Photography in New York

By Chalifour, Bruno | Afterimage, March-April 2004 | Go to article overview

Photography in New York


Chalifour, Bruno, Afterimage


Photography in New York

No, this text is not about the very useful publication Photography in New York, but an homage to it; it has now become Photograph and provides invaluable information to whoever wants to stay informed on photography shown in the Big Apple (also available on-line at: http://www.photographyguide.com).

With the first days of February comes one of the major events of the photographic year in New York: the Photography Show sponsored by the Association of International Photographic Art Dealers (AIPAD) at the Hilton hotel on 6th avenue and 53rd street. This year the show opened its doors without "supporting" exhibitions at the Museum of Modern Art, the Metropolitan, the Whitney, or the Guggenheim. Apparently synergy is a tough goal to achieve in New York; in fact, the Stephen Cohen Gallery is also announcing a new event competing with the AIPAD show or extending it (the Stephen Cohen Gallery is a member of AIPAD). After "Photo L.A." last January, "Photo San Francisco" next July. "Photo New York" is scheduled for next fall. 2004 also happens to be the 100th anniversary of Bill Brandt's birth. A new book of the British photographer's best images is being published in England by the Bill Brandt archive while Stanford University Press just released Bill Brandt, a Life by Paul Delany. Chair of the Department of English at Simon Fraser University (B.C.). AIPAD decided to honor the British photographer by reproducing one of his photographs on the cover of the catalogue of the show ("Doing the Lambeth Walk. 1939"): unfortunately, nothing else happened to support this gesture, no show, no lecture. MoMA is usually a block away, but due to renovations, it is currently stationed in Brooklyn until the re-opening of its Manhattan quarters next year. Its next show will be Ansel Adams at 100 by John Szarkowski! The Metropolitan did not, this year, repeat last year's initiative when the Thomas Struth retrospective not only coincided with the AIPAD show but was part of it. 2004 is a biennial year for the Whitney, whose programming has been somewhat flat for a while, lacking energy and innovative initiatives, especially in the department of photography: funds might be partly responsible for the current state of things. The Guggenheim seems to survive in the wake of its Matthew Barney show. The museum had nothing on show and looked almost more enticing with its momentary atmosphere of absence/extra-minimalist display and pervading longing for art. It had for a while given its power back to Wright's architectural genius after storing Barneyis cheap props (the museum may have had a different financial experience though), and pseudo-postmodern mental bric-a-brac. The exception these days seems to be the International Center of Photography. Under Brian Wallis's curatorial leadership, ICP has soared to new heights and its recent shows have established it as the most dynamic, and stimulating photographic institutions in the world. Hardly had their first triennial closed its door that Only Skin Deep. Changing Visions of the American Self, the fruit of 4 years of intensive research and collaboration with Coco Fusco (collaboration is definitely a key ingredient in Wallis's working method) opened. Three other events seized the opportunity that the Photographic Show provided as it attracted photo aficionados from all around the country and beyond--although it seems that photo fairs as well as "Months of Photography"/biennials are spurting everywhere resulting in less travel. These events included: the Lotte Jacobi retrospective at the Jewish Museum uptown, the release of Richard Misrach's new work both on the cover and on the pages of Aperture's latest issue, and on the walls of the Pace/McGill gallery in Chelsea, and last, but nct least, the now-ritual auctions at Christie's and Swann's. One other show benefited from the AIPAD annual fair: Mark Osterman's wet collodion images in Confidence at the Howard Greenberg Gallery until March 13 (read interview in this issue of Afterimage, pp.

The rest of this article is only available to active members of Questia

Sign up now for a free, 1-day trial and receive full access to:

  • Questia's entire collection
  • Automatic bibliography creation
  • More helpful research tools like notes, citations, and highlights
  • Ad-free environment

Already a member? Log in now.

Notes for this article

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Project items

Items saved from this article

This article has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this article

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this article

Cited article

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited article

Photography in New York
Settings

Settings

Typeface
Text size Smaller Larger
Search within

Search within this article

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.