


A selection of Steve Schapiro’s pictures taken behind the scenes during filming of “The Godfather” and “Taxi Driver” will be on display at the A. Gallery in Paris until May 14, 2011.

In 1971, when Francis Ford Coppola began working on “The Godfather”, Steve Schapiro was a young photographer, 37 years old, known for his work published in Life, Look, Newsweek, and on movie sets. It is for this reason that Paramount offered him exclusive coverage of the making of “The Godfather”. This unique status provided him access to an exceptional “cast”, capturing the private moments with Brando that would become the film’s iconic images. His reputation would certainly contribute, four years later, to his being named official set photographer for Martin Scorcese’s new movie, “Taxi Driver”. There too, Steve Schapiro’s pictures would become icons. Robert de Niro (Travis Bickle) pointing his gun in front of a mirror, or Jodie Foster (Iris) waiting in front of a hotel entrance.

©Steve Schapiro "The Whisper"

These 35 enlargements (40 × 50cm or 75 × 100cm) are the renowned pictures hanging on the walls of the A. Gallery. Slide show here.

Pictures from the sets of “Midnight Cowboy” and “Chinatown” will also be on display at the A. Gallery. Several recent and to be published books are also featuring his photographs. “Schapiro’s Heros”, 2007, Powerhouse Books, and “The Godfather Family Album”, a collection of set pictures from the “Godfather” saga, published by Taschen. “Taxi Driver” also published by Taschen and “Chinatown” soon to be released by the same editor.

Bernard Perrine

Correspondant for The Institut of France


Steve Schapiro “You talkin’ to me ?”
Until May 14

A. galerie
Rue Léonce Reynaud, 12
75116 Paris


Related: Steve Schapiro: American Edge and review in ARTnews

McLeans Canada: Scenes from the AIPAD photography show in NYC


Every year, the world’s best galleries and photographers come together to pitch their wares under the same roof at the AIPAD (Association of International Photography Art Dealers) Photography Show New York, held in the Park Avenue Armory. For photographers, dealers, and art-lovers, this is the Big One.

The AIPAD Photography Show New York
The AIPAD Photography Show New York

Portraits of some of the prominent gallery owners showing at The AIPAD Photography Show New York: (clockwise) Robert Mann of Robert Mann Gallery in New York City, Kim Bourus of Higher Pictures in New York City, Deborah Bell of Deborah Bell Photographs in New York City, and Sidney S. Monroe of Monroe Gallery in Santa Fe, NM. Photo by Zoran Milich

Full slide show here 

Tuesday, March 22, 2011

United States Couple Create Photo Exhibits of War Dead, Booked in 39 Communities

The exhibit featuring photos of war dead from Nebraska and western Iowa opened in November and has been booked in 39 communities across the state

OMAHA, NE (REUTERS).- A traveling photo exhibit of members of the military from two states who were killed in the Afghanistan and Iraq wars has inspired its creators to put together similar displays across the country.

Bill and Evonne Williams. of Omaha, Nebraska, formed Patriotic Productions Inc. to create and display "Remembering Our Fallen" exhibits in other states that will feature photos and information on each service member killed.

"We need to remember their names," Evonne Williams said.

The exhibit featuring photos of war dead from Nebraska and western Iowa opened in November and has been booked in 39 communities across the state.

The Williams hope to organize and mount exhibits in five states a year. They said inspiration for the project came from reading newspaper coverage of the wars, especially stories of the families of those killed.

The couple has four sons who have served or are currently serving in the Army or Marine Corps.

The project is not the first time the Williams' rallied to recognize America's veterans. They raised about $1.2 million and organized Honor Flights to fly 1,500 World War II veterans from the Midwest to Washington, D.C., to see the World War Two Memorial in 2008 and 2009.

(Editing by Greg McCune)

© Thomson Reuters 2011. All rights reserved.

