-SCRAPBOOK: Posing Around The Art World 10 (AIPAD)

This page's photos taken at AIPAD [web] 2011 photo art dealers world trade fair at the Park Ave armory in 2011. Future additional info and at least one article to come.

Applause to PR dynamo and keeper of AIPAD press passes, Nicole Strauss ---here getting a diplomatic gift of "M" AKA "In The Art World" magazine from artist and art-writer Terry Ward.*

Ward being art writer.*

Ward as art writer, making note to self: "everyone is going to write about the Mao photo and its many derivative portraits, so find something else to write about."*

iHuddle. The grouped figures looked somewhat like the observers in Dr Tulp's lesson [wiki]. In Booth 303, Minneapolis' Weinstein Gallery yet again showed itself a peer to the NYC galleries. Weinstein (disclosure: author has one of their photos) could have brought in classics from the home gallery like the Maplethorpes or the classic August Sander pastry chef [web-info] ---or maybe something from McDermott & McGough who are so popular here (previous Ward article here). Instead, they took a risk with haunting wall-sized edgy Alec Soth images expressing irony and social isolation. Powerful pictures.

Booth 427 ---HIGHERpictures. Gallerist Kim Bourus with the wall of cops. This is a monochrome scene, but the splash of color from a freeform oil on canvas first got the reporter's eye. It can be a challenge for art galleries to show at a photo-art show: does one only show one's photos (and thus give the false impression that you're photos-only?) or does one perhaps scare off the photo-lovers by including paintings. Mixing paintings and photos makes "no difference" to Bourus, who cheerily said it is "all part of the same thing." **

Booth 221. Yancey Richardson Gallery. Large (some car-hood-sized) photos with themes of abandonment or architectural deterioration ---especially intriguing when the booth was also empty and feeling abandoned.

AXA art insurers demonstrated with a cutaway display of damaged (formerly) glass-faced art exactly how not to ship a $60,000 Cindy Sherman photo. If the Sherman is real (versus a doctored display copy) there were enough surface scratches from the glass action to represent a $59,800 value loss.

At Booth 201, Joshua Mann Pailet from NOLA's A Gallery For Fine Photography explains a mixed-media photo process. The married art-photo duo Louviere And Vanessa created the pictures resembling old engravings or scrimshaw or tattoos. In fact they were close-ups of world currency illustrations printed onto uniquely-textured gold-painted backgrounds with visible brushstrokes, fingerscoops, and script lettering. The word counterfeit appears in each. A resin topcoat gives the whole a glassy surface and makes one wonder if the brushstrokes are 3-d or are just printed there.*

At Booth 201, Joshua Mann Pailet from NOLA's A Gallery For Fine Photography explains Louviere And Vanessa's mixed-media photo process. There was plenty of irony-talk about the use of banknote-imagery in art during the late soft-Depression. The metallic backgrounds with resin-infill create color-shifting effects evocative of new currency's anti-counterfeiting bi-color inks.*

At Booth 201, NOLA's A Gallery For Fine Photography shows Louviere And Vanessa's mixed-media photo process.*

At Booth 201, NOLA's A Gallery For Fine Photography shows Louviere And Vanessa's mixed-media photo process.

Also noteworthy but not pictured:

Recession never mind, this year's orchid-count might have been a record. Flowers enlivening the entry portal could have fooled visitors into thinking a gardening fair was ahead. Robert Mann Gallery's cut flowers (Booth 410) were a delight.

The old joke about titling a blank canvas Albino Cow And White Dog Outside In Minnesota In A Snowstorm or some such came to life at Booth 301 in a surprisingly compelling (and well-selling) Peter Brown blizzard / whiteout landscape photo. The fridge-door-sized picture had a barely-visible gray horizon line and a few pinkie-nail sized barns against the white-sky / white ground / white whiteness. The prize for New York's Whitest Photo 2011 must go to this image.

Old AP and UPI wirephoto originals had a strong showing. A Cuban-exile heritage acquaintance I know would love the Dead Che news photo (possibly at Scott Nicholson Gallery's booth). In the same booth, a surreal-yet-real vintage news shot showed a bleak desert moonscape ---buttes and bluffs--- with a blimp's rear angled into the sky. The blimp's deflating midsection droops to the ground where the nose section has already "pooled" into a rubber puddle shape. In the sky: a mushroom cloud (!). It was some manner of atomic test ---blimp versus A-bomb. Needless to say, the blimp lost. Possible lesson: if ever given the choice of betting on a fight between A-bomb and blimp, don't put your money on the blimp.

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Unless otherwise noted, photo credit:

Terry Ward / GrumpyVisualArtist.BlogSpot.com


*Robert Chapman ArtPhotos ( Facebook.com/ArtistCamera )
**Robert Chapman ArtPhotos directed by Terry Ward
***Terry Ward directed by Robert Chapman ArtPhotos
****Courtesy of art gallery:

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