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.

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.

With the New York art world having seemingly concluded that the pandemic is now in a more manageable stage, the Armory Show returned to town this past week, largely maskless and in a maximalist mood. While the 2021 version of the fair (report here) was quite a bit more subdued and tentative in its inaugural outing at the massive Javits Center (with many fewer international galleries in attendance, given the uncertainties of that moment in time), this year’s fair was both bustling and seemingly endless, the 250+ booths and installations filling aisle after aisle (after aisle). While several of the ... Read more at Collector Daily.

After more than a year of pandemic-induced isolation and hiatus, Paris Photo made its return to the photo calendar this week with a surprising amount of upbeat enthusiasm and energy. With the French COVID pass meticulously checked at the entry gate, there was no vaccination fuss or controversy, and inside the crowd was largely masked but comfortable and convivial. It seemed that nearly every booth and aisle was filled with people who were happy to see each other, to catch up, and to finally get back to looking closely at photography again. I, for one, was certainly grateful to be ... Read more at Collector Daily.

So much has changed about our lives since the last time the Armory Show was in New York (in early March of 2020), we would be right to assume that whenever we came back to the Armory, things might be radically different. And in a sense, they were. Yes, vaccine status was checked at the entrance. Yes, masks were required for collectors and gallery staff alike. And yes, the show has changed venues, moving from its previous location at Piers 92/94 to the cavernous Javits Center, where a sense of expansive professional roominess allowed for a more spread out wandering ... Read more at Collector Daily.

This year’s Armory Show began with a bit of pre-fair scheduling drama. Last minute structural problems with Pier 92 forced the organizers to move the booths planned for that pier to nearby Pier 90. But this opportunistic reshuffle didn’t come without meaningful consequences, however. The move caused the domino effect of bumping all of the galleries who had signed up for the sister Volta fair out into the cold; these galleries were then partially rescued by the hustle and generosity of collector Peter Hort, David Zwirner Gallery, and others, who rustled up an alternate fair solution that became known as ... 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.

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.

For background information on this year’s Armory show and the format of these slideshow reports, head back to Part 1 of this summary (here). This portion of the report covers the left side remainder of Pier 94 and all of Pier 92.... Read more at Collector Daily.