Wolfgang Tillmans, from Neue Welt @Rosen

JTF (just the facts): A total of 25 large scale color photographs, variously framed and displayed, and hung against white walls in the main gallery space, the connecting hallway, the back gallery, and the office area. Most of the works are inkjet prints on paper, some mounted on aluminum and framed in white, others unframed and clipped directly to the wall. These prints range in size from roughly 31x25 to 95x63 (or reverse) and are available in editions of 3+1AP or 1+1AP depending on size. 3 of the works are c-prints mounted on dibond and framed in white; they are each sized 93x71 (or reverse) and are available in editions of 1+1AP. The exhibit also includes a grid of 128 offset prints. All of the works were made between 2009 and 2012. Monographs of Neue Welt and Fruit Logistica were recently published by Taschen (here) and Walther König (here). (Installation shots at right.)

Comments/Context: In his most recent work, Wolfgang Tillmans has set himself an audacious goal - to capture the astonishingly diverse spirit of our sprawling, global, hyper-connected, 21st century world. Bouncing from continent to continent over the past few years, he has made pictures in countless locations, from Jeddah to Buenos Aires, Shanghai to Addis Ababa, and Los Angeles to Munuwata, selecting moments that have the first glance look of random snapshots, but soon coalesce into a deeper set of underlying patterns and rhythms. In his hands, our complex world resolves itself into set of contradictions, finding an uneasy balance between confusingly interwoven and juxtaposed realities.

Tillmans has always thought deeply about editing and image sequencing, and this exhibit is no exception. It moves back and forth with directed purpose, mixing emblems of old and new in a point-counterpoint dialogue, the visual conversation interrupted occasionally by an elegant abstraction to turn the viewer back inward for just a moment. The broadness of the starry night sky over Kilimanjaro is matched by computerized laser astronomy tools, improvised markets of crouching women and outstretched tarps are offset by the perfect displays at a futuristic food tradeshow, and the natural, earthy growth of mushroom spores on a tree trunk is set against the sleek, engineered headlights of high tech cars at an auto show. His eye pushes us to see the simultaneity of disparity and difference all around us. The hopelessly poor streets of Addis Ababa clash with the shiny escalators of a Jeddah shopping mall, the soot encrusted roof of a Masai hut fights with the mundane sterility of a hotel room, and the timeless games on the nighttime streets of Shanghai disregard the modern metal buildings of Los Angeles. We are at once pushing forward with energy and innovation and dragged back to the roots of our existence.

Given the complexity of Tillmans' overall argument, it might be reasonable to assume that the whole would be greater than the sum of the parts here, but there are more standout single images in this show than I can ever remember seeing in a Tillmans show. The car headlights are aggressively streamlined and technical, the fly perched on a mass of crab legs is bold and compositionally dense, and the water flowing out of a plastic pipe into the gutter is gracefully dirty. In this particular edit, his eye for color and detail is very strong, especially when he moves in close.

Trying to document the global zeitgeist is a perilous challenge, but Tillmans has found a way to represent the complexity of our age with remarkable coherence and legibility. His works capture both our lofty aspirations and our crude realities, without a sense of omniscient pretense or judgment. In these diverse photographs, he shows us all our glorious incongruity and discord, singling out its extremities with perceptive interest.

Collector's POV: The works in this show are priced as follows. The inkjet prints range from $28000 to $68000 based on size, while the large c-prints from the Silver series are $90000 each. Tillmans' work is generally available in the secondary markets, with a handful of images on offer in most auction seasons. Recent prices have generally ranged between $2000 and $90000.

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

Transit Hub:

• Artist site (here)
• Features/Reviews: New York Times (here), New Yorker (here)

Wolfgang Tillmans, from Neue Welt
Through June 22nd

Andrea Rosen Gallery
525 West 24th Street
New York, NY 10011

Photography in the 2013 Independent

This was my first visit to the Independent art fair (it's been up and running for four years now, so I'm a little late to the party), and I came away generally impressed with the quality of what I saw. In contrast to the normal, seemingly endless warren of white cube booths in a fair, the Independent is more free form, with 49 galleries shoehorned into angled spaces and spread across three floors. This design is mostly a blessing, as it makes the whole fair flow better; the one downside is that I often had the feeling of being not quite sure whose space I was in, especially in the higher traffic zones. Photography-wise, the show tended toward smartly conceptual work rather than big name churn and burn merch.