Sunday, March 20, 2011


Ernst Haas: Utah, 1952

We sincerely and graciously thank each and everyone of you who visited our booth at this years AIPAD Photography Show. We look forward to keeping in touch with all of our new friends, and hope you might find time to visit us in Santa Fe.

Saturday, March 19, 2011


Saturday at Booth #417

Jay Maisel and Stephen Wilkes

Please join us for the final day of the 2011 AIPAD Photography Show Sunday, March 20, 11 - 6 PM.

"A Visual Escape: AIPAD photo show is a must see for aficionados"

Livingston Patch

Behind The Lens
A Visual Escape

Section Sponsored By AIPAD photo show is a must see for aficionados.
By Bob Krasner


Photo editor Adrienne Aurichio, photographer (and husband) Bill Eppridge with photographer (and friend) Stephen Wilkes. Credit: Bob Krasner

So you like photography? You'll want to go to the AIPAD Photography Show. You love photography? You may not want to leave.

Over 75 photo dealers from all over the world have moved into the Park Avenue Armory in NYC for the weekend. Coming from London, China and numerous U.S. locations, these dealers have brought with them the cream of their collections for the benefit of serious collectors and the window shoppers among us.

The range of work on display is fascinating. Classic works by Brassai and Ansel Adams sit next to Bettie Page's naughty nudes.

Prices range, too. The Halsted Gallery offered original vintage prints which ran from $600 to $130,000. From Franklin, Minn., they are the oldest photography gallery in the country, according to Wendy Halsted-Beard.

One could spend too much time at their space alone, perusing images from Andre Kertesz, Arnold Newman, Irving Penn, Henri Cartier-Bresson, Berenice Abbott and Brett Weston, to name a few.

The show leans to the classic photographers and we were thrilled to be looking at and sometimes holding vintage prints by some of our favorites, such as Robert Frank, Lee Friedlander, Ray Metzker and the aforementioned Cartier-Bresson. There were some surprises too in the form of recently discovered work by Leopoldo Pomes (Michael Hoppen Gallery) and G.P. Fieret (Deborah Bell).

Moving on, we found contemporary work as well. The John Cleary Gallery had many fine examples of Maggie Taylor's work. Her creations were a beautiful example of how one can digitally create an image that is about something more than how to use photoshop. Niniane Kelley, from the gallery, noted that Taylor "leads the pack in digital, surreal work."

If you are lucky, you may have a chance to talk to some of the artists. Stephen Wilkes took the time to explain how he painstakingly created his images of the High Line and Times Square (12 hours in a cherry-picker and a whole lot of post-production).

We were also fortunate to spend time chatting with Bill Eppridge, whose 40-plus years as a photojournalist have been documented in National Geographic, LIFE magazine and Sports Illustrated. He was in Vietnam and Woodstock and is well known for his tragic image of Bobby Kennedy moments after being shot. He was having a great time at the show, being "surprised every time you turn around."

If you suffer from visual overload, stay home. But if you go, make sure you give yourself a few hours to visit all the booths. And bring a camera -- you'll probably be inspired to use it when you leave!

The AIPAD Photography Show New York
March 18 - 21, 2010 Park Avenue Armory at 67th Street
643 Park Avenue
New York, NY 10065-6122
Show Hours
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.

Tickets are only available for purchase during Show hours.
Each ticket admits one person.
$40 for run-of-show
Includes exhibition access for Thursday, Friday, Saturday and Sunday, plus one show catalogue (as available). Does not include panel discussions.
$25 daily
Only includes exhibition access for Thursday, Friday, Saturday or Sunday.
$10 daily with valid student ID
Only includes exhibition access for Thursday, Friday, Saturday or Sunday.
Special Events
$10 per session for Saturday panel discussions
Seating for panel discussions is limited and available on a first-come, first-served basis. Download the panel discussion program.

