This selection of photographs made using alternative processes and techniques 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 featuring alternative processes and techniques made between roughly 1930 and the present. There were so many worthy options for inclusion in this collection that another 10 or even 20 works could easily been added without sacrificing much in the way of quality, but the curatorial limits of this exercise were fixed in ... Read more at Collector Daily.
]]>This selection of photographs made using alternative processes and techniques 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 featuring alternative processes and techniques made between roughly 1930 and the present. There were so many worthy options for inclusion in this collection that another 10 or even 20 works could easily been added without sacrificing much in the way of quality, but the curatorial limits of this exercise were fixed in ... Read more at Collector Daily.
]]>This is Part 4 of our summary report on the highlights of Paris Photo 2022. Part 1 of the report (here) explains the format used in the detailed slideshow below, provides some background for the discussion, and covers earlier sections of the fair. And Parts 2 and 3 of the summary can be found here and here. So while it is certainly possible to jump directly into any one of these individual reports, if you want or need a bit more context, return to Part 1 as a starting point.... Read more at Collector Daily.
]]>This is Part 4 of our summary report on the highlights of Paris Photo 2022. Part 1 of the report (here) explains the format used in the detailed slideshow below, provides some background for the discussion, and covers earlier sections of the fair. And Parts 2 and 3 of the summary can be found here and here. So while it is certainly possible to jump directly into any one of these individual reports, if you want or need a bit more context, return to Part 1 as a starting point.... Read more at Collector Daily.
]]>This is Part 3 of our summary report on Paris Photo 2021, focusing on the booths in Section C 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. Part 2 (which covers Section B) follows here. 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.
]]>This is Part 3 of our summary report on Paris Photo 2021, focusing on the booths in Section C 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. Part 2 (which covers Section B) follows here. 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.
]]>This is Part 3 (of 5) of our summary report on Paris Photo 2019, focusing on the middle right area of the fair. Part 1 of the survey (here) explains the format used in the detailed slideshow below, and sets the stage for the discussion. So while it is certainly possible to jump directly into any one of these individual reports and start digging, return to the beginning if you want a bit more context. Part 2 can be found here.... Read more at Collector Daily.
]]>This is Part 3 (of 5) of our summary report on Paris Photo 2019, focusing on the middle right area of the fair. Part 1 of the survey (here) explains the format used in the detailed slideshow below, and sets the stage for the discussion. So while it is certainly possible to jump directly into any one of these individual reports and start digging, return to the beginning if you want a bit more context. Part 2 can be found here.... Read more at Collector Daily.
]]>This is Part 3 (of 5) of our summary report on Paris Photo 2018. Part 1 of the survey (here) explains the format used in the detailed slideshow below. It also offers some introductory thoughts on the fair as a whole. So while it is certainly possible to jump directly into any one of these individual reports and start digging, return to the beginning if you want a bit more context. Part 2 can be found here.... Read more at Collector Daily.
]]>This is Part 3 (of 5) of our summary report on Paris Photo 2018. Part 1 of the survey (here) explains the format used in the detailed slideshow below. It also offers some introductory thoughts on the fair as a whole. So while it is certainly possible to jump directly into any one of these individual reports and start digging, return to the beginning if you want a bit more context. Part 2 can be found here.... Read more at Collector Daily.
]]>This is Part 3 of our summary report on Paris Photo 2017. Part 1 of the report (here) explains the rationale behind the decision to feature only female photographers this year and includes an explanation of the format used in the detailed slideshow below. So while it is certainly possible to jump directly into any one of the individual reports, start back at the beginning if you want to understand the context. Part 2 can be found here.... Read more at Collector Daily.
]]>This is Part 3 of our summary report on Paris Photo 2017. Part 1 of the report (here) explains the rationale behind the decision to feature only female photographers this year and includes an explanation of the format used in the detailed slideshow below. So while it is certainly possible to jump directly into any one of the individual reports, start back at the beginning if you want to understand the context. Part 2 can be found here.... Read more at Collector Daily.