The booths/galleries are arranged below by my winding path through the fair, roughly moving up and through the 2nd, 3rd, and 4th floors of the building starting at the bottom. For each booth, a list of photographers has been provided, with the number of works on display in parentheses. Additional commentary, prices, and pictures of the installation are also included as appropriate.

Murray Guy (here): An-My Lê (9). This booth contained a well-chosen mix of Lê's older and newer work. This image of long sticks with toy airplanes attached to the ends was particularly elegant ($5000).

Maureen Paley (here): Anne Hardy (1), Wolfgang Tillmans (2), James Welling (1). I never seem to tire of Wolfgang Tillmans abstractions ($16000).

Galerie Jocelyn Wolff (here): Prinz Gholam (6). This artist duo has recreated poses from classical paintings; they're gracefully reverential and entirely modern at the same time (2200€ each).

The Modern Institute (here): Michael Wilkinson (4)

Office Baroque (here): Leigh Ledare (2), Michel Auder (1 video)

Galerie Meyer Kainer (here): Lucie Stahl (6). The process here is worth understanding: collaged found images/photographs glued onto a trash can, the can then held above a scanner, the entire image then printed and covered with thick transparent resin (7500€ each).

Andrew Kreps Gallery (here): Annette Kelm (4, 1 triptych). A simple, conceptual still life of iterations of folded bandanas, executed crispy and cleanly (8500€ each).

Real Fine Arts (here): Heji Shin (3)

Richard Telles Fine Art (here): Dan Finsel (2)

Galerie Christian Nagel (here): Clegg & Guttman (2)

White Columns (here): Michele Abeles (1), Marc Hundley (1), Type 42 Anonymous (1). Look at all those red dots! This black and white Abeles image in an edition of 50 was sold out by the time I arrived ($150). No wonder; it's wonderfully dense and interlocked.

Herald Street (here): Josh Brand (2). These recent images by Brand have become increasingly hard to parse. Fragments of imagery and improvisational darkroom processes meld together in moody, textural abstraction ($4000).

Printed Matter (here): Erica Baum (2). Baum is represented by Bureau (here), but these two prints were on a Printed Matter wall, as part of a fund raiser I believe. The scalloped gradation of newspaper edges was richly tactile ($2500).

Galerie Susanne Zander (here): Thomas Glendenning Hamilton (5)

Jack Hanely Gallery (here): Jessica Rath (3)

Galerija Gregor Podnar (here): Alexander Gutke (3, 1 slideshow of 81 images). I thought this was a very well-executed but quietly straightforward conceptual project. Starting with soft light on a white wall (morning blue or afternoon orange), the image has been rephotographed and layered multiple times, slowly intensifying the color and creating the Albers-like effect ($7800 each).

KOW (here): Tobias Zielony (5). These images were drawn from Zielony's larger project on the lives of young Berlin prostitutes. They're intimate without being exploitative ($8200 or $12000 based on size).

Photography at the 2012 Frieze New York Art Fair, Part 3 of 3

This is Part 3 of my review of the photography at the 2012 Frieze New York Art Fair. Part 1 can be found here, along with some background information on the fair and an explanation of the format I'm using for the the booth by booth details. Part 2 can be found here.


Purple Section

Nicole Klagsbrun Gallery (here): Barney Kulok (1)

Kaufmann Repetto (here): Shannon Ebner (1). Another entry in the "built to be photographed" category; this large graphic symbol in cinder blocks by Ebner was priced at $12000.

Rampa (here): Huseyin Bahri Alptekin (3)

Galerie Eva Presenhuber (here): Steven Shearer (3), Amy Granat (1). These floral photograms by Granat are reminiscent of similar images made by Kunie Sugiura, although these have been cropped, reoriented, and transformed into a repetitive, high contrast grid. The work was priced at $20000.

Regina Gallery (here): Nikolay Bakharev (5). I've seen a few of these engaging 1970s beach portraits from Bakharev of late, and they're starting to grow on me. They were priced at $3000 each.

Maureen Paley (here): James Welling (2), Wolfgang Tillmans (2), David Salle (1), Gillian Wearing (1). If there was any one photographer whose work was ubiquitous at this fair, it was Wolfgang Tillmans. This was the best image of his that I saw (due to the complex use of color), a new one priced at $57000 and already sold.

