Legacy: Photographs from the Emily Fisher Landau Collection @Aldrich

JTF (just the facts): A total of 23 black and white and color photographs, variously framed and matted, and hung against white walls in a series of three connected rooms on the second floor of the museum. All of the works come from the collection of Emily Fisher Landau, and were made between 1980 and 2004. The exhibit also includes a camera obscura room. A catalog of the collection was published by Yale University Press in 2011 (here). There is no photography allowed in the galleries, so the installation shots at right are courtesy of the museum's Flickr page.

The following artists/photographers have been included in the exhibit, with the number of works and print details as background:

• Richard Artschwager: 1 sculpture/photographs mounted on wood, 2002
• Matthew Barney: 1 chromogenic print in self-lubricating frame, 2002
• Keith Cottingham: 1 digital chromogenic print, 2004
• Lynn Davis: 1 gold-toned gelatin silver print, 2000/2002
• Philip-Lorca diCorcia: 1 chromogenic print mounted on Plexiglas, 2000
• John Dugdale: 1 hand-coated cyanotype, 1994
• Nan Goldin: 1 silver dye bleach print, 1994
• Rodney Graham: 1 chromogenic print, 1990
• Robert Longo: 1 silver dye bleach print, 1980/1998
• Vera Lutter: 1 gelatin silver print, 1996
• Robert Mapplethorpe: 1 gelatin silver print, 1988
• Abelardo Morell: 1 gelatin silver print, 2003
• Shirin Neshat: 3 silver dye bleach prints, 2002
• Victoria Sambunaris: 1 chromogenic print mounted on aluminum, 2002
• Lorna Simpson: 2 gelatin silver prints in framed with plaque, 1991
• Kiki Smith, 4 chromogenic prints, 2000-2001
• Hiroshi Sugimoto: 1 gelatin silver print, 1994

Comments/Context: Back in 2010, long-time trustee Emily Fisher Landau made a major donation of 367 artworks to the Whitney Museum. Selections from that massive gift have toured around to many smaller museums in the United States in the past few years, and this particular show pulls out a very small subset, focusing on some of the photography to be found in the collection. If this group of works can be taken as any guide, Fisher Landau's approach to contemporary photography has been to employ the "solid example from key figures" method, gathering an impressive list of important names and singular works. While the show is loosely organized into rooms of images with people, those without, and a handful of works related to the camera obscura room that has been installed as part of the exhibit, in essence, it's really more of a parade of exemplary photographs from the 1990s and early 2000s.

 

If a collection is built without a rigid thematic or conceptual structure/system to connect the various artworks together (as most collections are), the only way to look at it critically is to ask, for each individual artist selection, "did the collector pick a superlative example of the artist's work"? In general, I think there are some terrific choices on view here, many which would be considered among the best work done by that artist. There as an enormous, wall dominating, upside down tree by Rodney Graham, smartly flanked by a large Vera Lutter of the Fulton ferry landing with the Twin Towers in the distance. Other standout choices include the late Mapplethorpe self portrait (with skull head cane), the Sugimoto wax museum royal family, the Longo jerking suited man from Men in the Cities, and the Morell camera obscura image taken in the Whitney itself.

 

There are also a few less obvious selections which point to some inspired risk taking. Nan Goldin's swarm of cherry blossoms in Tokyo isn't exactly representative of her work, but is still quietly enchanting. Matthew Barney's array of Chryslers from the Cremaster series lacks the bold originality of many of the scenes from that project, but is nonetheless subtly surreal. And Richard Artschwager's child in a high chair sculpture wouldn't necessarily be considered photography, except that its blocky form is constructed by straight on photographs from every angle, creating a smart multi-perspective portrait.

 

So while it's hard to draw a line that connects all of the works on view here into a coherent whole, this small show certainly delivers a respectable mix of recent photography. I'm sure the larger Fisher Landau collection did plenty of welcome hole filling in the Whitney's permanent collection (in photography and other mediums), and with the new building opening soon, I'm hoping we'll slowly get a chance to see even more of its photographic treasures.

 

Collector's POV: Since this is a museum show, there are, of course, no posted prices, and given the wide diversity of works on view, we will forego the usual discussion of secondary markets and price histories.

