For committed photography collectors like ourselves, the run of spring contemporary art fairs here in New York can often feel a little like a frustrating missed opportunity. We enthusiastically look forward to the fairs, and then proceed to systematically work our way through the aisles, eager to visit with gallery owners (and other collectors and curators) from far off locales and to get caught up with the photography they are supporting. And yet, more often than not, the reality is that when we do arrive to see what they’ve brought, they’ve largely left the photography home, in favor of big ... Read more at Collector Daily.

The photography at this year’s Frieze New York art fair seems to divide itself into two very distinctly separate camps – the brand new and the rediscovered old – with very little in between. Fresh from the framer works that were made in the past year or two are almost evenly balanced by a parade of somewhat lesser known photographs from the 1970s and 1980s. The consistency of this duality implies that a model that works for galleries is converging toward a repeatable formula. Galleries seem to have concluded that collectors (and to a lesser extent curators and institutional buyers) ... Read more at Collector Daily.

If you saw me working my way through the booths at this year’s Art Basel Miami Beach, you’d likely think I was doing my usual gig, looking at and tracking all of the photography that was on view at the fair, and in some sense, I absolutely was. What was different this year is that while I jotted notes on and took pictures of roughly 70 worthy photographs that were on display, I had already decided on the plane ride down that I would do less reporting and more criticism this time, cutting away the dutiful description of the new but ... Read more at Collector Daily.