JTF (just the facts): A total of 13 photographic works, variously framed/installed, and hung against white walls in the two room gallery space and the entry area. The following works have been included in the show: 12 photochemical treatment on RA4 paper, 2023, sized roughly 27x33x3, 31x52x3, 32x49x3, 36x52x3, 47x49x4, 47x63x2, 48x32x3, 49x40x4, 52x50x4, 53x53x2, 82x49x4, 98x44x2 inches, unique 1 installation of photochemical treatment on RA4 paper over lightbox, 2023, unique (Installation shots below.)... Read more at Collector Daily.

JTF (just the facts): A total of 7 color works, framed in white/black and unmatted, and hung against white walls in the main gallery space, the elevator entry, and the office area on the third floor. All of the works are chemical treatment on RA-4 paper, made in 2014, 2014/2021, or 2015/2022. Physical sizes range from roughly 24×23 to 92×30 inches (or the reverse) and all the works are unique. A thin photobook titled Book of Details 2022 has been self-published by the artist to coincide with the exhibition. (Cover and spread shots below.)... 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.

For photography collectors like us, broad-based contemporary art fairs like the Armory Show in New York provide a special kind of art experience. While single subject photography fairs offer a relatively continuous flow, where each and every booth has photography on offer to explore, visiting the Armory is something more like heading out on an exciting treasure hunt, where the action happens in bursts and flashes in between longer stretches of relative quiet. If photography is your thing, it’s entirely possible to wander for half a dozen or even a dozen booths at the Armory without seeing any photographs of ... Read more at Collector Daily.

JTF (just the facts): A total of 75 black and white photographs, custom framed in white wood with no mat, and hung against grey striped walls in the main gallery space. The show also includes 1 video, which is on display in the entry area. The gelatin silver prints are mostly vintage, made between 1973 and 1988, with a few modern prints made in 2006. Paper sizes are either 5×7 or 6×8 (or reverse), with images roughly 2×2 or 2×3 (or reverse). All of the prints come in editions of 6+2AP. The video is a Super 8 film on digital video with sound, running ... Read more at Collector Daily.

JTF (just the facts): A total of 75 black and white photographs, custom framed in white wood with no mat, and hung against grey striped walls in the main gallery space. The show also includes 1 video, which is on display in the entry area. The gelatin silver prints are mostly vintage, made between 1973 and 1988, with a few modern prints made in 2006. Paper sizes are either 5×7 or 6×8 (or reverse), with images roughly 2×2 or 2×3 (or reverse). All of the prints come in editions of 6+2AP. The video is a Super 8 film on digital video with sound, running 2 minutes and 28 seconds; it is available in an edition of 10+2AP. Some Aesthetic Decisions: The Photographs of Judy Fiskin, a new catalog raisonne recently published by the Getty (here), is available at the reception desk. (Installation shots at right.)

This show is a mini-retrospective sampler, gathering prints from a variety of her projects across two decades. At first glance, the bleached out, high contrast deadpan of the photographs might recall the Bechers, Ed Ruscha, or the New Topographics photographers, but even though her visual formula is strict and methodical, the pictures seem more about quirks and outliers than vernacular patterns. I liked the edge of wit in her Southern California flat roofed stucco houses (often with mirrored geometries or palm trees) and her Dingbat apartment blocks, punctuated by quiet oddities of shrubbery and surface decoration. In the 1980s, Fiskin shifted her gaze East, documenting the elaborate roof lines of the Jersey shore and the mixed-up stand alone bungalows and duplexes of New York. She even took time to capture the over-the-top architecture of cemetery tombs in New Orleans. Across the various subjects, she consistently found overlooked details worth noting, small eccentricities that seem to stick out as obvious once she had highlighted them. Her photographs are evidence of conscious looking, of searching for the individuality and personality that had been easily passed by in the apparent monotony of these everyday structures.