 

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

 

Transit Hub:

• Fisher Landau Center for Art site (here)
• Feature: New York Times, 2010 (here)

Legacy: Photographs from the Emily Fisher Landau Collection

Through September 2nd

 

Aldrich Contemporary Art Museum

258 Main Street

Ridgefield, CT 06877

Photography at the 2011 Armory, Part 2 of 4

Part 2 of our 2011 Armory summary covers the remainder of the main Pier 94, straight ahead from the entrance. Part 1 of the review (which includes an explanation of the format) can be found here.

Catherine Edelman Gallery (here): Julie Blackmon (2), Robert and Shana ParkeHarrison (3), Gregory Scott (3), Nan Goldin (2), Myra Green (group of 23). Green's works depict the close-up features of the artist's face (ears, nose, mouth, lips), in an exploration of black stereotypes. I liked the messiness of the ambrotype process, which adds a blunt roughness to the simple forms. To get a sense of scale for the image below, each work is just a few inches by a few inches, each easily held in one hand. The whole set was available for $44000.

Galeria Oliva Arauna (here): Zwelethu Mthethwa (1), Per Barclay (1), Jorge Molder (3), Juan Carlos Robles (2), Gabriele Basilico (24), Alfredo Jaar (1), Miguel Rio Branco (1)

Galleri Bo Bjerggaard (here): Per Bak Jensen (1)

Jiri Svetska Gallery (here): Miroslav Tichy (3), Petra Feriancova (5), Petra Mala Miller (2), Katarina Poliacikova (1)

Galerie Eigen+Art (here): Rémy Markowitsch (8). A water damaged auction catalogue forms the basis of Markowitsch's images. The reproductions are torn and eroded, allowing multiple layers to show through, creating interlocking patterns and textures in black and white. They were priced at $22000 each.

Galerie Guy Bartschi (here): Marina Abramovic (1), Nan Goldin (2)

Rena Bransten Gallery (here): Vik Muniz (2), Candida Hofer (2)

Bryce Wolkowitz Galley (here): Ola Kolehmainen (2)

Yossi Milo Gallery (here): Yukio Onodera (11), Simen Johan (2), Alison Rossiter (2 diptychs), Sze Tsung Leong (2), Loretta Lux (2), Pieter Hugo (2). Hugo's imposing portrait is from a sprawling computer recycling facility in Ghana, where spare parts and metals are salvaged. It was priced at $23000.


Cardi Black Box (here): Shirana Shahbazi (1)

Voges Gallery (here): Martin Liebscher (1)

Greenberg Van Doren Gallery (here): Tim Davis (6)

Michael Stevenson (here): Viviane Sassen (6). Sassen's work has a quiet dance-like elegance; I particularly liked the one of the far left below, where the anonymous body lounges amid the drapery. These were priced between $2000 and $7500.

Luciana Brito Galeria (here): Caio Reisewitz (1), Allan McCollum (1), Geraldo de Barros (8), Rochelle Costi (5)

Goodman Gallery (here): Adam Broomberg and Oliver Chanarin (1), Mikhael Subotzky (3), Jodi Bieber (1), David Goldblatt (1). Goldblatt's elevated image of an endless shanty town resolves itself into intricate texture and dense pattern. I remember asking the price, but I somehow didn't write it down.

Galerie Laurent Godin (here): Gonzalo Lebrija (3)

Carolina Nitsch (here): EV Day (6), Alyson Shotz (6), Vera Lutter (3). Shadowy new photogravures by Lutter, this time of pyramids. They were $6000 each or $15000 for the set (pre-publication).

Timothy Taylor Gallery (here): Susan Hiller (11)

Produzentengalerie Hamburg (here): Wael Shawky (2)

Galerie Sfeir-Semler (here): Akram Zaatari (3), Yto Barrada (2)

Kukje Gallery (here): Candida Hofer (1)

Galerie Krinzinger (here): Frank Thiel (1), Kader Attia (1), Paul McCarthy (2), Oleg Kulik (2), Rudolf Schwartzkogler (2), Gunter Brus (1), Otto Muehl (10), Valie Export (1), Marina Abramovic (8), Angelika Krinzinger (4 triptychs). Krinzinger's images depict fragmented bodies supported by plastic braces with velcro strips; the effect is sculptural and abstract. The triptychs were priced at $2500 each.

Galerie Thaddeus Ropac (here): Sturtevant (11)

Sies + Höke (here): Etienne Chambaud (2), Joao Maria Gusmao and Perdo Paiva (4)

Part 3 can be found here.

