This selection of Asian photography was drawn from the booths at Paris Photo 2023. For further background on how and why this “collection” was formed, and the structure of the resulting slideshow, visit the introductory page (here). This collection consists of 20 works made by Asian photographers between roughly 1930 and the present. Competition was similarly tough to join this group, with well recognized names like Nobuyoshi Araki, Shin Yanigasawa, Shohei Nishino, Eikoh Hosoe, Miho Kajioka, Pixy Liao, and others ultimately left off the team, but the overall “collection” feels somewhat more uneven than the other three, perhaps in terms ... Read more at Collector Daily.

This selection of works by Black photographers was drawn from the booths at Paris Photo 2023. For further background on how and why this “collection” was formed, and the structure of the resulting slideshow, visit the introductory page (here). This collection consists of 20 works made by Black photographers between roughly 1950 and the present. The competition to join this group was fierce (signaling a growing momentum for works by Black photographers at fairs like this one), with works by Gordon Parks, Carrie Mae Weems, Deana Lawson, Seydou Keïta, Arielle Bobb-Willis, Ming Smith, Renee Cox, Lola Flash, Jamel Shabazz, and ... Read more at Collector Daily.

My first trip to Paris Photo as a photography collector and writer came a decade ago now in 2013, and so aside from the interruptions of the pandemic, I’ve made a decent number of arguably systematic attempts to summarize what can be found in its many booths. Such reports aren’t “reviews” or “criticism” in the traditional sense of those words, but instead edited gatherings of notable pictures, designed to give both the reader from afar and the recently returned attendee a glimpse of what caught my particular eye. Over the years, I have applied several different structured filters to sift ... Read more at Collector Daily.

This is Part 2 of our summary report on Paris Photo 2021, focusing on the booths in Section B of the fair. Part 1 of the report (here) explains the format used in the detailed slideshow below, provides some background for the discussion, and covers Section A of the fair. It is certainly possible to jump directly into any one of these individual reports, but if you want or need a bit more context, return to Part 1 as a starting point.... Read more at Collector Daily.

While photography is never the primary focus at the annual ADAA Art Show, this year’s version of the fair is even lighter than usual on notable photographic material. Out of the roughly 70 booths currently hosted at the Park Avenue Armory, only 5 are filled solely with photography. And with less than a handful more including photography amid (or paired with) works in other mediums, it only takes a quick pass through the aisles to survey the entire range of photographic offerings. What follows below is a selection of the highlights, organized in slideshow form. A short discussion of each ... Read more at Collector Daily.

When in checked into my hotel room after arriving from New York on the overnight flight to Paris earlier this week, the usually standard note from the general manager welcoming me had a surprisingly relevant and appropriate message. It read: “I’m looking for the unexpected. I’m looking for things I’ve never seen before.” And the speaker of this quote was apparently Robert Mapplethorpe. Was this just a strange coincidence, or did my hotel actually prepare for the photo people coming to town for Paris Photo? Whatever the case, that inspirational words provided a seemingly straightforward way to think about (and ... Read more at Collector Daily.

Photography is never the main event at the stately ADAA Art Show, but there is always enough material on view to make a photo-centric trip to the Park Avenue Armory worthwhile. Its carpeted aisles, wide spaces, and tightly edited group of established dealers give the fair its competitive advantage – an unrushed, roomy atmosphere that encourages question asking and further engagement, unlike the packed hustle of most fairs. This year, as in years past, there are a range of photo offerings to be uncovered, from solo booth presentations and group shows of photography to photographs paired with or mixed in ... Read more at Collector Daily.

A few days before I left to make my annual trip to Paris Photo this year, someone asked me what I was hoping to get out of the journey, having made the same pilgrimage every year for many years now. The unspoken question that went along with this query was “surely it can’t be that different every time?” My quick on-the-spot and unrehearsed answer was that I go to Paris Photo to see the work I don’t (and likely can’t) see in New York. And even though there is undeniably some similarity to the fair year in and year out, ... Read more at Collector Daily.

The unhurried elegance of the annual ADAA Art Show has always seemed like an outlier when staged within the distracting bustle of the cacophonous Armory Week art fairs. With out-of-town collectors running around from fair to fair, trying to jam in as many venues as possible into a handful of days, its quiet discussions have always felt a bit stilted, like we somehow needed to be moving more quickly so as not to miss something important somewhere else. But by pushing the fair ahead a week this year, and thereby away from the jangling competition of the others, the patient, ... Read more at Collector Daily.

As I was coming over on the night flight from New York for my annual trip to Paris Photo, I was thinking about what I could do to introduce a sense of freshness into my summary of the fair. For many years now, I have been reporting on the photography to be found at Paris Photo, systematically going from booth to booth, selecting one work from each and every stall in the sprawling Grand Palais. This process has had its own excitements and challenges, from being forced to choose from an embarrassment of riches to struggling to select even one ... Read more at Collector Daily.