Photography shows?

[David Spivak-Focus Magazine]

I know most of you attend shows like PhotoPlus Expo and other tech shows geared to photographers, but what about photography art shows dedicated to the collector such as AIPAD, Photo NY, LA, SF and Miami?

[roteague]

I know most of you attend shows like PhotoPlus Expo and other tech shows geared to photographers, but what about photography art shows dedicated to the collector such as AIPAD, Photo NY, LA, SF and Miami?

A good idea, a very good idea.

[David Spivak-Focus Magazine]

A good idea, a very good idea.

What is?

[claudiocambon]

The Grumpus view:

I have been to Photo LA a few times, and I am not a huge fan. One should go if one wants a sense of what is selling now, but not necessarily what is being made these days. I can't say I have ever been wowed by new work there, only happy to see some familiar faces of some of my favorite images. The dissonance of all the work hanging mumbo jumbo, Cartier Bresson next to George Tice next to a bright color picture of a cala lilly next to a Michael Kenna look alike, gives me a headache. I went one year with a friend who buys more than a little bit, and he confirmed my impression that the gallerists were very often curt, summarily sizing people up as either full of money (which my friend actually is), or as mere lollygaggers (which I suppose I am, albeit in a discreet way) when asked questions about pieces. A few years ago they stopped letting the non-profits such as MoPA and Carmel Center for Photographic Art set up booths, which further took the spirit out of it for me. I have never made it to the lectures, which are however supposed to be good.

I guess the event is directed at collectors, and for them it is a big flea market; for them it is probably a good way to see a lot of work all in one place. For a maker it feels like a joyless meat market.

[paulr]

Claudiocambon's headache sounds a lot like mine.

I've been to AIPAD a couple of times. I've also been to photoplus expo in nyc, and to some of the other art fairs (armory art show, etc.).

AIPAD was mostly interesting to see what's trendy in the photo blue chip world. Photoplus had a more down in the trenches feel ... got to see a better variety of things in a smaller setting. The big art expos are exhausting, and packed with a lot of predictable crowd-pleasing stuff (pleasing to a crowd seeking thrills and pretentions of newness) but i found i had to dig deep to find really interesting stuff (like some of the painting coming out of berlin, etc.).

I'd recommend shows that have a lot of non blue chip galleries (ones that might actually be looking for new work) to people seeking representation. They don't want to talk to you at the show (or even within the few weeks afterwards when they're busy) but you can make a list of galleries that seem worth approaching based on what they show. It's also interesting to see what's going on in the world once in a while, even it means braving a circus atmosphere.

[Michael Gordon]

I've been to PhotoLA about five times, and photography aside, my biggest beef is the extraordinarily rising entry cost in addition to criminal parking fees (it's difficult to find street parking around the Santa Monica Civic). If the hall wasn't so jam-packed with people and it wasn't so difficult to navigate through all the trendy people on their cell phones, I wouldnt mind paying $30 for the outing. As fairness to attendees, I think Cohen needs to find a more suitable venue for the increasing popualarity of this show.

[D. Bryant]

I know most of you attend shows like PhotoPlus Expo and other tech shows geared to photographers, but what about photography art shows dedicated to the collector such as AIPAD, Photo NY, LA, SF and Miami?
These shows are irrelevant for most of us that do not live in NY, LA, or Miami.

I suppose it is geared to appeal to the collector class, but I imagine most photographers would enjoy seeing the work on display.

Never the less, it's a world most of us will not visit or live in.

Don Bryant

[roteague]

These shows are irrelevant for most of us that do not live in NY, LA, or Miami.

I suppose it is geared to appeal to the collector class, but I imagine most photographers would enjoy seeing the work on display.

Never the less, it's a world most of us will not visit or live in.

Don Bryant

I think it is a good idea to go to something like this, to see what collectors are looking for. However, it is a long haul from Hawaii, and just not in the budget for me.

[alec4444]

PhotoPlus Expo, sadly, isn't as interesting as it was about 5 years ago. Very little film-based stuff anymore. :(

[paulr]

PhotoPlus Expo, sadly, isn't as interesting as it was about 5 years ago. Very little film-based stuff anymore. :(

I went 2 years ago and thought it was pretty cool. There was a roundtable discussion with people from the publishing industry, and a lot of big and small book publishers there ... not the kind of thing you see at aipad.