Vera Lutter, Venice I @Richardson

JTF (just the facts): A total of 6 black and white images, framed in white with no mat, and hung in the small Project Gallery at the back. All of the prints are selenium toned gelatin silver prints, each 25x21, from 2007. The works have been grouped together as a portfolio, entitled Venice I, with a case and a poem by Rainer Maria Rilke. (Installation shots at right.)

Comments/Context: Vera Lutter has consistently produced images of different sizes in working with her now familiar and easily recognizable camera obscura process. Most of her images are extremely large scale (often diptychs or triptychs, almost mural sized), made in shipping containers or large rooms, capturing wide vistas of layered cities and dense industrial zones. A handful of her other works are more intimate, capturing details and more closely cropped views of these same places. This show is made up of a portfolio of these smaller pictures from her recent visits to Venice, where Lutter's conceptual aesthetic has taken the warm romance of famous city and turned it into a ghostly parade of Italian architecture.

While there are a number of towers, colonnades and ornate domes on display here, reversed out with bright white doors and windows and an inky black sky, I found the ethereal images of canal boats, gondolas, and dock areas to be the most striking. Wooden posts stick up out of the water like matchsticks, and the boats float in an indistinct haze on the tactile surface of the slowly moving water. The gondolas are so blurred they are like an airy memory, delicate and wispy, just an inexact hint of their real selves.

What I like best about Lutter's approach here is her ability to make us see her subjects with new eyes. Indeed, what could be more overworked and cliche than the canals and towers of Venice. And yet, in her images, Venice is an otherworldly place, drained of its wondrous life, vacant of its bustling throngs, threatening to dissolve into nothingness or transform itself into something far darker. This town overrun by tourists suddenly has a witchy spirit, something a bit mysterious and chilling.

Collector's POV: The six images of Venice in this show are being sold together as a single portfolio for $35000. Lutter is represented in New York by Gagosian Gallery (here). Her work has become generally available in the secondary markets in recent years, ranging in price between $7000 and $85000, mostly dependent on size. We own one of her smaller images of the Pepsi-Cola sign (here).

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

Transit Hub:

• Exhibit: Gagosian Beverly Hills, 2009 (here)
• Review: LA Times Culture Monster (here)

Vera Lutter, Venice I
Through July 9th

Yancey Richardson Gallery
535 West 22nd Street
New York, NY 10011

2010 AIPAD Review, Part 1 of 4

The 2010 AIPAD Photography Show in New York last week was once again the dominant event on the annual American photography calendar, at least for collectors like us. With 76 exhibitors (mostly galleries and private dealers, but with a few booksellers thrown in for good measure), AIPAD remains the single best place to see the entire breadth of photography, from 19th century to contemporary, on display in one place at one time in the United States; collectors, curators, and photographers from all over the world come to New York specifically for this show just to see what is on view and available.

I made three separate trips to the show this year: a visit to the Wenesday night opening, as well as more focused sessions on Thursday and Friday afternoons. In between an active review of the booths, I met with all kinds of people: collectors large and small, working photographers, musuem curators, and particularly gallery owners/dealers. For the first time ever, I think I spent more time talking (and listening and learning) than I did looking. This is not to say that I didn't end each day with a glassy eyed stare, earned through an overload of visual stimulation; I just interleaved meetings into spurts of booth scouring for a completely full calendar.

This 2010 AIPAD Review will be divided into 4 parts. The first three posts will be the customary booth reports, with lists of the photographers on view (the number of pictures by each in parentheses) and some additional commentary or a specific image (and its details) as further illustration. Given the scope of this fair, I have not attempted to create a complete count of everything on display - there was just too much; there will only be reports on about half of the booths, mainly chosen by pictures that really grabbed my attention or that I subjectively thought deserved some additional discussion; those that have been ommitted were not any less good necessarily, they just didn't stop me in my tracks enough to keep me from relentlessly moving on. As an aside, I seem to have developed a kind of strange x-ray vision (perhaps a byproduct of too much fair-going) - I scan the contents of a booth and often a single image stands out as though lit by an invisible spotlight, while the rest of the images fall back into the blurry and less interesting periphery. It's a kind of "aha" moment, when something unexpected, unusual, or exciting is discovered amidst the normal smorgasbord of work we've generally seen before. The final post in the series will try to step up a level or two and consider some of the ideas, patterns, and conclusions I've drawn from this year's fair; seeing such a plethora of photography isn't just about checklists and prices - there are larger themes present that cut across easy divisions/summaries and are worth a little bit deeper discussion.

