contemporary photography

This Year’s Photography Show by AIPAD Casts a Wide Net From Historic Images to NFTs—Here Are Some of the Highlights

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The Association of International Photography Art Dealers, commonly known as AIPAD, represents over 80 leading photography galleries from around the world, and for over 40 years has been dedicated to fostering and promoting the scholarship, exhibition, and market of fine art photography. Presented by AIPAD, the Photography Show returns for its 42nd edition in New York this month, running March 31 through April 2, 2023, at Center415. Earlier this year, AIPAD announced the appointment of Lydia Melamed Johnson as the new executive director. Of the forthcoming fair, Melamed Johnson said, “We’ve had an incredible response so far for the 2023 show, and I’m looking forward to being able to build on what we accomplished last year, including growing to welcome back guest exhibitors and publishers as we did at the Piers.”

An early initiative introduced by Melamed Johnson is the Associate Membership, an introductory membership that provides accessibility and support for emerging galleries that are less than five years old, which is currently the age of operation needed for full AIPAD membership. These associate members will be showing for the first time this year, alongside a roster of prestigious AIPAD gallery members. Together, 44 galleries will come together—from local to international—to present both new and historic museum-quality photography in addition to a range of new media, including photo-based art and NFTs.

Rodrigo Valenzuela, Case #1 (2022). Courtesy of Assembly, Houston.

One gallery that will be highlighting NFTs is Assembly, Houston, which will show the work of Rodrigo Valenzuela as both photographic prints and digital NFTs. Recognized for his images of collected industrial and mechanical objects against hazy backgrounds, through the presentation of Valenzuela’s work the gallery will assist collectors new to acquiring NFTs.

Estate of James Bidgood, Hanging Off Bed (Bobby Kendall), (mid-to-late 1960s/printed later). Courtesy of CLAMP, New York.

James Bidgood, Hanging Off Bed (Bobby Kendall) (mid-to-late 1960s/printed later). © Estate of James Bidgood. Courtesy of CLAMP, New York.

Other highlights of the forthcoming show include New York gallery Clamp‘s curated exhibition of queer portraiture, dated from the early 20th century through today, and Yancey Richardson’s presentation of Larry Sultan’s Pictures from Home, which will also be on view at the gallery and coinciding with the Broadway play Pictures from Home starring Nathan Lane. Visitors to the fair will also be able to discover some of the world’s most recognizable images, such as Henri Cartier-Bresson’s iconic Rue Mouggetard, Paris (1954) at Michael Hoppen Gallery, London.

Henri Cartier-Bresson, Rue Mouffetard, Paris (1954) © Fondation Henri Cartier-Bresson / Magnum Photos. Courtesy Michael Hoppen Gallery, London.

Complementing the range of gallery presentations will be a special exhibition, “Highlights from the Archive: Celebrating the 10th Anniversary of MUUS Collection.” Centered on collecting a “quintessentially American photography archive from the 20th century,” the MUUS Collection exhibition will highlight the work of five photographers, André de Dienes, Fred W. McDarrah, Deborah Turbeville, Rosalind Fox Solomon, and Alfred Wertheimer. Tracing the similarities and distinctions between each photographer’s approach to portraiture, the show will bring together both iconic and lesser-known images, highlighting both the scope of the archive and showcasing these inimitable artists’ work.

Niv Rozenberg, Chrysler (day) (2019). Courtesy of Galerie Catherine et André Hug, Paris.

As the longest-running exhibition dedicated to photography, the Photography Show presented by AIPAD is a yearly highlight for photography collectors and enthusiasts alike. With a full slate of new programming and exhibitors, the 2023 edition is not to be missed.

The Photography Show presented by AIPAD will be on view March 31–April 2, 2023, at Center415, New York.

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7 Questions for Francisco Tavoni on Finding Inspiration in Nightclubs and the Studio Accident That Changed His Photography Practice

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Originally from Venezuela, Australia-based artist Francisco Tavoni (b. 1986) is a photographer whose experimental and vibrantly colored images work to address identity and the ego, and frequently engage with ideas surrounding existentialism. Over the course of his artistic career, Tavoni has undertaken extensive travels around the world, exploring the myriad ways in which societies and cultures affect how people see themselves and others—and seeking out “authenticity in identity.”

Tavoni employs a unique photographic method, involving variously filtering his lenses and printing on cotton rag sheets, that lends the images a distinctly tactile element. Combined with his use of atmospheric undulating of color, the works are immersive, contemplative forays into the subconscious and ideas of self. For those looking to see his work in person, and this May his work will be shown at ATM Gallery in New York. We caught up with the artist to find out more about his practice and inspirations.

Installation view of recent works at Franscisco Tavoni's studio.

Installation view of recent works at Francisco Tavoni’s studio.

Tell us about your journey as an artist. Where did you start?

