Every Booth at the 2013 AIPAD Photography Show, Part 5 of 6

Start here for Part 1 of this series. It provides some background and explanation for what's going on in these lists.

798 Photo Gallery (here): Liu Xiaofang, $3900. A mysterious lightbulb on a long cord dangling down from the sky toward Liu's signature little girl.

Gallery 339 (here): William Larson, $4000. I've always thought that the panoramic motion series nudes by Larson were smart, so it was nice to see a few hung together for intimate viewing.

Throckmorton Fine Art (here): Edward Weston, $45000. This woven palm from his time in Mexico is a great example of the artist paring back to the simplicity of form.

Klompching Gallery (here): Helen Sear, $3500. This image combines the back of a woman's head with an effervescent explosion of cherry blossoms. What's hard to see unless you get up close is that the two are overlaid together using striated hand drawn lines and erasures which allow the bottom image to show through the top one. I like its effort to bring the hand of the artist into the practice of digital picture making.

Fifty One Fine Art Photography (here): Malick Sidibé, $20000. This cardboard display page brings together a group of Sidibé's party pictures and portraits, ready for easy choosing by customers.

Sasha Wolf Gallery (here): Christine Osinski, $1500. This image has an easy going 1980s feel, with boys too young to drive hanging out in a funky car.

Eric Franck Fine Art (here): Tom Wood, $8000. The series of Wood's bar scenes on the outside wall of Eric Franck's booth were my favorite new discovery of the fair. Nearly every image collapses two or three vignettes into a single frame. Funny, poignant, and a little bit too real for comfort.

Picture Photo Space (here): Eikoh Hosoe, $8000. Excellent images from Hosoe's Embrace aren't easy to come by, but this is one of them. The kind folks from the gallery also unwrapped a first edition of the book which was hiding under the table, adding to my general enjoyment of their booth.

Rick Wester Fine Art (here): Duane Michals, $8000. A classic, scale demolishing Michals series.

Henry Feldstein (no website): Weegee, $15000. Four top hatted gentlemen, seen with Weegee's glaring flash.

Julie Saul Gallery (here): Alejandra Laviada, $3600. I like the two dimensionality of this sculptural construction; its depth is removed entirely, leaving blocks of color, almost like a Sean Scully painting.

Catherine Couturier Gallery (here): Peter Keetman, $6000. There was very little 1950s German photography at this year's fair. This linear Keetman of frozen crisscrossed electric wires was one exception.

Kopeikin Gallery (here): Alejandro Cartagena, $2100 each. While a typology of pickup trucks has probably been done many times before, one looking straight down at sleeping construction and landscape workers in the beds is certainly a different take on the genre. Each bed is like a Joseph Cornell box of bodies and gear.

William L. Schaeffer/Photographs (no website): William Bell, $2500. The front and back of a gunshot wound, seen with the help of a mirror.

Continue to Part 6 here.

Daniele Tamagni & Africolor @Danziger

Yet another holdover review from the summer.

JTF (just the facts): A two part show, with color photographs by Daniele Tamagni in the main gallery space and a group show entitled Africolor in the back room. The Tamagni exhibit consists of 12 c-prints framed in white and matted, each 12x18, 20x28 or 28x39 or reverse, in editions of 10, from 2008. A monograph of this body of work, entitled Gentlemen of Bacongo, was published by Trolley Books in 2009 (here). The Africolor exhibit consists of 24 works from 7 different photographers, variously framed and matted or pinned directly to the wall. (Installation shots at right.)

