Lawrence van Hagen's Pop-Up & What to See in Chelsea

One of the most refreshing exhibitions in Chelsea right now is Whats Up New York the Pop Up three story show at 132 10th Avenue, curated by Lawrence van Hagen. Unfortunately I only learned of it a week before its upcoming closing on Thursday the 25th. Amazing stuff, with work shared between Americans and Europeans, most of the latter group unknown to me previously, but who made me glad to have come. For instance, the Larry Bell painting seen in the photo that includes van Hagen, is mirrored by two works by Martini Basher while the Daniel Turner reflects similarly paint slashes by Johnny Abrahams. There’s a really unusually configured Kenneth Noland and a super small John Chamberlain that appears to be in an argument with a crushed metal work by Ernesto Burgos. All in all, an exhibition worth visiting.

Another amazing show at Friedman Benda, a leading design gallery, combines cleanly carved work by Wendell Castle and wildly inventive furniture by Ron Arad, Humberto & Fernando Campana and a host of other designers that make a trip to this site fanciful fun. And at David Zwirner there is the never ending shock of the late conceptual artist Felix Gonzalez-Torres with a huge room bordered by wrapped candies and two small electric clocks as the only display on the opposing wall. At Lisson Gallery paintings by the centenarian Carmen Herrara show work from the last six years and at Matthew Marks the last work by the late Ellsworth Kelly document that he was still engaged in his work until the end.

Saw lots of other not always so interesting shows, but did want to mention Charlie Ahearn at P-P-O-W. Ahearn combines film and wall art, documenting street culture and the rise of hip hop in New York City, with videos like Bongo Barbershop and Dancing industry. There’s life in these works and he makes the most of it creatively. Just one last scene – at Allan Stone Projects there is a one man show of James Havard that is quite amazing. Without describing it I suggest you pay a visit. Havard hasn’t been seen in quite a while and I wonder why now that I’ve seen this exhibition.

There’s a lot going on in Chelsea that you will never see at the big fairs.

Curator of  Whats Up New York , Lawrence van Hagen adjacent to a Larry Bell painting

Curator of Whats Up New York, Lawrence van Hagen adjacent to a Larry Bell painting

Opening Night at the IFPDA Print Fair 2014

Opening night at the Print Fair brought crushing crowds and some amazing power on paper!

 A growing market for early 20th century British printmakers seemed to grow exponentially as several dealer booths focused on displays by Sybil Andrews, CRW Nevinson, Claude Flight, Margaret Barnard, Cyril Edward Power, and Lill Tschude, much admired but scarcely known in the US. Prices ranged from the low $30,000s to over $100,000, so it’s clear that there is as strong market for these vigorously colored linocuts. Kempner Gallery appeared to have the largest selection.

 Equally striking, but in the most subtle of ways, was an unusual series of eight silkscreens by Fred Sandbeck priced at $25,000. Famed for his string sculptures, these prints showed the varied configurations of a structure of strings as if it were in motion. At Diane Villani, publisher.

 At Barbara Krakow was another series of nine geometric black and white silkscreens from a set of ten (I still can’t figure that out), by Sol Lewitt, from 1982, and also priced at $25,000.

 So much to see and so much to remember, but two prints whose images remain with me: an engraving by William Black of Chaucer’s Canterbury Pilgrimage for $60,000 at the Fine Art Society of London, and at Hill-Stone an etching of Death and the Knight, a beautiful impression, for $225,000.

 This year may have brought in the largest group of non-American dealers that I can remember, and certainly a great number of non-New York dealers, a good many from Chicago. Definitely a sense of energy and excitement prevailed, but the increase in prices for prints was discernible. Perhaps, at any price, prints can be made to seem like near giveaways in the light of the  prices at the auction sales currently going on.