Stuart Shave/Modern Art (here): Linder (10)

Galerie Perrotin (here): Sophie Calle (4 diptychs)

Galleria Continua (here): Mona Hatoum (1 Polaroid triptych). A simple idea, well executed - deadpan portraits with hair exploded by static electricity. This unique set of three prints by Hatoum was priced at $30000.

Frith Street Gallery (here): John Riddy (1), Tacita Dean (1 set of 14). Extra large versions of these Dean film strip works were recently on view at the Tate Modern. The set of 14 prints (offset not photographic) was priced at £45500.

Sikkema Jenkins & Co. (here): Vik Muniz (1). Washington Crossing the Delaware in Muniz' most recent style, a dense collage of magazine scrap imagery. Priced at $45000, and not surprisingly, already sold.

Galerie Bucholz (here): Wolfgang Tillmans (2), Sam Lewitt (1 set of 10). I liked Lewitt's layered NY Times transparencies, algorithmically reconstructed and subtracted to zero. Priced at $18000.

Kukje Gallery (here): Candida Hofer (1), Jenny Holzer (1)

Alison Jacques Gallery (here): Robert Mapplethorpe (3). I had never seen these particular Mapplethorpe florals before. The single blossoms are bathed in ghostly, almost garish, colored light. Priced at $35000.

Sprüth Magers (here): Andreas Gursky (1), Astrid Klein (4 collages), Thomas Demand (1), John Baldessari (1), Cindy Sherman (1). The reason I included this $285000 Baldessari image in this review has nothing to do with the pig, or the hands, or the composition really. What is impossible to see in this installation shot is that the work had surprising depth; the different colored portions are built up in inch thick layers. Yet another example of reimagining photography with sculptural qualities.

Pink Section

Wallspace (here): Daniel Gordon (1), Shannon Ebner (1), John Divola (1). Textures and patterns abound in this new work from Gordon, playing with idea of the sculptural bust, priced at $5800.

Galerie Neu (here): Bernadette Corporation (3), Tom Burr (1)

Galeria Fortes Vilaça (here): Jac Leirner (1)

Victoria Miro (here): Alex Hartley (1), William Eggleston (1), Isaac Julien (1 diptych)

303 Gallery (here): Hans-Peter Feldman (4), Collier Schorr (1), Stephen Shore (1 set of 8). This is an early conceptual series by Shore from the late 1960s (recently reprinted), where he stands and rotates in a circle, the desert background changing in each shot. Probably been done before and since, but still effective. Priced at $25000 for the set.

White Cube (here): Jeff Wall (1), Gilbert & George (1 set of 9)

Galerie Martin Janda (here): Roman Signer (1 set of 5, 1)

Photography at the 2012 Frieze New York Art Fair, Part 2 of 3

This is Part 2 of my review of the photography at the 2012 Frieze New York Art Fair. Part 1 can be found here, along with some background information on the fair and an explanation of the format I'm using for the the booth by booth details.


Yellow Section

Metro Pictures (here): Cindy Sherman (1 set of 35, 1 diptych), Louise Lawler (2), Olaf Breuning (1)

Regen Projects (here): James Welling (3), Wolfgang Tillmans (1), Gillian Wearing (1), Walead Beshty (1 diptych), Doug Aitken (1). It was hard to miss the eye-catching blast of saturated color in these photograms by Beshty. Priced at $48000 and already sold.

Renwick Gallery (here): Talia Chetrit (8). The Renwick booth was a solo show of Chetrit's recent work, with up-close fragments of textural skin, hair and body parts. This chain and nipple image was priced at $3500.

Marcelle Alix (here): Charlotte Moth (1 set of 8, 1 )

Hollybush Gardens (here): Benoit Maire (2)

Galleria Raffaella Cortese (here): William Jones (5), Marcello Maloberti (2), Roni Horn (6), Yael Baratana (2). The floor of this booth was covered in magazine cut outs of mountain ranges, echoing Maloberti's photograph of the process.

Karma International (here): Carissa Rodriguez (3)

The Third Line (here): Youssef Nabil (2)

Gallery Hyundai (here): Seung-Taek Lee (15)

Johann König (here): Annette Kelm (2)

47 Canal (here): Michele Abeles (6). The 47 Canal booth was a solo show of Abeles' work, with densely layered still lifes/photo collages. They were priced at $3600 each and all sold.

