Archive for the ‘American Photography Market’ Category

May 1, 2012

With private collections constantly evolving, collectors are always looking for innovative forums to discuss and market their desirable, high-quality works.

Though these artworks may no longer fit within the narrow focus of one collection, they may be a great acquisition for another.

During the summer months, June through September, Contemporary Wing will present OFF THE WALL, a series of collaborations which bring together serious collectors and the artwork they wish to exchange or acquire with other collectors who share a common passion.

If you have an exceptional work to propose, or a collecting sector you would like to expand, please contact info@contemporarywing.com.

Seeking:
Street Art
Works on Paper/Prints/Photography
Emerging Artists
Established Contemporary Artists
Works by African American Artists
19th Century/Old Masters
Design

NEXT GENERATION: Selections by Artists from the 30 Americans Collection

January 20, 2012


What do artists Nina Chanel Abney, Nick Cave, Rashid Johnson, Rodney McMillian, Gary Simmons, Xaviera Simmons, Shinique Smith, Henry Taylor, Hank Willis Thomas, Mickalene Thomas, and Carrie Mae Weems have in common?  They are all widely acknowledged as top contemporary American artists, all African American, and each artist’s work is included in the seminal Rubell Family collection, 30 Americans, currently on view locally at the Corcoran Gallery of Art.  But there is another connection.  This group of artists also recently assisted Contemporary Wing in selecting the exhibitors featured in its debut show in D.C. entitled, NEXT GENERATION: Selections by Artists from the 30 Americans Collection.  Contemporary Wing asked the artists to provide one or two names of emerging and mid-career, contemporary American artists who, in their opinion, best represent the “next generation” of artists who have the potential to define the American landscape in the next decade.

The result is a fabulous group of artists working in a broad range of media, including photography, painting, sculpture, installation, textiles, drawing, light and new media, as well as works that combine or hover between these media. The twelve participating artists in NEXT GENERATION are: Derrick Adams, Kajahl Benes, Caitlin Cherry, Sonya Clark, Alex Ernst, Wyatt Gallery, Kira Lynn Harris, David Huffman, Jason Keeling, Karyn Olivier, Gary Pennock, and Cheryl Pope. 

NEXT GENERATION runs from February 4 until March 10, 2012, Tuesday through Saturday from 11-6 p.m.  The preview is Friday, February 3, from 6-9 p.m., and the public opening is on Saturday, February 4, from 6-9 p.m.  The artists and Kalia Brooks, who critiqued the work for the exhibition catalog, will be present at both private and public openings.  Because of the scale of the works, the show is being held at an alternative site, at 1250 9th Street, N.W, in Washington, D.C.  NEXT GENERATION promises to present dynamic work of the highest quality that is changing the face of contemporary art, some of which deals directly with issues of race and diversity, and some with social and aesthetic questions more broadly.

A catalog will accompany the exhibition with critiques by Kalia Brooks, Exhibitions Director at MoCADA (Museum of Contemporary African Diasporan Arts) in Brooklyn, NY.

Derrick Adams – Derrick Adams is a New York-based artist who is interested in how perceptions and ideals attach to objects, colors, shapes and materials especially in the built environment. A recurring theme in his work is the relationship between man and monument.

Kajahl Benes – Kajahl Benes is a painter from Santa Cruz, California, who lives and works in New York City.  Benes creates large-scale paintings of figures incorporating divergent cultural symbols as well as ancient and contemporary signifiers within each work.

Caitlin Cherry – Caitlin Cherry is a painter and installation artist from Chicago, Illinois who lives and works in New York City.  In her abstracted self-portraits, she replaces her own figure with an avatar to compelling effect.  Most of her paintings are connected to, or held by, found objects that further engage the themes of her work.

Sonya Clark – Sonya Clark is an installation, fiber, and textile artist based in Richmond, Virginia. She explores the social significance of hair with regard to race and assimilation and related notions of beauty. Using the thin-toothed black combs found in any barber shop, and in some cases, thread, and hair foil, she creates sculptures and tapestries of rapturous form and color.

Alex Ernst – Alex Ernst is a New York-based sculptor who uses wood, string, and rudimentary tools requiring only the power of her effort.  Her process is intentionally stripped down, leaving form, the inherent beauty of materials, and a record of her impact upon them.

Wyatt Gallery – Wyatt Gallery is a photographer who often documents humanitarian crises.  This body of work, Tent Life: Haiti, is a series of photographs taken after the devastating 7.0 magnitude earthquake in 2010.

