JTF (just the facts): A paired show featuring artist designed installations, in both the main floor and basement gallery spaces. The folllowing works are included in the show: Julie Boserup 3 color pencil and collage on digital prints, 2018, 2023, sized roughly 5×4, 20×14 inches, unique 3 folded Epson Luster prints, 2017, sized roughly 16×13 inches, in editions of 3 1 color pencil and collage on digital print, 2016, sized roughly 40×31, unique Installation Marleen Sleeuwits 1 Ultrachrome print on LED lightbox, 2021, sized roughly 16x13x4 inches, in an edition of 10 4 Ultrachrome prints, plaster, false ceiling, and wood ... Read more at Collector Daily.

It isn’t often that a new photography-centric art fair decides to dive into the maelstrom of the New York art fair circuit. After the breakdown of the partnership between Paris Photo and AIPAD, New York has been left without a contemporary focused look at the medium – contemporary photography is of course on view at plenty of contemporary art fairs in the city throughout the year, but photographs are often less prominently featured in these fairs (as was the case at the recent Armory Show, here). With AIPAD’s fair limiting its exhibitors to association members (and seemingly trending a bit ... Read more at Collector Daily.

JTF (just the facts): A total of 19 photographic and video works, variously framed and matted, and hung against white walls in the split level gallery space. The following works are included in the show: (upstairs) 2 chromogenic prints, 2003, each roughly 14×14 inches, unique 1 set of 12 chromogenic prints, 1985, each 16×12 inches, unique 1 chromogenic print dipytch, 1987, roughly 47×20 inches, unique 1 color film on PE paper, 1978, 20×20 inches, unique 1 archival pigment print, 2008, 47×47 inches, in an edition of 5 1 video animation (by Holzhäuser and Gottfried Jäger), 1995, 12 minutes (downstairs) 1 ... 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.

Two years ago, when I made my annual report on Paris Photo, instead of choosing one photograph from every booth at the fair (as has often been my approach), I decided to measure the inclusion of female photographers by only selecting images made by women. It was an instructive experience on many fronts, in that it forced me to see what was being shown and what was conspicuously absent, and who was actively promoting photographs by women and who wasn’t (the original report can be found here). The following year, Paris Photo recognized this as an issue and itself organized its ... Read more at Collector Daily.