Carlier Gebauer (here): Paul Graham (1 diptych)

Galerie Diana Stigter (here): Nathaniel Mellors (1), Amalia Pica (slide show)

Laura Bartlett Gallery (here): Cyprien Gaillard (5), John Divola (3), Becky Beasley (1 set of 3). I liked the changing definition of space in this hybrid of sculpture and photography by Beasley. It was priced at £11500.

Andrea Rosen Gallery (here): Josephine Meckseper (5), Walker Evans (3), Wolfgang Tillmans (7), Aaron Bobrow (1 diptych, 1). I found Meckseper's assemblages of commercial items, complete with fog, fluorescent lighting, and shiny mannequins and backdrops unexpected and odd. They were priced at $7000 each. And while I have seen them before, I continue to enjoy the big Tillmans abstractions of misty color. This one was priced at $78000.

A Gentil Carioca (here): Thiago Rocha Pitta (3)


Orange Section

The Modern Institute (here): Luke Fowler (2)

Galerie Gisela Capitain (here): Alina Szapocznikow (1 set of 20), Christopher Williams (1 diptych), Zoe Leonard (5), Barbara Bloom (3)

Galerie Guido W. Baudach (here): Rashid Johnson (1), Jurgen Klauke (1)

Marc Foxx (here): Luisa Lambri (3), Anne Collier (1)

Mitchell-Innes & Nash (here): Amanda Ross-Ho (1). This Ross-Ho sculptural wall arrangement follows along from similar work show at MoMA in 2010. It was priced at $40000.

Alfonso Artiaco (here): Gilbert & George (1 set of 9), Vera Lutter (1 diptych), Darren Almond (2)

Galerie Francesca Pia (here): Elad Lassry (3, 1 set of 4)

Galerie Meyer Riegger (here): Helen Mirra (3)

Corvi-Mora (here): Anne Collier (1)

Galerie Krinzinger (here): Frank Thiel (1), Valie Export (1), Gunter Brus (2), Otto Muehl (1), Oleg Kulik (2), Mike Kelley and Paul McCarthy (1), Thomas Zipp (1), Rudolf Schwartzkoger (1 set of 7), Marina Abramovic (1 set of 3), Vito Acconci (1). This large peeling paint image by Thiel is a recent addition to his Stadt series; it was priced at $34000.

Xavier Hufkens (here): Robert Mapplethorpe (4)

Galerie Praz-Delavallade (here): Amalia Saban (1)

Kerlin Gallery (here): Willie Doherty (2)

Richard Telles (here): Dan Finsel (1 diptych), Josephine Pryde (1)

Vermelho (here): Claudia Andujar (3), Rosangela Renno (1), Odires Mlaszho (2 collages)

Sean Kelly Gallery (here): Frank Thiel (1), Alec Soth (2), James Casebere (1), Robert Mapplethorpe (2), Iran do Espirito Santo (1), Yves Klein (1)
Galerie Chantal Crousel (here): Wolfgang Tillmans (2), Jean-Luc Moulene (3)

Salon 94 (here): Liz Cohen (1 set of 150, 1 diptych), David Benjamin Sherry (7), Carlo Mollino (39 Polaroids), Lorna Simpson (19 collages). While still life images of tools have been done before many times, I liked both the choice of smaller individual scale and the wall-filling volume of this typology; it was priced at $72000.

Sommer Contemporary Art (here): Yael Bartana (3), Gregor Hildebrandt (3)

Experimenter (here): Bani Abidi (1 installation). While the content and message of this piece were of less interest to me, I was intrigued by the agglomeration of photographic layers, of the pictures of pictures (in various sizes) then stacked and placed in spatial relationship to each other in a single collection.

Cheim & Read (here): William Eggleston (2), Jack Pierson (1)

Part 3 is here.

Auction Results: Contemporary Art Evening and Day Auctions, June 29 and 30, 2011 @Sotheby's London

The photography up for sale in Sotheby's Contemporary Art auctions in London last week solidly met expectations. With an overall Buy-In rate across the two sales of 20% and a number of postitive surprises, the Total Sale Proceeds for photography came in near the top end of the range.