Related: THE AIPAD PHOTOGRAPHY SHOW: "Where photojournalism is exhibited alongside artier and more experimental work

Friday, March 18, 2011


Reports from the 2011 AIPAD Show are being published across the print and blog spectrum. We are pleased to share this report from Elizabeth Avedon:

AIPAD Photography Show

March 17-20 • Park Ave Armory x 67th St

Photo Collector's Alert: The Association of International Photography Art Dealers, the best of the best, are here in NYC this weekend. Check out all the modern, contemporary work, old masters, civil war treasures, salt prints and painted tin types. It's like the History of Photography all under one roof - only it's for sale. Mona Kuhn at M+B #109, The Oval Office, 2001 at Monroe Gallery #417, Laura Gilpin's 1928 Narcissus platinum print at Scheinbaum & Russek #214...over 70 galleries

THE AIPAD PHOTOGRAPHY SHOW: "Where photojournalism is exhibited alongside artier and more experimental work"

Friday, March 18, 2011

The AIPAD Photography Show is in full swing as we head into the weekend. The New York Times writes: "Art fairs can seem as if they were outside of history, congested labyrinths that confuse time and place. That’s not often the case with the annual Association of International Photography Art Dealers show, where photojournalism is exhibited alongside artier and more experimental work...the real reason to visit this fair is for its wealth of older material, going back to 19th-century photographs by William Henry Fox Talbot and Eugène Atget and including classic 20th-century images by the likes of Ansel Adams, Edward Weston, Berenice Abbott and Andre Kertesz."

This juxtaposition was emphasized in yesterday's visits to our booth by Bill Eppridge (R) and Stephen Wilkes (L):

We are showing a selection of Wilkes' photography from his China and America in Detail series; and debuting the newest photograph from his stunning "Day into Night" collection:

Times Square, Day Into Night, 2010

Also featured at Monroe Gallery are several examples of Bill Eppridges's historic images of 20th Century photojournalism:

Bobby Kennedy campaigns in IN during May of 1968, with various aides and friends:  former prizefighter Tony Zale and (right of Kennedy) N.F.L. stars Lamar Lundy, Rosey Grier, and Deacon Jones
Bill Eppridge: Bobby Kennedy campaigns in IN during May of 1968, with various aides and friends: former prizefighter Tony Zale and (right of Kennedy) N.F.L. stars Lamar Lundy, Rosey Grier, and Deacon Jones

Mrs. Chaney and young Ben, James Chaney funeral, Meridian, Mississippi, 1964
Bill Eppridge: Mrs. Chaney and young Ben, James Chaney funeral, Meridian, Mississippi, 1964

Please join us at Booth #417 through Sunday!

Thursday, March 17, 2011


 After last night's benefit opening, today the AIPAD Photography Show opens today for regular hours:

Thursday 11 - 7
Friday 11 - 7
Saturday 11 - 7
Sunday 11 - 6

Visiting our booth (#417) today will be Stephen Wilkes and   Bill Eppridge. We hope to see you!

Wednesday, March 16, 2011


The sun has broken through the clouds, just in time for this evening's 2011 AIPAD Photography Show. Exhibitors started setting up yesterday.

Monroe Gallery of Photography is located in booth #417. This is how it looked yesterday:

And, with some work, this afternoon:

The AIPAD Photography Show runs through Sunday, March 20. We hope to see you!

Tuesday, March 15, 2011


© Grey Villet. Above: The Little Rock Nine enter a classroom to register after escort from Army’s 101st Airborne Division, September 25, 1957.

March 15, 2011
A daily selection by the editors of Photo District News
Posted on Tuesday, March 15th, 2011 at 11:00 am ET by Amber Terranova

Grey Villet was a master of the classic “fly on the wall” style of photojournalism and he was the absolute master of the 180mm f/2.8 Sonnar. In addition to covering the news in Little Rock, Arkansas, in 1957 — when a group of high school students attempted to enroll in Little Rock Central High School and were initially prevented by Governor Orval Faubus who called on the National Guard to stop the school’s integration, his assignments included the 1958 arrest of Martin Luther King Jr, Fidel Castro’s triumphant drive into Havana, Jackie Robinson’s daring steal of home base in the 1955 World Series, and the now classic LIFE photo essay “Going Under” about farm foreclosures in the 1980s. Villet’s work will be on display with the Monroe Gallery at the AIPAD Photography Show New York, March 17-20, 2011, at the Park Avenue Armory.- AIPAD. To see more of Villet’s work click here.