]]>While it is certainly possible to jump into the middle of our Paris Photo 2016 summary reports and find your way directly to your favorite galleries, starting at the beginning and working through the booths systematically may make the most sense. Part 1 of our report can be found here, and along with one group of booth reports (the center section), it includes some general background on the fair and the outline of the slideshow format. Part 2 (the middle left) is located here for those that want to jump around. This Part 3 of the report covers the section immediately to the right of ... Read more at Collector Daily.
]]>While it is certainly possible to jump into the middle of our Paris Photo 2016 summary reports and find your way directly to your favorite galleries, starting at the beginning and working through the booths systematically may make the most sense. Part 1 of our report can be found here, and along with one group of booth reports (the center section), it includes some general background on the fair and the outline of the slideshow format. Part 2 (the middle left) is located here for those that want to jump around. This Part 3 of the report covers the section immediately to the right of ... Read more at Collector Daily.
]]>While it is certainly possible to jump into the middle of our Paris Photo 2015 summary reports and find your way to your favorite galleries, starting at the beginning and working through the booths systematically may make the most sense. Part 1 of our report can be found here, and along with one group of booth reports (the center section), it includes some general background on the fair and the outline of the slideshow format. This Part 2 of the report covers the section immediately to the left of the central section, as seen from the main entrance. It might also be called ... Read more at Collector Daily.
]]>While it is certainly possible to jump into the middle of our Paris Photo 2015 summary reports and find your way to your favorite galleries, starting at the beginning and working through the booths systematically may make the most sense. Part 1 of our report can be found here, and along with one group of booth reports (the center section), it includes some general background on the fair and the outline of the slideshow format. This Part 2 of the report covers the section immediately to the left of the central section, as seen from the main entrance. It might also be called ... Read more at Collector Daily.
]]>As you move away from the commercial scrum of the Armory Show and on to some of the satellite fairs, gatherings, and installations that dotted the city during this busy week of art, it quickly becomes clear that the overall mood changes – the prepackaged hustle starts to fall away, revealing a calmer brand of art engagement. This year’s Volta NY show transplanted itself to Pier 90, right next door to its gargantuan neighbor/partner, but still managed to retain some of its casual authenticity. As a fair of solo booths, it encourages more measured thinking by design, while also allowing for ... Read more at Collector Daily.
]]>As you move away from the commercial scrum of the Armory Show and on to some of the satellite fairs, gatherings, and installations that dotted the city during this busy week of art, it quickly becomes clear that the overall mood changes – the prepackaged hustle starts to fall away, revealing a calmer brand of art engagement. This year’s Volta NY show transplanted itself to Pier 90, right next door to its gargantuan neighbor/partner, but still managed to retain some of its casual authenticity. As a fair of solo booths, it encourages more measured thinking by design, while also allowing for ... Read more at Collector Daily.
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Space: Anetta Mona Chisa and Lucia Tkacova (6). Farcical satires of porn, reenacted by two clothed women.
Silverlens Gallery: Steve Tirona (5, below) Wacky and playful digital collages of Imelda Marcos.
TZR Galerie Kai Bruckner: Jasper de Beijed (8), Ruud van Empel (3)
Light & Sie: Wouter de Ruytter (30). A mini retrospective of the artist’s work.
Sollertis: Phillipe Perrin and Pierre Joseph (5). Murder scenes.
Gaain Gallery: Vik Muniz (1), Kyungwoo Chun (2) Seton Smith (1)
P.P.O.W. Gallery: Carollee Scheeman (4)
Stefan Roepke: Robert Mapplethorpe (2)
Jen Bekman Gallery: Beth Dow (10). Platinum landscapes.
While we didn’t find anything for our particular collection at Pulse, I came away impressed with the quality and variety of contemporary photography being supported by galleries and collectors around the world. It was a show well worth a visit, perhaps in the end even more satisfying than the sprawling Armory.
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