Collector’s POV: The prints in this show are priced at $5000 each. The video is available for $10000. Fiskin’s work has little or no secondary market history, so even though these photographs date back several decades, gallery retail is likely the only option for those collectors interested in following up. Fiskin is also represented by Angles Gallery in Los Angeles (here).

Rating: * (one star) GOOD (rating system described here)

Transit Hub:

• Artist site (here)
• Cal Arts page (here)

Catherine Edelman Gallery (here): Julie Blackmon (2), Robert and Shana ParkeHarrison (3), Gregory Scott (3), Nan Goldin (2), Myra Green (group of 23). Green’s works depict the close-up features of the artist’s face (ears, nose, mouth, lips), in an exploration of black stereotypes. I liked the messiness of the ambrotype process, which adds a blunt roughness to the simple forms. To get a sense of scale for the image below, each work is just a few inches by a few inches, each easily held in one hand. The whole set was available for $44000.

Galerie Eigen+Art (here): Rémy Markowitsch (8). A water damaged auction catalogue forms the basis of Markowitsch’s images. The reproductions are torn and eroded, allowing multiple layers to show through, creating interlocking patterns and textures in black and white. They were priced at $22000 each.

Galerie Guy Bartschi (here): Marina Abramovic (1), Nan Goldin (2)

Rena Bransten Gallery (here): Vik Muniz (2), Candida Hofer (2)

Bryce Wolkowitz Galley (here): Ola Kolehmainen (2)

Yossi Milo Gallery (here): Yukio Onodera (11), Simen Johan (2), Alison Rossiter (2 diptychs), Sze Tsung Leong (2), Loretta Lux (2), Pieter Hugo (2). Hugo’s imposing portrait is from a sprawling computer recycling facility in Ghana, where spare parts and metals are salvaged. It was priced at $23000.

Cardi Black Box (here): Shirana Shahbazi (1)

Voges Gallery (here): Martin Liebscher (1)

Greenberg Van Doren Gallery (here): Tim Davis (6)

Michael Stevenson (here): Viviane Sassen (6). Sassen’s work has a quiet dance-like elegance; I particularly liked the one of the far left below, where the anonymous body lounges amid the drapery. These were priced between $2000 and $7500.

Luciana Brito Galeria (here): Caio Reisewitz (1), Allan McCollum (1), Geraldo de Barros (8), Rochelle Costi (5)

Goodman Gallery (here): Adam Broomberg and Oliver Chanarin (1), Mikhael Subotzky (3), Jodi Bieber (1), David Goldblatt (1). Goldblatt’s elevated image of an endless shanty town resolves itself into intricate texture and dense pattern. I remember asking the price, but I somehow didn’t write it down.

Galerie Laurent Godin (here): Gonzalo Lebrija (3)

Carolina Nitsch (here): EV Day (6), Alyson Shotz (6), Vera Lutter (3). Shadowy new photogravures by Lutter, this time of pyramids. They were $6000 each or $15000 for the set (pre-publication).

Timothy Taylor Gallery (here): Susan Hiller (11)

Produzentengalerie Hamburg (here): Wael Shawky (2)

Galerie Sfeir–Semler (here): Akram Zaatari (3), Yto Barrada (2)

Kukje Gallery (here): Candida Hofer (1)

Galerie Krinzinger (here): Frank Thiel (1), Kader Attia (1), Paul McCarthy (2), Oleg Kulik (2), Rudolf Schwartzkogler (2), Gunter Brus (1), Otto Muehl (10), Valie Export (1), Marina Abramovic (8), Angelika Krinzinger (4 triptychs). Krinzinger’s images depict fragmented bodies supported by plastic braces with velcro strips; the effect is sculptural and abstract. The triptychs were priced at $2500 each.

Galerie Thaddeus Ropac (here): Sturtevant (11)

Sies + Höke (here): Etienne Chambaud (2), Joao Maria Gusmao and Perdo Paiva (4)

Part 3 can be found here.