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

Total Lots: 40
Pre Sale Low Total Estimate: £1999000
Pre Sale High Total Estimate: £2783000
Total Lots Sold: 32
Total Lots Bought In: 8
Buy In %: 20.00%
Total Sale Proceeds: £2570650
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Here is the breakdown (using the Low, Mid, and High definitions from the preview post, here):

Low Total Lots: 1
Low Sold: 1
Low Bought In: 0
Buy In %: 0.00%
Total Low Estimate: £5000
Total Low Sold: £6875

Mid Total Lots: 23
Mid Sold: 19
Mid Bought In: 4
Buy In %: 17.39%
Total Mid Estimate: £378000
Total Mid Sold: £482725
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High Total Lots: 16
High Sold: 12
High Bought In: 4
Buy In %: 25.00%
Total High Estimate: £2400000
Total High Sold: £2081050
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The top lot by High estimate was lot 39, Andreas Gursky, Engadin II, 2006, at £500000-700000; it was also the top outcome of the two sales at £937250.

93.75% of the lots that sold had proceeds in or above their estimate. There were seven surprises in these sales (defined as having proceeds of at least double the high estimate):

Lot 101, Jorg Immendorff, Den Eisbaren Mal Reinhalten  (Polar Bear Poker), 1968, at £32450
Lot 242, Andreas Gursky, Gasherd (Gas Cooker), 1980, at £55250
Lot 244, Gerhard Richter, 20.5.07:21.5.07 (diptych), 2007, at £56450
Lot 245, Wolfgang Tillmans, Paper Drop (Roma), 2007, at £49250 (image at right, bottom, via Sotheby's)
Lot 262, Annie Leibovitz, Queen Elizabeth II, Buckingham Palace, London, 2007/2011, at £50450 (image at right, top, via Sotheby's)
Lot 298, Cindy Sherman, Untitled #174, 1987, at £61250
Lot 300, Gilbert & George, The Red Sculpture Album, 1975, at £43250

Complete lot by lot results can be found here (Evening) and here (Day).

Sotheby's
34-35 New Bond Street
London W1A 2AA

Wolfgang Tillmans, Out of the Boxes @Rosen

JTF (just the facts): A total of 60 color photographs, framed in white but not matted, and hung in double rows in the small, single room back gallery. The c-prints are displayed in two sizes: 12x16 or reverse, in editions of 10+AP, and 20x24 or reverse, in editions of 3+AP. There are 23 images in the medium size and 37 images in the small size in the show. The works were made between 1991 and 2010 and are arranged roughly chronologically. (Installation shots at right.)
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Comments/Context: Given how prolific Wolfgang Tillmans is, it's not at all surprising that his gallery would have a large number of boxes of his prints in different sizes back in the storage room, in the event a potential collector or client might like to review a selection of works. With this exhibit, the gallery has begun a multi-part series where it will invite an individual curator to look through these boxes of ready prints and to select a group to be displayed in the small single room space near the offices. The show builds on Tillmans' own idea of a living, growing artistic archive, one that can be remixed and re-edited to generate alternate views. The difference here is that instead of Tillmans carefully doing the choosing and sequencing (as is normally the case), someone else is jumping into the complexity of his work and drawing his or her own conclusions.

This first incarnation was organized by Beatrix Ruf, director of the Kunsthalle Zurich, and takes a subtly formalist approach to Tillmans' work. Rather than explore groupings of common subject matter or overarching theme, she has opted for a generally chronological plan, where the images are double hung in dense ribbons around the room. In sifting through the boxes, her eye seems to have been attracted by echoes and patterns of form; the show has a sense of forward momentum that draws the viewer around the circle of the space, and visual ideas and motifs are continually repeated and refrained using pairs of images, either hung side by side, or just nearby enough to make sure the doubling effect doesn't get lost. There are obvious subject matter pairs, like two chairs, two flowers, two furled book pages, or two architectural details, as well as pairs of color (purple shirt followed by purple sky or red shirt followed by red leaves), pairs of form (the moon and a male nude), and pairs of theme (man washing in the Ganges with a man taking a shower). I'm sure that if this show was parsed even more carefully, it would be found to be full of these echoes, puns, and connections.

What these repackaged juxtapositions tell us about Tillmans's photography that we didn't already know is less clear; quite a few of the images on view here will be familiar to those that saw his last show at the gallery in 2010 (review here). This selection and arrangement imposes a framework that often focuses the viewer on elements of composition, showing us that Tillmans may have consciously repeated similar ideas across relatively short periods of time, the structures explored serially and then sometimes returned to in modified form again and again. Or perhaps some of these connections were completely unconscious, only visible when seen at the aggregate level across many years.

Rather than pin too much on one intepretation or another or to unnaturally overthink things, I think it is best to see this show as a cleverly selected Tillmans playlist, with hits and rarities in equal measure, and with a conscious set of smart connections to make you think as you shuffle from one image to the next.