Previous post: E-Photo Newsletter Names its List of The Most Influential Photography Sources In 2010-2011

Monroe Gallery of Photography is located at Booth #417 during the AIPAD Photography Show


We have previously recommended the E-Photo Newsletter as a regular must-read source for news related to photography. The just-released edition gives us another reason to recommend this informative source as it names Monroe Gallery of Photography "the most influential gallery devoted to photojournalism".

 By Alex Novak

These are mostly my personal choices for this past year, although I have been asking others for their choices/feedback by email and on the Vintage Photography group on LinkedIn, etc. By the way, please feel free to join this group and its active discussions here, although you will have to join LinkedIn first.

Undoubtedly there will be disagreements with many of my choices (after all, these are admittedly very subjective), but I sincerely think that these are some of the most influential in their given category. "Best" is a more difficult and
subjective decision and is also very situational; in other words, for example, many dealers could have wonderful pieces in these categories but are not listed as most influential in them. Other galleries and dealers may also be excellent sources, but because their inventory and interests are more evenly spread out, they did not make our more specific lists. Finally, other factors besides the quality of work offered were factored into the decision, including publications, lectures, leadership, availability/activity for this period, programs, etc.

Many named for their category are clearly the cream of the crop in a general way--at least over the last 12 months. Some other sources that are not cited may have had stronger records in the past, or may have stronger ones in the future. One editorial disclosure: I own Vintage Works, Ltd., which I have named--legitimately, I feel--below in three categories. We list at most shows as Contemporary Works/Vintage Works.

I was tempted to do a "worst" list, considering some of the photography shows, etc. that I've seen recently, but decided to spare the offenders. But just an aside to certain French curators: don't hang lots of tiny photos right next to each other and then give visitors a plastic sheet as a magnifying glass so that they can block other viewers from seeing the work--if that were even possible in the near pitch blackness and overcrowded conditions.

I'm sure I will get a lot of additions, opinions, ideas, critiques and responses to this list--both negative and positive. Consider that I am stirring the pot, so to speak, to get people and institutions thinking about striving to get better, including those both on and off the list. Certainly send me your email feedback to info@iphotocentral.com , and I will add it to the article. Please check those responses/discussions out at the I Photo Central news and archives section at:

http://www.iphotocentral.com/news/article_view.php/190/180/1123 .
International locations are noted. Other sources are based in the United States unless otherwise noted. I skipped a European/International curator selectiononly because my knowledge is somewhat limited in this area, although I know some very good ones. I expect we'll restructure this list and add that category nextyear, as well as changing up the selection process a bit.


19th-Century Gallery/Dealer
Hans P. Kraus, Jr., Inc.
Also Robert Hershkowitz, Ltd. (London and Sussex), Daniel Blau Photography (Berlin and London), Alain Paviot (Paris), Charles Isaacs, Serge Plantureux (Paris), Vintage Works, Ltd., Lee Gallery and Marc Pagneux (Chanteloup, France)

Surrealism and Experimental Photography
Galerie 1900-2000 (Paris) and Ubu Gallery (New York and Berlin)

American 20th-Century Modernism and Between-the-Wars Photography
Howard Greenberg Gallery and Stephen Daiter Gallery
Also Paul Hertzmann, Inc., Lee Gallery and Weston Gallery

American Mid-Century (1940s-1970s) Photography
Etherton Gallery, Fraenkel Gallery, Pace/MacGill and Stephen Daiter Gallery
Also Silverstein Gallery, Robert Mann Gallery, Robert Koch Gallery and Howard Greenberg Gallery