The following photographers are included in the Africolor portion of the exhibit; the number of prints on view and their details are in parentheses:

• Samuel Fosso (2 digital c-prints from the series TATI, each roughly 59x63, in editions of 3+2AP, from 1997)
• Martin Parr (6 Lambda prints, either 24x20, 24x36, or 50x70, from 2001-2005)
• JR (1 pigment print, 26x40, from 2008)
• Malick Sidibe (8 gelatin silver prints with hand painted glass and cardboard frames, ranging from 4x3 to 16x12, from 1974 to 2003)
• Mickalene Thomas (2 c-prints, each 40x50, in editions of 5, from 2010)
• Ruud van Empel (2 cibachrome prints on dibond and Plexiglas, each 33x24, in editions of 13, from 2006 and 2008)
• Lolo Veleko (3 pigment prints, each 14x11, from 2002-2004)

Comments/Context: This smart combination of Italian photojournalist Daniele Tamagni’s images of dapper Congolese men and a supporting exhibit of color-driven African photography (loosely defined) gets my vote for the best summer group show of photography in New York this year. In contrast to the mind numbing boredom of the typical gathering of the gallery stable, this show introduces a memorable body of work and surrounds it with a relevant sampler of related pictures. It’s fresh, brash, and lively, with a snappy sense of style.
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Tamagni’s photographs chronicle the dapper fashions of members of La SAPE (La Societe des Ambianceurs et des Personnes Elegantes). With a flair for extravagant, vibrant color (blazers in pink and lime green, pants in red and orange), their dashing suits and careful accessories provide a stark contrast to the poverty of their everyday lives. These gentlemen strut and swagger around town with elegant walking sticks and fedoras, creating an eye-catching mix of colonial and Congolese cultural remnants. The push and pull between the natty clothes and the realities of crumbling walls, wet laundry, and wandering children makes for visual contradictions that stand out.
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The paired Africolor show bursts with a cacophony of styles, colors and patterns. I found Martin Parr’s images from Dakar to be especially striking, from the dueling stripes of a dress and handbag, to a rainbow of shoe straps and a head covered in sunglasses for sale. Lolo Veleko’s portraits capture youthful street styles, with funky, unexpected combinations of fashions. And Mickalene Thomas’ interior portraits collect a dizzying number of patterns (curtains, pillows, sofa, and dress) in layers that defy logic but somehow work in electric harmony. With Sidibe, van Empel, and Fosso added to the mix, the room vibrates with casual glamour and dynamic energy.
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What I found most intriguing about this selection of photographs was the repeated sense of Western styles being appropriated and refashioned for local tastes, forging something entirely new and original out of the raw material of the familiar. All in, a positive pulse of life beats strongly throughout this entire exhibit, making it a welcome antidote to the sleepy status quo of the warm summer months.

Collector's POV: The prints by Daniele Tamagni are priced in ratcheting editions. The 12x18 works start at $3000 and rise to $5500 at the end of the edition, the 20x28 works start at $4000 and rise to $6500, and the 28x39 works start at $5000 and rise to $7500. Tamagni’s works have very little secondary market history, so gallery retail is likely the best option for interested collectors at this point.
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The prints in the Africolor portion of the show are priced as follows:

• Samuel Fosso: $5500 each
• Martin Parr: $3400, $6000, or $12000, based on size
• JR: $1500
• Malick Sidibe: $3800 or $8500, based on size
• Mickalene Thomas: $9000 each
• Ruud van Empel: $34000 or $38000
• Lolo Veleko: $3000 or $5500

Rating: ** (two stars) VERY GOOD (rating system described here)
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Transit Hub:

• Tamagni artist site (here)
• Parr artist site (here)
• Thomas artist site (here)
• Review: Photo Booth (here)

Daniele Tamagni & Africolor

Through September 10th

Danziger Projects

527 West 23rd Street

New York, NY 10011

Malick Sidibé @Shainman

JTF (just the facts): A total of 52 black and white photographic works, variously framed and matted, and hung in the entry gallery and the main divided space in the back. 26 of the images are vintage gelatin silver prints framed in white blonde wood and matted; these works range in size from roughly 3x5 to 5x7, and were made between 1961 and 1986. 14 of the images are more recent gelatin silver prints of some of Sidibé's better known pictures, framed in black and matted; these prints range in size from 8x8 to 38x38 and were printed within the last 10 years. 11 of the works and 1 installation of 27 images tightly grouped together on one wall are surrounded by Sidibé's signature hand painted color frames made of glass and cardboard; these range in size from 9x6 to 20x16 and were made between 1965 and 2005. (Installation shots at right.)