I used to work in fashion for 10 years. I co-founded a clothing label in Australia and during that time did photography on the side. Then I studied photography, started a photographic studio, and assisted other photographers. Collaborating with other artists and spending those years in the creative industries together gave me the tools to have structure and flow, to understand lighting and colors. Then one day, while experimenting with lights and fabrics, an accident happened. That was the breaking point that led me to what I do today.

How would you describe your creative process? Do you work with a fully formed idea or is it more intuitive?

I write ideas and meditate on them for a few days. I try to look within, at what I like or what has influenced me in the past. In that way, my process is very intuitive. I choose specific people that I share a special personal bond with, who understand what I’m doing—I begin with people. I think about how certain things are timeless: good in the past and still relevant today. I try to imagine how we will see these things in the future.

Francisco Tavoni, Estado Meditativo 1 (2023). Courtesy of the artist.

Can you talk a bit about how you make your work from a technical perspective? How has your method evolved?

I work with colored lens filters, see-through silks with patterned layers, and colored strobe lights. Then it’s a process of luminous inversion that I stumbled upon. Light turns to dark and cold becomes warmth. I’ve recently started to do more portraiture—the work itself showed me that it made the most visual sense for the ideas of identity that I was working with. I use new lens filters and new fabrics so that I get a different result each time.

Where do you most commonly find inspiration? Are there other artists, historical or contemporary, that have influenced you the most?

Lately, I’ve found a lot of inspiration in underground dance clubs and some of the people that go there. It’s a subculture of beautiful creatures. The custom chunky aluminum frames on my works were inspired by some of those industrial nightclub’s aesthetics.

There are many artists that I admire, like Thomas Ruff, Izumi Kato, and Klara Hosnedlová. They inspire me to make better work every day and to continue to evolve my work—but I wouldn’t necessarily say that my work is inspired by theirs directly. I find inspiration in solitude and stillness.

Francisco Tavoni, Estado Meditativo 2 (2023). Courtesy of the artist.

What do you want viewers’ experience of your work to be like? What do you want them to take away with them?

My desire is that viewers will recognize that identity does not have to be (and in fact isn’t) rooted in social conditioning. The work is about peeling those layers of identity and ego to reveal the true core of who we are at a soul level. Social structures and systems—culture, language, nationality—are all forms of ego and they don’t define what we are, and I want the work to help set the viewer free from those norms and escape the matrix.

What are you working on now? Are there any ideas you want to explore that you haven’t yet?

I’m working on the next series. What I can say at the moment is that there will be more storytelling, mainly about experiences that made me challenge my identity. I’m also experimenting with different mediums like paint, video, and performance.

If you were not an artist, what would you be?

There are certain things that I learned from an old mentor about inner work and psychic abilities. Some of these tools help me integrate into different cultural situations and to be at ease with myself. I think these tools can benefit everyone, so I think I would be teaching people about those skills.

Francisco Tavoni, Despertar y Entender (2023). Courtesy of the artist.

Learn more about Francisco Tavoni’s work here.

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The New Centre for British Photography in London Is the First Space Dedicated Entirely to U.K.-Based Artists in the Medium

The New Centre for British Photography in London Is the First Space Dedicated Entirely to U.K. Artists Working in the Medium

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Photography aficionados will need extra stamina to explore the seven exhibitions spread over three floors at the launch of the Centre for British Photography in central London on January 26.

Principally, the 8,000-square-foot space on Jermyn Street will house the Hyman Collection, the private collection of Claire and James Hyman widely considered one of the world’s major repositories of British photography. Over 3,000 significant works by more than 100 artists—such as Bill Brandt, Cecil Beaton, and Martin Parr—since 1900 are included. Until now, it was only available to view online.

Bill Brandt, David Hockney (1980). © Bill Brandt / Bill Brandt Archive Ltd. Courtesy of the Centre for British Photography, London.

The center will give a historical overview of British photography and—importantly—present the diverse landscape of British photography as it exists today. “There is no venue specifically dedicated to artists working in photography in Britain,” Founding Director James Hyman told Artnet News.

“While institutions such as Tate and the V&A have extraordinary, encyclopedic collections, they are not devoted to photography, or to British photography,” he continued. “We have one of the most substantial collections of British photography, which we wish to make more public.”

Natasha Caruana, Fairy Tale for Sale (2011-2013). Courtesy of the Centre for British Photography, London.

The new center, Hyman said, is “committed to presenting a diverse view of photographic practice in Britain,” which the opening program embodies. One of the major opening shows takes its name from Bill Brandt’s seminal publication of 1935, The English at Home, presenting over 150 works that explore the central place of the home in 20th-century British photography.

In “powerful contrast” to this is the group show “Headstrong.” Curated by Fast Forward—a research group designed to promote and engage with women and non-binary people in photography across the globe—the show will focus on recent self-portraits by women working in photography.

Trish Morrissey, Pretty Ogre (2011), part of “Headstrong. Courtesy of the Centre for British Photography, London.