European 20th-Century Photography
Howard Greenberg Gallery, Kicken Berlin, Galerie Johannes Faber and Vintage Works, Ltd.
Also Alain Paviot (Paris), Robert Koch Gallery, Gitterman Gallery, Edwynn Houk, Michael Hoppen (London) and Galerie Priska Pasquer (Cologne)

Contemporary Photography Gallery
Fraenkel Gallery, Pace/MacGill and Weinstein Gallery
Also Rose Gallery, Bonni Benrubi, Nicholas Metivier Gallery (Toronto), Camera Work (Berlin), HackelBury Fine Art Ltd. (London), Hamiltons Gallery (London), Flowers (New York and London) and Edwynn Houk (New York and Zurich)

Cutting-Edge Contemporary Photography Gallery
Bryce Wolkowitz Gallery
Also Catherine Edelman Gallery

Monroe Gallery

American Western Photography
Andrew Smith Gallery

Fashion Photography
Staley+Wise Gallery and Camera Work (Berlin)

William L. Schaeffer
Also Dennis Waters, Mark Koenigsberg, Vintage Works, Ltd., Charles Isaacs, Michael Lehr, Serge Plantureux (Paris), Frederic Hoch (Offwiller, France), Greg French and Bruno Tartarin (Paris)

Vernacular/Snap Shots
Barbara Levine, Richard Hart and Stacy Waldman
Also Fabien Breuvart (Paris), Gargantua Photos/Steve Bannos, Joel Rotenberg, Wolfram Harmuth (Berlin) and Pixidiom/Norm Kulkin

The next two categories have changed incredibly over the last few years, with many physical bookstores going private or retiring, such as Dawson Books (now a private dealer), and other photography dealers and galleries dabbling in high-end photography books.

Photo Bookstore
Arcana Books, Harper's Books/Harper Levine, Schaden.com (Cologne) and Chambre Claire (Paris)
Also Photo-Eye, Tristan Schwilden (Brussels) and Lead Apron

Photo Book Private Dealer
Dawson Books, Jeff Hersch, Andrew Cahen, and Charles Woods III
Also Steven Daiter Gallery, Paul Hertzmann, Inc. and Fred Pajerski

AIPAD's New York Photography Show
Neither Paris Photo nor Photo LA are currently even close in top galleries/dealers and important material on offer. Both have faded considerably  in quality over the last few years, while AIPAD has come back from its financial problems very successfully. We will have to see if the other shows can come back, especially with Paris Photo getting new top management and a new venue recently (see the last newsletter). While not strictly speaking photography shows, watch out for the Armory Show in NYC (March), Art Week in Miami (December), Art Basel (June) and TEFAF at Maastricht (March), especially if you are interested in better contemporary and 20th-century modernism. These events often have as many dealers in photography and at a higher level than many
photography-specific fairs, although you have to go to many more locations to see the dealers and their work.

Binoche Auctions, Paris, June 2010

Antwerp Museum of Photography, Antwerp, Belgium

New York Metropolitan Museum of Art and the J. Paul Getty Museum

Fotografiska, Stockholm, Sweden

Sarah Greenough, National Gallery of Art; Malcolm Daniels, The Metropolitan Museum of Art, New York; Anne Tucker, Museum of Fine Arts, Houston; Keith Davis, Nelson-Atkins Museum of Art; and Sandra Phillips, San Francisco Museum of Modern Art

Bibliotheque Nationale, Paris: Primitifs de la photographie: Le calotype en France, 1843-1860

Hans P. Kraus, Jr., Inc. for its William Henry Fox Talbot exhibition at the 2010 Winter Antiques Fair

--"Czech Photography of the 20th Century" by Vladimir Birgus and Jan Mlcoch
--"Primitifs de la photographie: Le calotype en France, 1843-1860" by Sylvie Aubenas and Paul-Louis Roubert

--"About Sixty French Calotypes" by Robert Hershkowitz, Ltd.
-- Hippolyte Bayard: Photography and the Spirit--A Collection of Photographs from 1839-1849 by Daniel Blau Photography
--Teachers of the New Bauhaus by Stephen Daiter Gallery

Hans P. Kraus, Jr., Inc.