Comments/Context: This well-edited, approachable show of the work of Malian photographer Malick Sidibé has something for everyone, from those who have never been exposed to his exuberant portraits to those who are already dedicated followers and collectors. It successfully mixes vintage rarities and creased studio treasures with large scale modern prints of iconic images like Nuit de Noel and Regardez Moi, providing a cross section of his artistic output across several decades.

I don't think I will ever tire of Sidibé's funky studio portraits and energetic shots of dance parties in Bamako from the 1960s and 1970s; there is something thoroughly contagious about their optimism. A young woman shows of her new handbag while wearing a dress with huge white polka dots, a young man struts in an improvised sailor suit wearing big sunglasses, while another man is dressed head to toe in all white, including gloves and mirrored shades. Guys pose proudly near a white car, others show off records, and couples dance with tenderness and joy. Even when the young men and women square off, threatening to throw rocks at each other, there is a sense of unspoiled playfulness at work.

The show balances this liveliness with more formal studio portraits and head shots, many in traditional dress or highlighting a special hairstyle. Multi-generational families stand together solemnly in riots of patterned clothing, and a whole wall is covered by baby pictures, each with a special hand painted frame. I was particularly drawn to Sidibé's recent portraits of sitters with their backs to the camera. They are elegant and almost abstract, especially when the clothing and studio settings clash and echo each other; they trade a quiet simplicity for the fun-filled strutting and innocent performing of his other works.

While this show may not teach us much about Sidibé's work that wasn't already well known, its freshness and life, its style and swagger, are a welcome reminder that portraiture (even in its most traditional forms)need not be dour or self-consciously serious to be powerfully memorable.

Collector's POV: The works in this show are priced as follows. The smaller vintage gelatin silver prints are either $3800 or $4800 each. The larger recent prints range from $5500 for the 8x8 size to $15000 for the 38x38 size. The single images in hand painted frames range from $4800 to $20000 each, and the group installation is $30000.

In general, most of the Sidibé prints to be found in the secondary market are later prints. More and more of these prints have sold at auction in recent years, with prices ranging from $2500 to $12500.
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Rating: ** (two stars) VERY GOOD (rating system described here)

Transit Hub:

• Interviews: lens culture (here), Index magazine (here)

Malick Sidibé
Through August 5th
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Jack Shainman Gallery
513 West 20th Street
New York, NY 10011

Auction Results: AFRICA, May 15, 2010 @Phillips

The results for the photographs in the AFRICA themed sale at Phillips last week fell solidly into the estimate range, led by works by Malick Sidibé and Zwelethu Mthethwa. Overall however, the total photo proceeds were significantly less than the BRIC and SEX themed sales earlier in the year.

The summary statistics are below (all results include the buyer’s premium):

Total Lots: 75

Pre Sale Low Total Estimate: $386300

Pre Sale High Total Estimate: $554700

Total Lots Sold: 53

Total Lots Bought In: 22

Buy In %: 29.33%

Total Sale Proceeds: $477250

Here is the breakdown (using the Low, Mid, and High definitions from the preview post, here):

Low Total Lots: 62

Low Sold: 41

Low Bought In: 21

Buy In %: 33.87%

Total Low Estimate: $272700

Total Low Sold: $205500

Mid Total Lots: 12

Mid Sold: 11

Mid Bought In: 1

Buy In %: 8.33%

Total Mid Estimate: $202000

Total Mid Sold: $191250

High Total Lots: 1

High Sold: 1

High Bought In: 0

Buy In %: 0.00%

Total High Estimate: $80000

Total High Sold: $80500

The top lot by High estimate was lot 61, Yinka Shonibare, Un Ballo in Maschera (I-X), 2004-2005, at $60000-80000; it was also the top outcome of the sale at $80500.
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90.57% of the lots that sold had proceeds in or above the estimate range. There were a total of 5 surprises in this sale (defined as having proceeds of at least double the high estimate):

