Review: Sid Kaplan at Deborah Bell
The twenty-two photographs in a series Kaplan calls "Urban Stonehenge" look, at first glance, almost identical. All are views of Manhattan looking west, down a corridor of towering buildings toward a jagged patch of sky and the setting sun.
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Review: Dennis Stock at Howard Greenberg
If Stock's name rings a bell, it's probably because he took some of the most soulful photographs of James Dean in his Actors Studio days, a few of which are included in this career-spanning survey.
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Review: Eugene Richards at Fahey/Klein Gallery
Photographer Eugene Richards has chronicled poverty, drug addiction, aging and death. He's documented emergency room medicine, his first wife's struggle with cancer and the toll of river blindness and pediatric AIDS.
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Review: Kenneth Josephson at Robert Koch Gallery
Everyone interested in 20th century photography has seen the one or two pictures by Kenneth Josephson that always make it into anthologies, and probably no more. So the Koch Gallery performs a great service in presenting a substantial show of his work.
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Review: Don Schol at PDNB Gallery
Don Schol is a Vietnam veteran and no stranger to the horror of war. But from the moment he arrived in 1967, his experience was destined to be different.
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Review: Debbie Fleming Caffery at Gitterman Gallery
Caffery's black-and-white photographs have always had an otherworldly cast—a sense that she's looking beyond the physical to something more ethereal.
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Review: Lili Almog at Andrea Meislin Gallery
Almog's photographs of Chinese women, many of them members of the Muslim minority living in rural provinces, are at once affectionate and anthropological—occasionally radiant, unfailingly sincere, but rather stiff and a little dry.
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Review: Hiroh Kikai at Yancey Richardson
Fourteen black-and-white photographs taken in one Tokyo neighborhood between 1974 and 2003 provide a core sample of a portrait project that Kikai continues to pursue after some thirty years on the street.
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Review: Helen Levitt at Laurence Miller
The great New York street photographer, who died in March, at the age of ninety-five, left behind an extraordinary and endlessly engaging body of work, the best known examples of which were made in the nineteen-forties.
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Vince Aletti reviews Leonard Freed Exhibit at Silverstein Gallery
Leonard Freed was one of the six photographers first identified as "concerned" by Cornell Capa. Like André Kertész, Werner Bischof, and Capa's brother Robert, Freed was an artist with a deeply humanist bent—an engaged photojournalist, never a dispassionate observer.
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Review: Ray Mortenson at Janet Borden
Mortenson's small black-and-white photographs of Manhattan have so many precedents that they already look comfortably familiar.
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Review: Jeff Bark at Charles Cowles Gallery
For his first New York exhibition, "Flesh Rainbow," Bark shows large-scale photographs of male nudes, female nudes, and still-lifes, in triptychs that include one of each.
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Review: Andrew Bush at Yossi Milo
Bush's big color photographs of people driving their cars are spread between two galleries (held in conjunction with Julie Saul Gallery), providing ample opportunities for the kind of voyeurism and snap judgments that are usually indulged on the road.
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Review: Mary Mattingly at Robert Mann
Mattingly's color photographs are sci-fi fantasies of a future in which nomadic figures in tentlike robes or protective jumpsuits wander through a brave new depopulated world.
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Review: Edward Steichen and Martin Munkácsi at Howard Greenberg
32 vintage prints by Edward Steichen document his mastery of the sharp focus and straightforward composition that characterized the new photography of the post-World War I era.
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Review: Paul Himmel at Keith de Lellis Gallery
Originally conceived as a 95th birthday celebration, this show became a memorial tribute when the photographer died shortly before the opening.
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Kathleen Ewing, Former Executive Director of AIPAD, Closes DC Gallery
In 1976, when a 28-year-old Kathleen Ewing ditched her National Gallery of Art job and decided to sell photographs instead, photography was struggling to make its place in the art world.
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Review: Masato Seto at Yancey Richardson
The Tokyo-based photographer, making his U.S. début here, takes a detached, sociological approach to portraiture with a series of glossy color pictures of solitary salesgirls at the counters of tiny, glass-front roadside shops in Taiwan.
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Review: Marcia Resnick at Deborah Bell
The captioned black-and-white photographs from Resnick's 1978 book, "Re-visions," subvert the innocent appeal of children's books with a sketchy narrative that hints at adolescent repression and rebellion.
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Review: Elaine Mayes at Steven Kasher Gallery
All but one of Mayes's portraits of young people in Haight-Ashbury were made in 1968, when San Francisco's hippies shared the streets with runaway teens and a growing population of drifters and drug addicts.
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Review: Myoung Ho Lee at Yossi Milo Gallery
This Korean photographer's U.S. solo début includes eight color images in sizes that range from ten inches square to seven feet wide; the over-all effect is modest and elegantly restrained.
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The New York Times Art in Review: The AIPAD Photography Show New York
Photography can be found at many modern and contemporary art fairs, but photo collectors and enthusiasts have a couple of weekend-long events all to themselves. The longest-running in this country is the annual fair organized by the Association of International Photography Art Dealers (AIPAD).
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The AIPAD Photography Show New York to Be Held March 26-29, 2009
presented by the Association of International Photography Art Dealers (AIPAD)
Gala Preview on March 25 to Benefit John Szarkowski Fund
Special Exhibitions to Celebrate AIPAD's 30th Anniversary
One of the most important international photography events, The AIPAD Photography Show New York, will be presented by AIPAD from March 26 through 29, 2009. Seventy-three of the world's leading fine art photography galleries will present a wide range of museum-quality work including contemporary, modern, and 19th-century photographs, as well as photo-based art, video, and new media, at the Park Avenue Armory in New York City. The 29th edition of The AIPAD Photography Show New York will open with a Gala Preview on March 25 to benefit the John Szarkowski Fund, an endowment for photography acquisitions at The Museum of Modern Art in New York City. The AIPAD Photography Show New York is the longest running and foremost exhibition of fine art photography.
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Review: Robert D'Alessandro at Gitterman Gallery
"Glory," the title of D'Alessandro's 1973 book of photographs, is as understated and as charged as his pictures, each of which includes an American flag.
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Review: Vince Aletti reviews "The Intimate Line" at Sepia International
Three photographers (Elinor Carucci, Sunil Gupta, and Angelika Sher) and a video artist (Amy Jenkins) look at childhood with empathy and concern.
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Review: Emmet Gowin at Pace/MacGill
The reissue of Gowin's first book of photographs prompts this exhibition of images from that 1976 monograph.
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Review: Gail Albert Halaban at Robert Mann
Like so many New Yorkers, Halaban can't help staring into her neighbors' windows, but she's made an art of it. Most of her big color photographs are views across streets, alleyways, or airshafts into apartments.
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Review: Fraenkel Gallery's Anniversary Show on Edward Hopper and Photography
Images Separated at Birth? Little attention has been paid to American photography's relationship to Hopper.
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Review: Mark Ruwedel at Yossi Milo
Ruwedel's modestly scaled black-and-white photographs of landscapes in the American and Canadian West combine the descriptive rigor of classic nineteenth-century survey shots with the more skeptical viewpoint of the nineteen-seventies' New Topographics crew.
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Review: "Sacred Sight, Photographs in India" at Howard Greenberg
India has provided visiting photographers with a fascinating if elusive subject: exotic and tantalizingly unknowable.
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Review: Shinichi Maruyama at Bruce Silverstein
Maruyama, a Japanese photographer now based in New York, creates sensational abstract images of what is essentially Action painting in midair, frozen with the aid of advanced strobe-light technology.
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Review: Stephen Shames at Steven Kasher Gallery
Shames, whose photographs of Black Panthers were shown here in 2007, makes another strong impact with pictures collected under the title "Childhood & Youth."
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Review: Vince Aletti reviews light/dark at Sepia International
In this sensitively curated group show, the most basic elements of black-and-white photography are also the subtlest. The approaches and the materials are radically different, but nearly all the works edge into abstraction.
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Review: Aaron Siskind at Bruce Silverstein
This master of photographic abstraction always grounded his work in the real world—in peeling plaster, broken windows, paint-slathered walls, and tar on concrete.
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Review: "Twenty-Fifth Anniversary Celebration" at Laurence Miller Gallery
One of the city's longest-running photography galleries salutes itself.
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Review: Black-and-White Photography at Hasted Hunt
Black-and-white photography has been declared dead for nearly as long as painting. But it continues to thrive, perhaps because, in the hands of good photographers, it's far from conventional.
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Review: John Divola at Gallery Luisotti
John Divola has made inevitable decay a central theme of his photography for more than 30 years, beginning with the influential 1973 series titled "Vandalism," shot in abandoned Los Angeles houses.
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Review: Richard Misrach at Fraenkel Gallery
Misrach keeping it surreal: Environmental concern has figured in the work of Berkeley photographer Richard Misrach at least since his early records of bombing-range landscapes in the American West.
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Review: Adou at Pace/MacGill
The Chinese photographer Adou makes his American début with haunting pictures taken in a remote and barren area of Sichuan province.
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Review: Josef Schulz at Yossi Milo Gallery
The super-glossy computer-manipulated work in this Polish-born, Düsseldorf-trained photographer's American début was made over the past six years, but it already feels a little retro.
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Review: Martin Parr's "Parr-O-Rama" at Janet Borden
This exhibition's title, "Parr-O-Rama," leads us to expect a celebration of the fun-house humor that is all some people know of the British photographer's work.
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Review: Victor Schrager at Edwynn Houk Gallery
Schrager's still-life photographs begin with ordinary objects (books, bottles, light bulbs, glycerine soap), then dissolve into dreamy geometric abstractions.
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Review: Louis Stettner at Bonni Benrubi Gallery
Stettner, who recently turned eighty-six, is primarily known for atmospheric, closely observed photographs of New York in the nineteen-fifties. His views of Paris, where he spent a good part of his career, are similarly moody.
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AIPAD Announces Partnership with the World's Leading Art Insurance Specialist AXA Art, for The AIPAD Photography Show New York
STEPHEN BULGER ELECTED PRESIDENT OF AIPAD New Officers, Board Members, and Member Galleries Announced
View AIPAD News Archive
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