Monday, March 14, 2011

CAPTURING HISTORY- A Conversation with Chief White House Photographers

 IOP Logo

A panel discussion with former Chief White House Photographers

Date: Wednesday, March 23 2011

Time: 06:00 PM
Location: JFK Jr. Forum

Event Speakers: ERIC DRAPER, George W. Bush; DAVID KENNERLY, Gerald R. Ford; BOB McNEELY, William J. Clinton; DAVID VALDEZ, George H. W. Bush

Event Moderators: DAVID GERGEN, Director, Harvard Kennedy School's Center for Public Leadership Senior Political Analyst, CNN

Watch the conversation live here.

The John F. Kennedy Jr. Forum is one of the world's premier arenas for political speech, discussion and debate. More information here.

Related: White House Photographer Eric Draper's photographs to be exhibited at the AIPAD Photography Show, New York, March 16 - 20.

Friday, March 11, 2011


Planes stacked up at JFK airport, New York, 1968
Bob Gomel: Planes stacked up at JFK airport, New York, 1968

We are heading out to the AIPAD Photography Show. We will post regular updates here and on our Twitter feed. We sincerely hope to see you next week at Booth #417.

Thursday, March 10, 2011

Picasso: Drawing With Light

Artist Pablo Picasso "painting" with light at the Madoura Pottery, Vallauris, France, 1949

Pablo Picasso's Flashlight Centaur
Via Life.com

Renowned LIFE photographer Gjon Mili, a technical genius and lighting innovator extraordinaire, visited Pablo Picasso in the South of France in 1949. Mili showed the artist some of his photographs of ice skaters with tiny lights affixed to their skates, jumping in the dark -- and Picasso's lively mind began to race. This series of photographs, since known as Picasso's "light drawings," were made with a small flashlight or "light pencil" in a dark room; the images vanished almost as soon as they were created. However, while the "Picasso draws a centaur in the air" photo is rightly celebrated and famous, many of the images in this gallery are far less well-known -- and equally thrilling.

More: The following text is adapted from "Picasso’s Third Dimension" by Gjon Mili, published by Triton Press; 1970.

"Mili visited Picasso twice – eighteen years apart – and on both occasions, while assigned to photograph the artist, he found himself involved in totally unforeseen creative experiences. One result of the first meeting, at Vallauris in 1949, is the photograph (above) of Picasso drawing the Centaur with a “light pencil.” This spectacular “space drawing” is a momentary happening inscribed in thin air with a flashlight in the dark – an illumination of Picasso’s brilliance set off by the spur of the moment. It was during this first visit in 1949 that Mili showed Picasso some of his photographs of light patterns formed by a skater’s leaps – obtained by affixing tiny lights on the points of the skates. Picasso reacted instantly. Before Mili could utter a word of explanation, Picasso, sparkling with excitement, started tracing through the air one intriguing shape after another with his bare finger. It is interesting to note the affinity between Picasso’s first light image, the Centaur, and the shape of his own crouched body as he starts to draw. Significant, too, is the course of his action as the image progresses from beginning to end. He first describes a small hook and swings upward to delineate the left arm, then the head and horns, the right arm and then the spine; at frantic speed – which is shown by the thinness of the line – he scribbles two wavering hind legs before he slows down, almost to a stop, while drawing the soft curve of the underbelly. As if he suddenly remembers there is more to do, he swiftly shoots straight up to fill in the facial structures and without breaking the flow, signs off with a flourish. The photographic effect was created by opening the camera’s shutter while Picasso was in the dark, crouched over to begin his instant masterpiece – this static pose captured by a momentary flash. Again in darkness after this instantaneous flash of light, Picasso quickly draws his signature image in the air with a “light pencil.” This light drawing is an “instant Picasso” – vanishing no sooner than born, except for what the camera captures. Not unlike a doodle in appearance, this rendering is an unimpeded expression of the artist’s inner vision, and as instinctive as one’s gesticulations in trying to make a point. This “space drawing” highlights better than anything in clay, wood, metal, or paint the automatic link between hand and brain which is basic to Picasso’s creative thrust."