Kira Lynn Harris – Kira Lynn Harris was born and raised in Los Angeles, and currently works in Harlem, New York.  She is a multi-media artist interested in light, space, and perception.  Her installations destabilize perception in order to reveal a new orientation.

David Huffman – David Huffman is an abstract painter based in Oakland, California. His works are an amalgam of the formal concerns of abstract painting and social identity.

Jayson Keeling
– Jayson Keeling is a New York-based artist whose works evoke an ominous glamour.  He uses glitter on canvas to portray skeletons or nuclear explosions, and the tension created by disjunction in form and content draws the viewer to his work.

Karyn Olivier– Karyn Olivier was born in Trinidad and Tobago and works currently in Brooklyn, New York.  Olivier often uses playground elements in her work, since the playground is where children learn about isolation and socialization. Olivier also favors the repetition of identical forms–twin dilapidated houses or multiple tether balls–to transform banal elements into works of art.

Gary Pennock – Gary Pennock is a Brooklyn-based artist who works primarily with light, sound, and video projection.  With titles like “A Line Through the Center of Space,” and “Across the Stillness of Time,” Pennock transports viewers virtually to another dimension.  Beauty is a chief concern in his work.

Cheryl Pope – Cheryl Pope is a multi-disciplinary artist who incorporates collaboration and community into her process.  She is showing work from her “Hoop Dreams” series that is based on conversations with African American youth, many of whom expressed the belief–remarkably, to this day–that professional basketball is the only future open to them.

To preview the works please contact info@contemporarywing.com

Contemporary Wing would like to extend a special thanks to          CAS Riegler and City Interests for their generosity

Well well well, look who’s become a missionary

September 15, 2009

of the Hockney-Falco theory … continuing on my last post about David Hockney’s book Secret Knowledge which argues that the Old Masters used optical aides to create their masterpieces, and even possibly, were the inventors of photography.

My obsessive research on the subject has led me to this headline:  “Caravaggio used ‘photography’ to create dramatic masterpieces” .

In the article by Nick Squires, Florence-based art historian Roberta Lapucci claims that Caravaggio used a light sensitive “fixer“  on his canvases which was made from crushed fireflies – which is pretty cool – and then outlined the images with white lead and mercury for greater clarity.

Also note that Lapucci goes on to attribute Caravaggio’s  notorious temper on his use of mercury, for “prolonged exposure to the chemical can affect the central nervous system”.

If Caravaggio gets to claim mercury, then I’m claiming Kool-Aid for my temporary insanity. I am a believer!

Caravaggio (Italian 1571-1610).  Bacchus, 1595. Oil on canvas, 37 x 33 inches. Uffizi, Florence Italy.

Caravaggio (Italian 1571-1610). Bacchus, 1595. Oil on canvas, 37 x 33 inches. Uffizi, Florence Italy.

Below the streets of NW DC

August 19, 2009

Most museum visitors don’t realize that the institutions they are visiting exhibit only about 15% of their overall collection, the rest lies below your feet in storage.  So it is no surprise that the National Geographic Society has followed this example with what has been described as  a “secret” museum below the streets of NW Washington, DC.

“For many years,” Randy Kennedy writes, “there has been a kind of secret museum of photography under the streets of northwest Washington — an immense, windowless, climate-controlled archive with roots reaching back more than a century.”

Equally exciting is the news that the works will be sold.

“The pictures comprise the archive of the National Geographic Society, and it was this sentiment said Mr. Bonner, the society’s archivist, that motivated him and officials there to explore the idea of opening up the holdings to the fine-art market for the first time. National Geographic’s goal is to find private and institutional collectors for the vintage black-and-white prints and later color images.”

I wish for the NGS’s sake that someone would have thought of this in 2006-2007, but I always applaud new material on the market – there has got to be some exciting sleepers for the niche photojournalism market.

Thank you NYTimes Art & Design: Treasures From an Underground Trove and I’m curious if we’ll be able to preview some of the rare works during Fotoweek DC before they are shipped off to Chelsea?  Perhaps it would be a good marketing tool and would increase the chances of keeping some of these treasures in DC-based collections?

Courtesy of The New York Times, B. Anthony Stewart/National Geographic Society and Steven Kasher Gallery.

Courtesy of The New York Times, B. Anthony Stewart/National Geographic Society and Steven Kasher Gallery.

whoops

March 28, 2009

Sobering news about the leading to the the lesser.

