April in NY, Photographs auctions

NY will host a new round of art auctions, focused on Photography, held at Christies, Sothebys and Philips de Pury. They will represent an interesting test for the photo market, in a time when art collectors seem to look for “unique” pieces, not editions (I will try to come back to this point later).
Here is a small selection of lots:

Sothebys, April 13
EDWARD BURTYNSKY
'VERMONT MARBLE COMPANY #5, ABANDONED GRANITE SECTION, ROCHESTER, VERMONT'
large-format chromogenic print, mounted, mounted again to foamcore, framed, a title/edition label, signed in ink, on the reverse, 1991, printed in 2001, no. 1 in an edition of 7 (Quarries, p. 69)
12,000—18,000 USD
A real test after strong results for Burtynsky’s prints last autumn
Sothebys, April 13
PHILIP-LORCA DICORCIA
LONDON
chromogenic print, mounted, signed in pencil on the reverse, overmatted, framed, 1995, one in an edition of 15
10,000—15,000 USD
One of the nicest images of the “Streetwork” series

Christies, April 15
JOHN COPLANS (1920-2003)
Self Portrait (Clenched Fist over Thumb), 1988
gelatin silver print
signed, titled, dated, numbered '2/12' in pencil and copyright credit reproduction limitation stamp (on the reverse of the mount)
$4,000 - $6,000
Coplans’ work seems underestimated, at least by the art market.

Christies, April 15
DAIDO MORIYAMA (B. 1938)
Untitled (Lips), 2007
photosilkscreen on canvas
signed in ink, printed credit, title, date and number '1/1' on a Certificate of Authenticity affixed (on the frame backing)
$8,000 - $12,000
This image was the cover of Moriyama’s Fondation Cartier show. Could beat the estimate.

Images courtesy the artists, Christies, Sothebys

Philip-Lorca DiCorcia Polaroids

At the Armory Show, David Zwirner Gallery stand drew much attention. The NY dealer had a solo show on Philip-Lorca diCorcia Polaroids. The 100 images belonged to different series, from the Hustler early works to more recent ones, like the Pole dancers. With an asking price of 4000$, it was seen by many collectors as a good opportunity to acquire a unique piece by a great photographer.

But more importantly, it offered a fantastic view on DiCorcia’s creative process. The Hustler Polaroids, for instance, are quite revealing. They can be seen as sketches, took by the photographer before the final shot, in the way portrait painters often use drawings to arrange their composition. The real surprise comes from the fact that they stand as works on their own. In front of large Hustler prints, indeed, I thought these images needed more intimacy. This is exactly what the Polaroids provide us with.

Images courtesy David Zwirner Gallery & the artist

A few thoughts on Paris Photo 2009 (with some delay)

This Paris Photo Fair was the 10th edition I could attend. It is always a pleasure (when possible, I even take a day off to get a broad and quiet view). Here are a few thoughts or comments on this specific edition :

The scope. In 2010, what is a Photo Fair without images by Wolfgang Tillmans, Philip Lorca Dicorcia or Thomas Ruff (except for the illustrated book shown at Toluca Booth) ? The absence of some of these cutting edge photographers poses a challenge. To a lower extent, one could also regret the fact that conceptual artists using photography among other media (Olafur Eliasson, Roni Horn, Rodney Graham, etc) are not featured here. Of course, the reason lies on the art market structure. These artists are represented by contemporary art galleries. And their images can sometimes be seen at Frieze, Fiac or Basel.

The bargain. A Japanese gallery stand sold Taiji Matsue unique prints, details of black&white landscapes, for 50 euros. For those who own one of the two corresponding Matsue books (including the Hysteric one), it made a wonderful addition.

The worst stand. Pieter Hugo’s Nollywood exhibition at Michael Stevenson gallery. Extra Large printing size and delicate framing seemed totally inadequate to these harsh images. Commercial recipes of the German Photography School can’t be applied to all photographic works.

The repetition. Each year, visitors can have a look at new Massimo Vitali beach landscapes. These Diasec prints are always gorgeous. But it is getting difficult to understand Vitali’s artistic project. As long as clients subscribe each year…

The positive surprise. Before arriving at Toni Tapies Gallery stand, I had never seen large Burtynsky prints. The Australia mines images exhibited there were simply beautiful. Days later, I saw Quarries prints at the Pictet Prize exhibit in Passage de Retz, in Paris. Some may find Burtynsky’s work too “easy” and trendy, but the fact that he built a coherent ensemble since the 80’s, when environmental issues were not a priority, makes it truly significant.

The books. One of my favourite features of Paris photo is the presence of many specialized booksellers. Except for Ken Ohara’s One first edition (a book I had been searching for a long time), no major purchases this year. As a bronze donator for Rob Hornstra’s Sotchi Project, I also took my copy of Sanatorium, his last publication.