For those of you who can never get enough and like to compare alternate viewpoints, a few additional AIPAD reviews worth checking out are those by collector/blogger Evan Mirapaul (here), gallery owner/blogger James Danziger (here and here), and Ken Johnson of the NY Times (here).

So let's get started. The galleries presented are in no particular order, although I've tried to spread some favorites out across the three posts. Apologies for the marginal images, as they are often marred by reflections or glare:

Paul Hertzmann (here): Lisette Model (1), Harry Callahan (1), Ilse Bing (1), Lucia Moholy (1), Eugène Atget (1), Brassaï (1), Imogen Cunningham (2), Francis Bruguière (2), Leo Dohmen (1), Consuelo Kanaga (1), Edward Weston (2), Margaret Bourke-White (1), Ansel Adams (1), Osamu Shiihara (3), Gertrude Käsebier (1), Dorothea Lange (1), Gerard Petrus Fieret (1), plus 4 bins. We have quite a few Cunninghams in our collection and I can say unequivocally that the Cunningham nude of Portia Hume (1930) below was the best picture I saw at AIPAD this year. We have seen this image illustrated in several books over the years, but we have never seen an actual print of this work (vintage or otherwise) anywhere; it was already sold by the time I got to the booth at the opening night party.

Michael Shapiro Photographs (here): Ansel Adams (2), Frederick Sommer (1), Minor White (2), Edward Weston (2), Dorothea Lange (1), Brett Weston (1), Florence Henri (1), Margaret Bourke-White (2), Eugene Smith (1), Kurt Baasch (1), Martin Munkacsi (1), Robert Frank (2), Manuel Alvarez Bravo (2), Edward Steichen (1), Helen Levitt (1), Berenice Abbott (2), Irving Penn (1), Danny Lyon (1), Henri Cartier-Bresson (1), Hannes Beckmann (1), and a group of vernacular images on the outside wall (UPDATE: I misidentified these images, see the comments). While many of the visitors were crowded around a vintage Frank in this booth, I most enjoyed the simplicity of the Minor White image below, with its contrasts of pattern and texture. (Minor White, Abstraction: The Bird with the Misplaced Heart, 1948, at $12500)

Howard Greenberg Gallery (here): Frank Gohlke (3), Robert Frank (2), Saul Leiter (4), William Klein (1), Louis Faurer (4), Ted Croner (4), Miroslav Tichý (5), Bruce Davidson (1), and a wall of Photo League work (13).

Lee Gallery (here): Paul Outerbridge (1), Pierre Dubreuil (1), Alfred Stieglitz (1), Heinrich Kühn (1), Robert Frank (1), László Moholy-Nagy (1), Walker Evans (1), Ilse Bing (2), Dorothea Lange (1), Carleton Watkins (3), Henry Bosse (2), plus 2 bins. The thing I like most about visiting the Lees is that I always feel like I depart smarter than when I arrived; they are friendly and welcoming, while also being deeply knowledgeable about the works they have available. Over several conversations during the fair, we had a debate about the 1929 Kühn rubber plant bromoil and its place in the context of 1920s German floral photography, considered the supply of top material in the market, covered some of the intricacies of Outerbridge's carbo process, and admired the intersecting lines and geometries (as well as what is presumably the photographer's shadow) in the Moholy image below (Untitled (Woman on Ship Deck, Finland), 1930, at $30000).

Edwynn Houk Gallery (here): Robert Polidori (3), Joel Meyerowitz (1), Stephen Shore (4), Sebastiaan Bremer (1), Vera Lutter (1), Man Ray (1), Brassaï (3), André Kertész (1), Bill Brandt (1), Manuel Alvarez Bravo (1), Imogen Cunningham (1). The Houk booth was an even mix of contemporary and vintage material. I had not seen the terrific Vera Lutter below before; it was large and eye catching in the center of the booth - a new look at a very overworked subject (Times Square VII, 2007, at $75000).

Amador Gallery (here): Robert Voit (7), Olaf Otto Becker (2), Taiji Matsue (2). In contrast to most of the overstuffed booths in this fair, the Amador booth was clean and fresh, with just a handful of large color images filling the walls. Anecdotally, I heard that there was significant interest (from museums and collectors alike) in the Voit cell tower trees.