Richard Avedon at the Corcoran

August 21, 2008

Kicking off the fall season in DC’s art world is the highly anticipated “Richard Avedon: Portraits of Power” opening at the Corcoran Gallery of Art on September 13th . 250 photographs, from 1957 to his death in 2004, illustrate how Avedon used his fame to access the elite, and photograph them.

Portraits of Bob Dylan, Joan Baez, George W Bush, Donald Rumsfeld, Arnold Schwarzenegger, Barack Obama, John Stewart, Micheal Moore and Malcolm X to name a few. And one of my favorite, not person obviously, but anecdotes from “a sitter” by the name of Karl Rove. Rove called Avedon, “an elitist snob who deliberately set me up… The portrait is foolish, stupid and insulting. It makes me look like a complete idiot.”

Ummm, no comment

Specullector, meet Photopreneur

August 15, 2008

Thank you Dean Shanson of Photopreneur for the great reporting!

Content below, but I suggest subscribing to their feed – all the posts are info packed:

Edgy Photos Sell In the Art World

Posted 08/14/08 by Dean

Photography: voteprime

For most workaday photographers, the world of auctions, collectors and the art market can seem very far away. But that doesn’t stop just about everyone who picks up a camera from dreaming about it. While few photographers seriously expect their wedding formals or baby portraits to change hands for six-figure sums, many would certainly like to believe that one day, just maybe, they’ll see their landscapes or their street photography hanging in a gallery, reviewed by critics, adored by curators and fought over by collectors.

Not only it could happen for photographers with the right talent but according to art expert, Lauren Gentile, photographers might even be in an enviable position in comparison to some other artists. Because many copies of a photo can be produced from a single shot, the prices for each print are lower and therefore easier for art-lovers to add to their collections.

“Photography is becoming more collectible because it is accessible in terms of price,” Lauren told us. “You can get a nice photograph for a couple thousand – this is so, and differs from collecting painting because photography is editioned like traditional prints.”

Blue-Chip Photographs

For major buyers, though, those low prices aren’t necessarily an attraction. Lauren, who is an Assistant Director and Director of Sales at the Irvine Contemporary gallery in Washington D.C., reports that her collectors are now buying “blue-chip” photographs (works by top-sellers like Andreas Gursky whose 99 Cent II Diptych sold for $3.34 million in 2007) or artworks from “the emerging sector,” and often both. From new artists, collectors are interested in photographs that she describes as either edgy or nostalgic. Irvine Contemporary’s list of artists includes Marla Rutherford, for example, a fashion, editorial and advertising photographer whose photographs includes fetish images that have been exhibited at SCOPE Miami Art Basel.

If all that talk of “blue-chips” and “emerging sectors” sounds very financial however, perhaps that’s not too surprising, despite the artistic context. Lauren’s own background includes researching art funds – investment portfolios made up of artworks that are intended to rise in value like stocks – and she describes herself as a “specullector,” a fine art collector who looks not only at a work’s artistic value but also its market price and the potential of that price to grow.

Clearly, predicting those changes is not easy to do — which is why Lauren says that she can only speculate. The prices of works created by artists completing their Masters in Fine Arts (MFA), such as those included in Irvine Contemporary’s “Introductions4″ on show through August, can only rise, she notes, but for established photographers, some research can offer clues to the chances an artist’s work will become more valuable.

“If the artist is mid-career I look at what exhibitions they have scheduled for the future, who they will be showing with, is their work being contextualized with the works of higher valued artists? Whether or not critics are reviewing their works in Aperture, ArtForum, etc. and what curators have included them in shows and where? Also if museums have started to collect their work, and what ‘tastemakers’ do too.”

The increasing numbers of buyers in China and Russia is also raising the prices of work by established artists, Lauren notes, but as the art heads east, the money flowing west leaves European and American collectors more cash to spend on new, lower-priced emerging artists.

Chinese Buyers Help Emerging Photographers

So what can a photographer dreaming of breaking into the art world do to raise their profile and take their share of the sales?

Building a website is one necessity, says Lauren. Finding gallery representation is another. While one of those is obviously much easier than the other, working with a gallery can provide all sorts of benefits that allow the artist the freedom and time to work. The gallery will also provide guidance, career management and help to develop price structures.

But there is a price to be paid for this success and it goes beyond the share of the sales price taken by the gallery. The photograph can disappear from view.

“Works of art that are bought purely for investment reasons are put in a storage facility,” Lauren explained. “[F]or tax purposes these works of art cannot be displayed because then the collector (or fund manager) is deriving physical benefits from being able to view the work — the IRS has a big problem with that.”