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Lot 1, Malick Sidibé, Nuit de Noel (Happy-Club), 1963/Later, at $9375

Lot 3, Zwelethu Mthethwa, Untitled from Sugar Cane Series, 2003, at $13750 (image at right, top, via Phillips)

Lot 33, Malick Sidibé, Regardez-Moi!, 1962, 2000, at $12500 (image at right, via Phillips)

Lot 169, George Rodger, The Champion of a Korongo Nuba Wrestling Match is Carried Shoulder High, Kordofan, Southern Sudan, 1949/1999, at $8750

Lot 185, Malick Sidibé, Les nouveaux circoni, 1983/1995, at $7500
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Complete lot by lot results can be found here.

Phillips De Pury & Company

450 West 15th Street

New York, NY 10011

Hairdos and Parties: African Typologies by J.D. 'Okhai Ojeikere and Malick Sidibé @Stephenson

JTF (just the facts): This is a two-person exhibit, with two relatively separate sections. The Ojeikere works are framed in black and matted and hung in the main gallery space. There are a total of 11 gelatin silver prints, 7 printed as larger single images (approximately 16x16 square), and 4 printed smaller (approximately 4x4 square) and framed together in a grid. All of the prints are modern prints (from 2007 or 2009) made from negatives taken between 1970 and 1975; the prints are not editioned.

The Sidibé works are framed in black and matted and hung in the back viewing room. There are a total of 4 works, each of which is comprised of between 15 and 22 individual gelatin silver prints (approximately 3x2 each), pasted onto a cardboard poster and annotated by the artist in pen. These vintage works were made between 1966 and 1968. This exhibition is presented in conjunction with Fifty-One Fine Art Photography in Antwerp (here). (Installation shots at right.)

Comments/Context: The best of African photography doesn't find its way to New York as often as it should, so we do our best to get out to see it when it does make a rare appearance. Private dealer Parker Stephenson has smartly paired images by J.D. 'Okhai Ojeikere from Nigeria and Malick Sidibé from Mali in this intimate show, highlighting two bodies of work that have parallels with the conceptual typologies that have become commonplace in contemporary photography.
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Like the Bechers and their industrial structures, Ojeikere systematically documented Nigerian hairstyles in the 1960s and 1970s, making deadpan portraits of the backs of heads against monochrome backgrounds. In these works, hair has been transformed into a sculptural medium: it is variously woven, braided, pleated, knotted, twisted, and piled into elaborate, ornate creations. The designs run the spectrum from tribal to botanical, complete with abstract patterns and intricate decorations. The project operates both at the anthropological level (a careful document of vanishing cultural traditions) and at a more conceptual one (a process-centric, objective comparison of forms). The similarities to the approach of the Bechers are striking, but the individual images are also strongly reminiscent of the up-close New Objectivity florals of Karl Blossfeldt - astounding designs and geometries found in unlikely places.

While most collectors are already familiar with Malick Sidibé's funky 1960s studio portraits, complete with their eye-popping stripes and patterns, the posters on view here are a reminder of another facet of his work. As an active working photographer, Sidibé often attended parties and dances at all kinds of social clubs and venues, making casual pictures and simple portraits of the guests. The next day, he would gather the prints together on a poster outside his studio, complete with numbers underneath, so people could come by and order reprints of their favorites. These hand crafted maquettes are arrays of small black and white images, all the same size. Like his more formal studio portraits, the images capture the contagious energy of youth: the mix of traditional and Western dress, the obsession with new music (many people are shown holding up album covers), and the sheer joy of lively dancing and exuberant joking around. While these inadvertent typologies lack a rigorous conceptual construct, the multi-image display approach underscores the nuances of cultural change that were taking place.

All in, this is an intelligent exhibit of under appreciated work, well worth a quick visit. Most importantly, I came away with the unexpected conclusion that a formal array of a dozen 1970s Nigerian hairstyles on a large white wall might compare surprisingly well with gas tanks, coal mine tipples, or framework houses.