Richard Moore Photographs (here): Ralph Steiner (3), Russell Lee (1), Jack Delano (1), Arthur Rothstein (1), Morris Engel (1), Weegee (2), Irving Penn (1), Ansel Adams (1), Helen Levitt (1), Bill Owens (1), Garry Winogrand (1), Lewis Hine (1), Margrethe Mather (1), Frederick Evans (1), Clarence White (1), Karl Struss (1), Frank Eugene (1), Arnold Genthe (1), Frances Johnston (1), plus 3 bins. The 1950s Ralph Steiner below was an image that I hadn't seen before; I liked the mixture of tonalities and layers of geometries, and it reminded me of a similar composition by Jeff Wall. (Ralph Steiner, Bissell Factory, Employee Washroom, 1959, at $5500)

Weston Gallery (here): Eugene Cuvelier (1), Edouard Baldus (1), Linnaeus Tripe (1), J.B. Greene (1), Frederick Evans (1), Anonymous (1 cyanotype pair), Roger Fenton (2), Antoine Claudet (1), Eugène Atget (1), Rod Dresser (1), Roman Loranc (2), André Kertész (8), Edward Weston (3), Henri Cartier-Bresson (1), Paul Strand (3), Johan Hagemeyer (2), Brett Weston (2), Edward Steichen (2), Wynn Bullock (2), Ansel Adams (2), Harry Callahan (1), and a few more in the back room. The best flower image at AIPAD this year was this delicate Hagemeyer. (Johan Hagemeyer, Talisman Rose, 1938, at $20000.)

Hemphill Fine Arts (here): Godfrey Frankel (3), William Christenberry (8), Don Donaghy (5), Franz Jantzen (1), Kendall Messick (1).

Yancey Richardson Gallery (here): Esko Männikkö (3), Alex Prager (3), Sharon Core (2), Andrew Moore (2), Mitch Epstein (2), Hellen Van Meene (4), Hiroh Kikai (3), August Sander (3), Rudy Burckhardt (2), Laura Letinsky (1), Lisa Kereszi (1). This booth was quite similar in concept to the gallery's Armory booth. The bold Epstein on the outside wall was the perfect antidote for those overwhelmed by the sea of black and white vintage photography at the fair. (Mitch Epstein, Liquidation Sale V, 2000, at $11000)

Eric Franck Fine Art (here): Norman Parkinson (5), Enzo Sellerio (3), Henri Cartier-Bresson (5), Paul Hart (2), Chris Killip (4), Graham Smith (4), Al Vandenberg (6), Antanas Sutkus (4), Rimaldas Viksraitis (4), Marketa Luskacova (2), Jindrich Streit (4), Josef Koudelka (3), Lottie Davies (3). Graham Smith was a new discovery for me. The image below has echoes of Brassaï's bar scenes, but with an English sensibility and a wonderful undertone of humor. (Graham Smith, I Thought I Saw Liz Taylor and Bob Mitchum in the Back Room of the Commercial, UK, 1984 at $5000.)


Photology (here): Helmut Newton (5), Carlo Mollino (8), Maura Banfo (4), Yasumasa Morimura (8), Andy Warhol (1), Robert Mapplethorpe (8), Gian Paolo Barbieri (5), Mario Schifano (4), Nobuyoshi Araki (4), Luigi Ghirri (4), Christopher Makos (11). A booth full of Polaroids by various artists.

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Continue to Part 2 here.

Vera Lutter, Samar Hussein @Nitsch

JTF (just the facts): A total of 9 color giclee prints of hibiscus flowers, framed in white with no mat, and hung in one darkened room. The prints are 20x30, each made between 2003 and 2009, and the images are sold together as a portfolio in an edition of 12. There is also a single large video screen, with 500 additional hibiscus images displayed in an endless loop (made in edition of 3). (Installation shots at right.)

Comments/Context: Vera Lutter's newest work, on display now at Carolina Nitsch, is a eulogy for the civilian deaths (more than 100000 since 2003) that have occurred during the Iraq War. Using the life cycle of a hibiscus blossom as her metaphor, she has lightly superimposed the names of individual dead across the bottom of these lush color florals, printing them as normal photographs or including them in a video loop that blankets a large wall in the gallery. In either format, each up close image is dense with pink and yellow, the flower often twisted or puckered as it begins to wither.