“This exhibition foregrounds artists and photographers who have been using self-portraiture as a tool to crack open the oppressive, often punishing nature of patriarchy,” explained Anna Fox, Director of Fast Forward. “From exposing cyberbullies to exploring the multiplicity of female identity, these portraits reinvent outdated concepts of how we should behave, how we should be, and what we can become.”

The center will also reopen with three solo exhibitions by Heather Agyepong, Jo Spence, and Natasha Caruana. “Each show is different but, by putting these artists together—each of whom uses theater and performance—connections can be drawn,” Hyman said to Artnet News.

The new center is for anyone with an interest in photography—amateur or professional. It will be free to visit year round, and will present self-generated exhibitions, shows led by independent curators and organizations, as well as monographic displays, events, and talks. “We hope visitors will get a sense of the incredible range and diversity of historical as well as contemporary photography in Britain,” added Hyman.

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The New Centre for British Photography in London Is the First Space Dedicated Entirely to U.K. Artists Working in the Medium

[ad_1]

Photography aficionados will need extra stamina to explore the seven exhibitions across three floors at the opening of the Centre for British Photography in central London on January 26.

The 8,000-square-foot new space on Jermyn Street will house the Hyman Collection—the private collection of Claire and James Hyman, widely considered one of the world’s major libraries of British photography. Over 3,000 significant works by more than 100 artists—such as Bill Brandt, Cecil Beaton, and Martin Parr—since 1900 are included. Until now, it was only available to view online.

Bill Brandt, David Hockney (1980). Courtesy of the Centre for British Photography, London.

Natasha Caruana, Fairy Tale for Sale (2011-2013). Courtesy of the Centre for British Photography, London.

Trish Morrissey, Pretty Ogre (2011), part of “Headstrong. Courtesy of the Centre for British Photography, London.

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Spotlight: From Bowie to Beyoncé, Markus Klinko’s Celebrity Photography Defined the Aughts

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Every month, hundreds of galleries add newly available works by thousands of artists to the Artnet Gallery Network—and every week, we shine a spotlight on one artist or exhibition you should know. Check out what we have in store, and inquire for more with one simple click.

What You Need to Know: Founded in 1997 by Jeff Jaffe, Pop International Galleries has come to be recognized as invaluable to both the New York City gallery scene and contemporary art community for its laser focus on genres with mass appeal like Pop art, urban art, and photography. Recently, Pop International Galleries announced their representation of world-renowned celebrity photographer Markus Klinko. Originally from Switzerland, Klinko and his work were discovered early in his career by fashion editors Isabella Blow and Ingrid Sischy, both of whom commissioned him for magazine covers and other editorial shoots. Shortly after, Iman and David Bowie hired him to photograph them for projects. Since then, Klinko has photographed some of the world’s most famous people and created numerous iconic images that have become hallmarks of 21st-century pop culture—and his work has appeared in such legendary publications as Harper’s Bazaar, Vogue, GQ, and Interview. More recently, Klinko was the subject of the Cube Art Fair collaboration with Versace, which saw 30 of his images exhibited in Versace’s Miami flagship store.

Why We Like It: The 2000s had a distinctive, high-gloss aesthetic, and Klinko was a shaping force of visual culture in the early aughts. Many of the most iconic and recognizable photos of pop stars and celebrities have been captured by his camera lens, including as album covers for Beyoncé’s Crazy in Love and Mariah Carey’s The Emancipation of Mimi. His photographs of music stars like Britney Spears and Lady Gaga not only became famous in their own right, but also helped shape the stars’ respective celebrity brands. Printed by Weldon Color Lab on Fujicolor Crystal Archive Digital Pearl Paper, Klinko’s work comes to life and beckons viewers to look back at era-defining moments and celebrities. As one of the most admired photographers of the 2000s through today, Klinko’s representation by Pop International Galleries—dedicated to fostering a high-quality yet accessible collecting experience—is more than fitting.

Photographer Markus Klinko on set. Courtesy of Pop International Galleries, New York.

According to the Artist: “Jeff at Pop International Galleries shows some of my all-time favorite artists ever: Warhol, Basquiat, Lichtenstein, Haring…it doesn’t get any better! To see my work on display at Pop International right next to these heroes of mine is just incredible. Andy Warhol’s creative director for Interview magazine, Marc Balet, gave me my start in the industry, and having that work now at Pop, it feels like things are coming full circle!”

See featured works by Markus Klinko below.

Markus Klinko, Beyonce, Dangerously in Love (2003). Courtesy of Pop International.

Markus Klinko, Beyoncé, Dangerously in Love (2003). Courtesy of Pop International, New York.

Markus Klinko, Britney, The Forest (2004). Courtesy of Pop International, New York.

Markus Klinko, The Protector (2002). Courtesy of Pop International, New York.

Markus Klinko, The Savior (2001). Courtesy of Pop International, New York.

You can browse Pop International on Artnet or visit the gallery at 195 Bowery, New York.

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