Related: "Light Painting"

Forthcoming exhibition: Composing the Artist
Exhibition of classic photographs portraying iconic Artists and Writers
Monroe Gallery of Photography May 6 - June 25, 2011

Tuesday, March 8, 2011

Today In History: 'The Fight Of The Century'

Muhammad Ali dodges a hook thrown by Joe Frazier. Although Ali lost the match, he proved his stamina by standing through 15 rounds.
John Shearer/LIFE

Muhammad Ali dodges a hook thrown by Joe Frazier. Although Ali lost the match, he proved his stamina by standing through 15 rounds.

Via NPR Picture Show
by Claire O'Neill
March 8, 2011

Today, 40 years ago, there was a big event. The media called it "The Fight of the Century." In Life magazine, it was "The Battle Of Undefeated Champs."

After more than three years in forced retirement for refusing to fight in Vietnam, Muhammad Ali was back to contend in the world heavyweight championship. He was pitted against the reigning champ, Joe Frazier. And they were each, no matter what, to receive an unprecedented $2.5 million for entering the ring.

To honor the momentous fight, Life has published a gallery of photos, many never before seen, taken by John Shearer, who at the time was merely in his 20s. (Joining Shearer as a Life photographer at the fight was amateur photographer Frank Sinatra.)

In addition to shooting the fight, though, Shearer documented the two contenders in the time leading up to the fight: the media circus that surrounded them both; the outspoken — and sometimes unsportsmanlike — antipathy between them; even Ali's small gut (three years is a long time to go without a fight).

Those three years caught up with Ali in the last round, when Frazier received the title by a unanimous decision. Another three years later, though, Ali won the title back.

Muhammad Ali taunts Joe Frazier in  Pennsylvania at Frazier's training headquarters. Both Shearer's photos and the 1971 Life article portray the outspoken aggression between the fighters.
John Shearer/LIFE

Muhammad Ali taunts Joe Frazier in Pennsylvania at Frazier's training headquarters. Both Shearer's photos and the 1971 Life article portray the outspoken aggression between the fighters.

Ali, along with Puerto Rican light heavyweight Jose Torres (in  suit) and others, gather at legendary boxing promoter Chris  Dundee's gym in Miami Beach, Fla., in February 1971.
John Shearer
Ali, along with Puerto Rican light heavyweight Jose Torres (in suit) and others, gather at legendary boxing promoter Chris Dundee's gym in Miami Beach, Fla., in February 1971.

Monday, March 7, 2011

March 7: The 46th Anniversary of Bloody Sunday

On the Road, the Selma March, 1065
Steve Schapiro: On the road, the Selma March, 1965

Civil rights organizations launched a registration drive in Selma, Alabama, a small city about 50 miles west of Montgomery. There were about 15,000 blacks residing in Selma, but only 350 had successfully registered to vote. At a February 1965 voting rights rally in nearby Marion, police shot and killed a young black man named Jimmie Lee Jackson.

In response, activists called a March 7 march from Selma to the Alabama state capitol at Montgomery. Led by John Lewis of SNCC and Martin Luther King’s aide, the Reverend Hosea Williams, some 525 marchers were met on the Pettus Bridge over the Alabama River by Alabama state troopers and local lawmen. They had gas masks at hand and nightsticks at the ready. The trooper leader (Major John Cloud) ordered the marchers to return to their church. Reverend Williams answered: “May we have a word with the major?” “There is no word to be had,” came the reply.

The suppression of the march, the New York Times reported, “was swift and thorough.” The paper described a flying wedge of troopers and recounted how “the first 10 or 20 Negroes were swept to the ground screaming, arms and legs flying.” With the news media on hand and recording their actions for a horrified national audience, the troopers fired tear gas canisters. Local law enforcement pursued the retreating protesters with whips and nightsticks. “I was hit in the head by a state trooper with a nightstick ... I thought I saw death,” said Lewis, hospitalized with a concussion.