We first saw this new project from Lutter at the Armory show, and as flower collectors, we were immediately drawn to it. Given the passing of time and the chance to revisit the images again in a gallery setting, I have come around to seeing the message she is sending with more clarity, and now think of these images less as botanicals, but more as a carefully constructed political statement. Each blossom is impossibly beautiful and fragile, and the element of elapsed time (more obvious in the video roll call) shows the flowers slowly drying up and dying. As the images relentlessly flash on the screen, they become symbols of the people who are no longer alive, each so delicate and easily broken.

I have to admit that while there has been an endless stream of documentary photography of the Iraq War coming from embedded photojournalists, I don't remember many other overtly political photography projects that have come out of the conflict (in fact, the only one I can name is Alec Soth's broader portrayal of the Bush years, and that is not particularly Iraq focused). There clearly must be many more that I have missed or forgotten, so please give me a pointer to other Iraq related projects in the comments, as appropriate.

Collector's POV: The Samar Hussein portfolio is priced at $10000; I didn't get the price for the video loop DVD. Vera Lutter is represented in New York by Gagosian Gallery (here). Her more recognizable camera obscura work has become generally available at auction, ranging between $7000 and $85000, mostly dependent on size. We actually already own one of these city pieces (here) and are always looking for others that are small and well composed.

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

Transit Hub:

• Bomb magazine interview, 2003 (here)
• Kunsthaus Graz exhibition, 2004 (here)
• MOCP collection (here)

Vera Lutter, Samar Hussein
Through June 20

Carolina Nitsch Project Room (artnet site here)
534 West 22nd Street
New York, NY 10011

Auction: Saturday @Phillips, New York, April 25, 2009

Phillips has another of its entry level Saturday @Phillips sales in New York in two weeks, and once again, there is a wide variety of decent photography buried among the furniture, contemporary prints, and Japanese toys. Out of 420 lots on offer, 86 are photographs, with a total high estimate of $310300. (Catalogue cover at right.)

Here's the breakdown:

Total Low lots (high estimate $10000 or lower): 81

Total Low estimate (sum of high estimates of Low lots): $235300

Total Mid lots (high estimate between $10000 and $50000): 5
Total Mid estimate: $75000

Total High lots (high estimate over $50000): 0
Total High estimate: NA

It has become somewhat of a tradition in these posts to provide a complete list of photographers in the Saturday sales, as they seem to provide a snapshot of the current tastes of the contemporary market, with both established artists and newcomers mixed together. So here's the list:

Doug Aitken
Nobuyoshi Araki

Matthew Barney
Vanessa Beecroft
Hisham Akira Bharoocha

Nick Brandt
Keith Carter
Henri Cartier-Bresson

Sarah Charlesworth

Chuck Close
Andre De Dienes
Walter De Maria

Cheryl Dunn

William Eggleston
Elliot Erwitt
Fischli & Weiss

Lee Friedlander
Nan Goldin

Antony Gormley

Kim Hiorthoy
Matthias Hoch

Candida Hofer
Frank Horvat

Isaac Julien
Richard Kern
Kim-Joon

Elke Krystufek
Barney Kulok

Nikki S. Lee

Annie Leibovitz

Zoe Leonard

Vera Lutter
Gered Mankowitz

Malerie Marder
Steve McCurry
Marilyn Minter
Richard Misrach
Daido Moriyama
Vik Muniz
Helmut Newton

Catherine Opie

Man Ray
Herb Ritts
Thomas Ruff

Roy Schatt

Lawrence Schiller
David Seidner
Mark Seliger
Cindy Sherman
Stephen Shore
Julius Shulman
Alec Soth

Doug & Mike Starn
Bert Stern
Joel Sternfeld
Jock Sturges
Hiroshi Sugimoto
Larry Sultan
Wolfgang Tillmans
Rosemarie Trockel
Ruud Van Empel

Various
Massimo Vitali
Albert Watson
Edward Weston
Bob Willoughby
Garry Winogrand
Thomas Wrede
Erwin Wurm

The lot by lot catalogue can be found here.

While there isn't much in this sale that fits our specific collection, I did enjoy Lot 220 Daido Moriyama, Another City, New York, 2007 and Lot 280 Vera Lutter, Engine, Frankfurt Airport, April 19, 2001. (Lutter image at right.)

Saturday @Phillips
April 25, 2009

Phillips De Pury & Company
450 West 15th Street

New York, NY 10011