Collector's POV: The prints in this show are priced as follows. The 12x16 prints are $8000 each, while the 20x24 prints are $16000 each. Tillmans' work is consistently available in the secondary markets, with prices ranging between $2000 and $50000 in recent years.

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

Transit Hub:

• Artist site (here)

Wolfgang Tillmans, Out of the Boxes
Through June 11th

Andrea Rosen Gallery
525 West 24th Street
New York, NY 10011

Photography at the 2011 Armory, Part 4 of 4

The 4th and final portion of our 2011 Armory summary covers Pier 92, also known as the Armory Show Modern. Part 1 of the review (which includes an explanation of the format) can be found here; Parts 2 and 3 can be found here and here.

Marlborough Gallery (here): Hans Silvester (1)

JGM. Galerie (here): Anne & Patrick Poirer (2)

Vivian Horan Fine Art (here): Cindy Sherman (1), Lynda Benglis (6). I had no idea photography was part of Benglis' artistic practice. These color lanscapes were carefully traced with gold paint in certain areas. I didn't ask the prices.

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Springer & Winckler Galerie (here): Georges Rouse (2), Andy Goldsworthy (2), Hiroshi Sugimoto (4), Sigmar Polke (4), Arnold Odermatt (18). The entire outside wall of this booth was devoted to Odermatt. Aside from the two color portraits of children, they were all black and white car crashes from Karambolage.

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Wetterling Gallery (here): Nathalia Edenmont (6), Mike and Doug Starn (1 diptych, 1 triptych). I liked the simple fragility of this massive Starn leaf. It was priced at $38000.

Bruce Silverstein Gallery (here): Shinichi Maruyama (3), Michael Wolf (6), Barbara Morgan (2), Rosalind Solomon (1), Andre Kertesz (10), Nathan Lyons (3 diptychs), Trine Sondergaard (10), Frederick Sommer (1), John Wood (2), Edward Weston (1), Alfred Stiedglitz (1), Irving Penn (2), Todd Hido (3), Paul Strand (1), Yao Lu (1), Aaron Siskind (10). I never tire of Siskind's building facades, with their patterns of windows, moldings, and architectural lines. They clearly also work well when hung as a group/grid, so the geometries and differences in scale/color can play off one another.

Francis Naumann Fine Art (here): Man Ray (6). This Man Ray nude was terrific close up; it was priced at a hefty $250000. I also liked the suite of mathematical objects (particularly the star shaped form in the upper left), which I had never seen before. They were priced at $120000 for the set of 4.

Marc Selwyn Fine Art (here): Richard Misrach (1), Robert Mapplethorpe (1), William Wegman (2), Donald Huebler (1), Robert Heinecken (3). I've always liked Heinecken's Polaroid foodgrams. They were priced at $11000 each.

Alan Koppell Gallery (here): Hiroshi Sugimoto (2), Diane Arbus (1), Gregory Crewdson (1), Richard Hamilton (3), Robert Frank (1), Robert Moskowitz (1)

Armand Bartos Fine Art (here): Barbara Kruger (1)

Gerald Peters Gallery (here): J. Henry Fair (1)

HackelBury Fine Art (here): Doug and Mike Starn (2), Garry Fabian Miller (4), Pascal Kern (10)

Yancey Richardson Gallery (here): Victoria Sambunaris (2), Sharon Core (1), Olivo Barbieri (2), Rachel Perry Welty (2), Alex Prager (7 + 1 video), Andrew Moore (1), Laura Letinsky (2), bryan Graf (3)

Amy Wolf Fine Art (here) and Elrick-Manley Fine Art (here): Hannah Wilke (4)

Chowaiki & Co. (here): Cindy Sherman (1)

James Barron Art (here): Elinor Carucci (1), Sally Mann (1), Kohei Yoshiyuki (1), Brian Finke (1), Wolfgang Tillmans (1). This installation shot doesn't do justice to the delicacy of this huge abstract Tillmans. The pigment washes down the surface in tiny traceries and puffs of purple smoke. The print was priced at $78000.

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Nancy Hoffman Gallery (here): Lisea Lyons (2)

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Nohra Haime Gallery (here): Eve Sonneman (2 diptychs)

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Contessa Gallery (here): David Drebin (5)

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Next up: Photography at the 2011 ADAA Art Show