Does work really have to be made with film to be interesting?? better stay away from art museums. I hear they have some really dull paintings and sculptures there, none of them film-based ;)

[Kirk Gittings]

i used to got to the SF event. It was a little interesting for awhile to see what was "hot" every year. Ultimately I lost interest because in the end I do what I do and it is not related to what is going on in the market.

[Ted Harris]

I totally agree with Kirk in terms of Photo Plus LA's value for my won work. For the magazine, however, or for a photographer getting his/her start it is a different thing.

I was there last yearr and will be there again in a couple of weeks. It is a fascinating venue to talk photography with the general public as many of the folks there are just that, not monied collectors. It is a great venue to find out what matters to folks who view rather than create photographic art. To see if film capture or digital printing, etc. mean anything, to see if they notice the difference in prints, etc. This yea even more than last I am looking forward to a lot of ad hoc conversations with the attendees, much more so than with the gallery owners.

In fact, assuming all goes as planned, I expect we will have an article in View Camera that concentrates on what the attendees,chosen at random have to say about those issues that are of great concern to us (e.g. does it matter how a print is made as long as it displays well, can you tell the difference, etc.) As photographers we often get very involved in our craft, forgetting that the visualimage we create must stand on its own,that the cratf behind its creation is only as relevant as the success of the image, as the way the image affects the viewer. It is a painful truth that this craft is oftenof little importance to the average viewer (or buyer). Events like Photo Plus are a place to do a reality check on where we are and what we are doing. Going back to Kirk's statement this isn't relevant for those who are established, for those who find the craft to be as enjoyable as the final result and .... for those who are finding there way and jsut discovering which aspects of photography are most important to them.

[claudiocambon]

[QUOTE=Ted Harris;206590]It is a fascinating venue to talk photography with the general public as many of the folks there are just that, not monied collectors. It is a great venue to find out what matters to folks who view rather than create photographic art. To see if film capture or digital printing, etc. mean anything, to see if they notice the difference in prints, etc. This yea even more than last I am looking forward to a lot of ad hoc conversations with the attendees, much more so than with the gallery owners. QUOTE]

I hadn't looked at it this way, and your perspective is very interesting. I wonder what the "average collector" thinks about Photo LA for example, because there has to be some discrepancy between what the gallerists put forth, and what people actually want or would like to see. I wouldn't be surprised if many found Photo LA for example to be a little unimaginative and limited in its offerings. If to me it does not appear to be a representative, broad enough spectrum of work that I would call vital, be it contemporary or historical, I imagine it does to others as well.

I look forward to reading the article.

[David Spivak-Focus Magazine]

I've been to PhotoLA about five times, and photography aside, my biggest beef is the extraordinarily rising entry cost in addition to criminal parking fees (it's difficult to find street parking around the Santa Monica Civic). If the hall wasn't so jam-packed with people and it wasn't so difficult to navigate through all the trendy people on their cell phones, I wouldnt mind paying $30 for the outing. As fairness to attendees, I think Cohen needs to find a more suitable venue for the increasing popualarity of this show.

There's not much anyone can expect Cohen to do than what he is already doing... running a hugely successful gallery out of Beverly Hills, partnering with another successful gallery on the Upper East Side in Manhattan, running ArtLA, PhotoLA and now Photo Miami...the guy just has so much going on, how he can do it all astounds me. From what I understand, Photo San Francisco and Photo New York are no more... or at least NY is on hiatus until Feb '08 and I understand that because AIPAD might have a show in LA in January so this could be the last Photo LA in January? Who knows? All I know is that Cohen has done a remarkable job doing what he's done so far and he should be commended for it.

It is such an interesting conception that AIPAD is a bluechip show, when a lot of galleries there are exhibiting work that is for sale less than $1000. Yes, there is a smattering of Ruth Bernhard vintage prints and Edward Weston peppers, but there is so mcuh more contemporary color work at the AIPAD show today than there was a few years ago...

Now, yes it is true that only AIPAD member galleries which have to be the most prestigious galleries in the country can exhibit at the photography show, but that means you are getting a sample of the highest quality work. Then again, art is subjective and what is high quality to me may be junk to someone else.

I've exhibited twice at Photo SF and twice at Photo NY...for Mr. Cohen to even allow such a new comer to the market at his shows was remarkably kind and generous. I truly think it is in his best interests to focus on what is working for him, which is ArtLA, Photo LA, Miami and his two galleries. Leave New York to the people who know New York. Pizza anyone?