JTF (just the facts): A total of 14 color photographs, framed in white and unmatted, and hung against beige-colored walls in the main gallery space, the smaller side gallery, and the entry area. All of the works are archival pigment prints, made in 2022 or 2023. The prints are sized roughly 30×23 (or the reverse), 40×30 (or the reverse), and 60×45 (or the reverse) inches, and all of the prints are available in editions of 10+2AP. (Installation and detail shots below.)... 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.

JTF (just the facts): A total of 18 color photographs, mounted unframed and pinned directly to almond colored walls in the main gallery space and smaller side room. The works come from a variety of projects, as detailed below: “Black Vessels”: 1 archival pigment print, 2020, 40×30 inches, in an edition of 10+2AP “White Vessels”: 2 archival pigment prints, 2019, 2020, 45×60, 40×30, inches, in editions of 10+2AP “Glassware”: 1 archival pigment print, 2019, 45×60 inches, in an edition of 10+2AP “Wood Block Construction”: 2 archival pigment prints, 2021, 30×40, 48×60 inches, in editions of 10+2AP; 1 set of 3 ... Read more at Collector Daily.

The results from Phillips’ recent Photographs sale in New York earlier this week were altogether solid. The top lot Ansel Adams mural sold within its range, the overall Buy-In rate was less that 20%, and there were enough positive surprises to keep things interesting. When the dust settled, the Total Sale Proceeds (of roughly $4.1M) fell in the middle of the aggregate pre-sale estimate range. Given the virus-related uncertainties of the moment, it was an admirable outing.... 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.

JTF (just the facts): A total of 32 works by William Henry Fox Talbot (1 made in conjunction with Calvert Richard Jones), variously framed and matted, and hung against grey walls or displayed on shelves against light green walls in the two room gallery space and the entry area. The following works are on view: 5 calotype negatives, some waxed, 1841-1844, 1842, 1843 20 salt prints from calotype negatives, some waxed, 1839, 1840, early 1840s, 1841, 1841-1844, 1842, 1842-1843, 1844, 1845, mid 1840s 4 photogenic drawing negatives, some waxed, 1839, 1840 3 salt prints from photogenic drawing negatives, 1840, early ... Read more at Collector Daily.

JTF (just the facts): A total of 16 large-scale photographs exhibited in white frames against light gray walls: 1 in the foyer, 11 in the main room, 4 in the smaller North room. Most are dated 2017; 1 is from 2015 and 1 from 2016. All are archival pigment prints, from an edition of 10, and sized either 30×22 or 40×30 inches, with the exception of a single 45×60 tent-camera image. This is the second installment at Houk of the ongoing Flowers for Lisa series (the first was reviewed here). The numbers in this selection are numbered (#1, 2, 23, 35, ... Read more at Collector Daily.

JTF (just the facts): A total of 22 color photographs, framed in white and unmatted, and hung against cream colored walls in the main gallery space, the smaller side room, and the entry area. All of the works are archival pigment prints, made between 2014 and 2017. Physical sizes range from roughly 30×23 to 60×45 and all of the images are available in editions of 10, except for the earliest floral work on view (from 2014), which is available in an edition of 5. (Installation shots below.)... Read more at Collector Daily.

As the photography world woke up to the news of an unexpected reality in the form of the stunning American election results, it was as if all the convivial effervesce that typically fills the air at Paris Photo had been suddenly and abruptly whooshed away. Of course, it is always wonderful to catch up with people we only see once a year in Paris, but the mood that descended on the Grand Palais for the opening day this year was somberly grim and unusually quiet – faces were drawn and serious, and friends from around the globe shook their heads in dumbfounded amazement and ... Read more at Collector Daily.