For millions of Americans, March 7, 1965, would be known simply as Bloody Sunday. Typical was the reaction of U.S. Representative James G. O’Hara of Michigan, who called the day’s events “a savage action, storm-trooper style, under direction of a reckless demagogue [a reference to Alabama’s governor, George Wallace].”

From Atlanta, Martin Luther King Jr. announced that he and Ralph Abernathy would lead a second Selma to-Montgomery march that Tuesday. He called on “religious leaders from all over the nation to join us on Tuesday in our peaceful, nonviolent march for freedom.” Before the march could occur, a federal judge, not unfriendly to the activists but determined to hold hearings before acting, issued a court order temporarily forbidding the march.

King was under intense political pressure from every corner. Federal officials urged him to delay the march. With the judge’s injunction now in place, King and his followers would be the lawbreakers should the march proceed. But younger activists, many affiliated with SNCC, wanted to move faster. King risked losing his place at the head of the movement were he unable to satisfy their demands.

On March 9, King and Abernathy led some 3,000 peaceful protesters — their black followers joined by hundreds of white religious leaders — on the second Selma-to-Montgomery march. Troopers again met them at the Pettus Bridge. The marchers stopped, then sang the movement’s anthem: “We Shall Overcome.” The group then prayed, and Abernathy thanked God for the marchers who “came to present their bodies as a living sacrifice.” King then directed his followers to turn back. “As a nonviolent, I couldn’t move people into a potentially violent situation,” he told the Washington Post.

King’s decision disappointed some of the more zealous activists. But King had been conferring quietly with federal officials. The events of Bloody Sunday also had exerted great pressure on an already sympathetic President Johnson. Too many Americans at long last had seen enough. From religious groups and state legislatures, youthful protesters and members of Congress, the demand for federal action was growing. The two leaders appear to have struck a tacit bargain: King would not violate the injunction, and the Johnson administration quietly suggested it would soon be lifted.

On March 15, Johnson introduced the legislation that would become the Voting Rights Act. Addressing the nation that night, President Johnson employed the plainest of language in the service of a basic American value — the right to vote:

"There is no Negro problem. There is no southern problem. There is no northern problem. There is only an American problem.

And we are met here tonight as Americans … to solve that problem.

The Constitution says that no person shall be kept from voting because of his race or his color. We have all sworn an oath before God to support and to defend that Constitution.

We must now act in obedience to that oath. …

There is no constitutional issue here. The command of the Constitution is plain. There is no moral issue. It is wrong — deadly wrong — to deny any of your fellow Americans the right to vote in this country. There is no issue of States rights or National rights. There is only the struggle for human rights. …

What happened in Selma is part of a far larger movement which reaches into every section and State of America. It is the effort of American Negroes to secure for themselves the full blessings of American life.

Their cause must be our cause too, because it is not just Negroes but really it is all of us who must overcome the crippling legacy of bigotry and injustice. And we shall overcome.

Two days later, the federal court lifted the injunction against the marchers. U.S. District Judge Frank M. Johnson Jr. further ordered that state and county authorities not interfere and indeed take affirmative measures to protect the activists. “The law is clear,” the judge wrote, “that the right to petition one’s government for the redress of grievances may be exercised in large groups … and these rights may be exercised by marching, even along public highways.”  --Via America.gov

In 1966 the Selma-to-Montgomery National Historic Trail was created by Congress under the National Trails System Act of 1968.

Steve Schapiro: Entering Montgomery, 1965

Marchers cross the Alabama river on the Edmund Pettus Bridge at Selma on March 21, 1965. The civil rights marchers, eight abreast, were led by Dr. Martin Luther King Jr.

The msnbc Photoblog has more then and now photographs.

Related: Imprisoned in a Luminous Glare: Photography and the African American Freedom Struggle