Collector's POV: The larger Ojeikere images are priced at $2500 each, while the smaller prints are $1000 each or $4000 for the grid of four. The Sidibé posters range between $18000 and $22000 each. Ojeikere's photographs have little or no recent secondary market history, so gallery retail is likely the only option for collectors interested in his work at this point. Sidibé's later print portraits and club scenes can be found at auction from time to time, ranging from $2000 to $5000 in the past few years. These vintage maquettes are however much more rare. Sidibé is officially represented by Jack Shainman Gallery in New York (here).

Rating: * (one star) GOOD (rating system described here)

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Transit Hub:

• Pigozzi Collection (here)
• J.D. 'Okhai Ojeikere: Photographs, 2000 (here)

Hairdos and Parties: African Typologies by J. D. 'Okhai Ojeikere and Malick Sidibé
Through February 26th

L. Parker Stephenson Photographs

764 Madison Avenue

New York, NY 10065

by appointment

Book: Malick Sidibé, Photographs

JTF (just the facts): Published in 2003 by Steidl and the Hasselblad Center, in conjunction with the artist's receipt of the 2003 Hasselblad Award. 108 pages, including 65 black and white plates. Essays by Gunilla Knape and Manthia Diawara, with a conversation with Sidibé recorded by Andre Magnin. (Cover shot at right.)

Comments/Context: Malian photographer Malick Sidibé has been on our list of artists to get better acquainted with for quite a while now. We have seen a few of his captivating portraits in group shows or at auction previews over the years, but until now, we hadn't spent the time to look carefully at the entire body of his work. This monograph is an excellent first resource primer on Sidibé for those who want to educate themselves about this important African photographer.

Sidibé's best pictures come from the 1960s and 1970s, when he made staged studio portraits and looser documentary shots of the youth culture of Bamako. In these post-colonial years, traditional Malian culture was being challenged by the modernizing influences of the West. So while Sidibé did make many traditional portraits of people in African dress, with elaborate hairstyles and symbolic poses, his images of energetic young people, full of freedom and enthusiasm, have the most interesting stories to tell. (Young man with bell bottoms, bag, and watch, 1977 at right.)

There is an amazing purity and innocence in these pictures. There are kids dressed in their best funky James Brown suits, holding record albums, strutting and showing off. There are crazy sunglasses, big watches, and shiny shoes. There are motorcycles and scooters brought into the studio, for posing and looking cool. Sidibé let each of his subjects create their own narrative with his many props and objects, and what emerged were pictures full of style and attitude and rock and roll infused pride. One of the things I find most intriguing about these portraits is Sidibé's use of clashing patterns, background and floor drops with bold stripes, checks, and polka dots, mixed together with the patterns in his subjects' clothing. It makes for some high octane visual stimulation. (The whole family on a motorcycle, 1962, at right.)

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It is clear that there were some powerful culture and generational conflicts and shifts going on during these times, and the young people were at the center of the revolt. Sidibé also made some memorable pictures of kids at parties and dance clubs (called grins), showing off their best moves and imitating their favorite stars. These too have a sense of unabashed happiness; it's hard not to smile when you see them.

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In recent years, Sidibé has been busy on the awards circuit, picking up the 2003 Hasselblad Award, the Golden Lion for lifetime achievement at the 2007 Venice Bienniale, and most recently, the 2008 ICP Infinity Award, also for lifetime achievement. All this from an artist who was virtually unknown outside Africa a decade or two ago.

Collector's POV: If you are a portrait collector, Sidibé needs to be in your collection. In our opinion, his are images that you will stand the test of time well, without becoming tired.

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Virtually all of Sidibé's photographs that can be found in the secondary market are later prints, made in the late 1990s or early 2000s. These images have been selling in the $2000 to $5000 range at auction, but there haven't been many in the past five years, so it's hard to draw much of a pattern from so few data points.

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Sidibé is represented in New York by Jack Shainman Gallery, site here. There was a 2005 solo show there, complete with images surrounded by elaborately painted glass frames.