Artists still waiting for their big gallery break then can console themselves that while their photographs have yet to make the big time, people can at least see and enjoy them.

Contemporary Photography Market (and some ties to DC)

May 26, 2007

The acceptance of photography as a fine art medium has a history extending back to the 1920s, but the market for contemporary photography among collectors and museums really gained establishment in the late 1990s. Photography, in all of its techniques and genres, is now considered to be one of the most important mediums for contemporary art, and one with great potential for increases in value. The future of photography in the art market is certain, and many artists are now graduating from the top art schools with a career focus on photography.

Contemporary Photography Market Ties to Washington, DC
Harry H. Lunn Jr., (1933-1998) Organizer of Paris Photo and photo dealer who was a pioneering force in the contemporary photography market. After a career as an intelligence operative, until he was outed in 1967, began dealing photography in the early ’70s in Washington, D.C. He handled everything from Berenice Abbott’s Eugene Atget archive to Robert Mapplethorpe’s “X Portfolio.”

photo-graph.jpg

Pre-1997 to present: Trends have included size increases in prints – high-gloss, wall-sized prints have replaced delicate prints in tiny frames. Frame and glass have been replaced by printing on blocked canvas and color photography has taken priority over black and white (Curator John Szarkowski aided this validation – Szarkowski-curated William Eggleston show at MoMA in 1976 and in England the early work of Gilbert & George). “Discovering” a ready-made has been replaced by careful staging (Cindy Sherman and Gregory Crewdson) and lighting of picture. Finely-printed limited-edition books of prints have become highly-collectible. These books have high production values, short print run and they are never reprinted.

1996: Paris Photo, the most important contemporary photography fair in the world, running in mid-November, launched.

1999: The Photography Market begins. The Marie-Thérèse and André Jammes sale of 19th Century French photographs (was supposed to be the Inaugural sale for Sotheby’s France) moved to London, fetched £7,430,693 or $14,682,472 (includes BP) 2002: The Marie-Thérèse and André Jammes second sale of 19th Century French photographs were sold at Sotheby’s
France fetching €6.2 million or $8,325,885 (includes BP) 2003: Gursky hits a rough patch, but rebounds in 2004 with a price index increase of 19%

2004: Drought – there were no exceptional public sales. Some, such as Thomas Ruff, Thomas Struth or Bernd & Hilla Becher, saw their price indexes depreciate by between 24% and 44% that year – the number of photographs sold at auction has never been as low as it was in 2004 – 7,000 photographs went under the hammer last year compared with nearly 9,200 in 2000.

2005: Rebound for Vintage/PrimitiveOctober, 12 2005 the portfolios of Edward S. Curtis (1868-1952): The North American Indian fetched $1.2 million at Christie´s (twice the high estimate). Records set in Contemporary Photography- November 8, 2005, Richard Prince, His Cowboy, a symbol of the Marlboro advertising campaigns, fetched $1.1 million at Christie’s Contemporary sale. May 2006, Andreas Gursky, 99 Cent, went for $2 million at Sotheby’s New York. In New York, at seven sales over the 6-12 October period, Sotheby’s, Christie´s and Phillips generated a combined turnover of $28.9 million, an unprecedented figure in the photography segment (with 80% sold to Americans)

2006: February 14, 2006, sales at Sotheby’s New York help the Vintage/Primitive Photography market. Edward Steichen, The Pond, Moonlight, $2.6 million, 2 Alfred Stieglitz prints: Georgia O´Keeffe (hands) and Georgia O´Keeffe (nude) sold $1.3 million & 1.2 million respectively.

2007: Single owners (Weston, Horst & Elfering) start selling – Sotheby’s realized $15.9 million in its three sales; Christie’s, $16.7 million in five sales; and Phillips $10.4 million in two sales and a very healthy second fair AIPAD [the April 12-15 annual show of the Association of International Photography Art Dealers]

Financier starts photo fund:Mehmet Dalman, the star of the German Commerzbank who in just three years as managing board member raised turnover from $25 million to $1.56 billion, now has his fund of 20th- and 21st-century photography. He has hired the
London dealer Zelda Cheatle to curate and build the collection, minimum investment is likely to be about $1 million.

saltz5-21-07-1.jpg

Andreas Gursky
99 Cent II (diptych), 2001
£1,700,000 (£1,771,653 BP) or $2,311,782 ($3,500,177 BP)
Sotheby’s

LondonFeb. 7 2007

rpcow2.gif

Richard Prince Untitled (Cowboy), 1989
$1,248,000 (BP)Christie’s
New YorkNov. 8 2005


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