Written by Elin Lake-Ewald, Ph.D, ASA, FRICS


What to Look for When Collecting Photographs (part I)

"A True Photograph need not be explained, nor can it be contained in words" - Ansel Adams

While this holds true in the visual appreciation of a photo, when purchasing at auction you may want to be a little more loquacious. At a lecture in conjunction with Heritage’s October photography auction in New York City, OTE staff picked up some tips for collecting photographs. Rachel Peart, Heritage Director of Photography and Alice Sachs, the President of Art + Business Partners and an avid collector of photography, stressed a number of elements important for buyers to evaluate, whether purchasing from an auction or private sale.

The market for photography has remained relative stable over the last couple of years and as of June of this year ArtTactic reported the overall confidence in the market increased by 9 percent. Sales at auction have also increased. The Modern Photography market saw a 22 percent increase and the Vintage photography market had a particularly large increase of 125 percent, while the market for Contemporary photography remained the same from 2012 to 2013 (ArtTactic Photography Market Report January 2014). However, it is the Contemporary market that continues to drive sales at the top end. Prices for iconic photographers (i.e. Man Ray and Alfred Stieglitz) can get into the hundreds of thousands of dollars while a large percentage of sales are affordable, under $10,000.

The photography market is a tricky one. Collecting is often motivated by rarity and personal aesthetics, which makes paying attention to a photograph’s catalog description key.  This may seem basic, but interpreting how a photograph’s print date and the print type relate to an artist’s market is more confusing than it looks.  In a typical description of a photographic lot at auction there is the artist’s name followed by the italicized title and a date (in red in the example). This represents the 'negative date' – the date when the photographer took the image. 

Example of a catalog description from the Heritage October 16, 2014 Photographic Auction

Example of a catalog description from the Heritage October 16, 2014 Photographic Auction

Example of a catalog description from the Heritage October 16, 2014 Photographic Auction

Example of a catalog description from the Heritage October 16, 2014 Photographic Auction

The actual date when the photography was printed is usually found either next to or as a part of the type of print (gold star above). For the Bernice Abbott photograph above “Vintage” is the only indication of when the photograph was printed. Some photographs, like the Cindy Sherman photograph on the right, are accompanied by the exact printing date (also in red). The print date informs a collector about how the specific photograph fits into the timeline of an artist’s body of work. The context of a photograph produced significantly later than the negative date is different than one printed close to when the photograph was originally taken and is a variable to be taken into account when purchasing.

Here is a guide to non-specific print date references:

  • Vintage Print: printed within five years of the negative.
  • Early Print: printed within ten years of the negative.
  • Later Print: printed at least ten years after the negative.
  • Modern Print- printed many years after the negative.
  • Posthumous Print: printed after the death of the artist.
  • Contemporary Print: currently being printed.

How much the date of printing matters in the valuation of a photograph depends on the artist. Bill Brandt’s (British, 1904-1983) later prints are darker and are valued differently than his early prints. Some descriptions will specify the person who printed them. If someone other than the artist printed the photograph it can have a strong impact on value; positive or negative, depending on their relationship with the artist. Photographs by Ed Weston (American, 1886-1958) printed by his sons are considered valuable because they were trained by him and followed his methods, but if the photographs were printed by another party this would likely not be the case. The type of photograph (the process used to create the print) is a variable that should not be overlooked.

The most common types of photographs seen at auction are:

  • Gelatin Silver: a black and white print made from 1870s to the 20th century.
  • Chromogenic prints: (also referred to as C-prints) color prints made since 1940.
  • Dye Transfer: color prints made since 1928.
  • Digital prints: (also called Digital Inkjet prints) a printing process developed recently.

In looking at the type of print it is helpful to know an artist’s typical practice. While rarity is often a positive attribute, this is not true in all instances. Ansel Adams is well known for his gelatin silver photographs in black and white and though his color photographs are rarer they are not as well received at auction. Aesthetic considerations aside, successful purchasing decisions are often based on understanding what specifically to pay attention to for an individual artist.

This blog referenced information from: