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| As photographers produce prints in ever larger sizes, the Photography Show is keeping pace with the trend: “This year expect more large-scale contemporary work in newly designed spacious booths,” says Robert Klein, president of the Association of International Photography Art Dealers. The Park Avenue Armory will once again be home to AIPAD’s Photography Show, from April 10–13, which will feature over 75 galleries this year, as well as a gala preview on April 9 to benefit the John Szarkowski Fund, an endowment for MoMA’s photography acquisitions. This will also be the first show for Meredith Young, who replaces longtime executive director Kathleen Ewing. It’s also a Fotofest year. Houston’s biennial of photography is open March 7–April 20, and this year Houston welcomes China. One might think Fotofest’s Chinese theme comes a little late in the game, considering the attention Chinese work has gotten in recent years, but few domestic forums have had such a multifaceted approach to Chinese photo production. Fotofest 2008 will feature ten Chinese-themed exhibitions including rare historical works, contemporary documentary photography, and a survey of conceptual and staged work organized by Zhang Li and the new Three Shadows Photography Center in Beijing. The Meeting Place, Fotofest’s always-popular portfolio review, is sold out this year. Umbrage Editions, known for publishing humanitarian, documentary projects, has opened an exhibition space. “It came about as a natural segue from the very active traveling exhibitions program we have run for years,” says Umbrage publisher Nan Richardson. Located at 111 Front Street in the Dumbo section of Brooklyn, the 1,400-square-foot space is on the same floor as several other photo galleries and close to powerHouse Arena. The work of photojournalist Tyler Hicks will be on view through March 22. And on the Upper East Side, Domeischel Gallery launched at 1361 Madison Avenue. Anita Chernewski, photographer and curator, and Jack Domeischel, an avid collector, will deal in a wide variety of 20th-century masters. A Leonard Freed show, All That I Have to Offer, opens March 1. The gallery is contributing 10 percent of all annual net sales toward a yearly educational grant “designed to support contemporary artists unable to further their artistic growth due to financial constraints,” says Domeischel. It came to be known by a spy-novel-like sobriquet: “The Mexican Suitcase;” and the International Center of Photography’s chief curator Brian Wallis called it “the Holy Grail of Robert Capa work.” Filled with thousands of Capa’s negatives from the Spanish Civil War, the “suitcase” turned out to be three cardboard cases. Missing since Capa fled Europe for the U.S. in 1939, abandoning them in his Paris darkroom, they are at last returned to the Capa estate, housed at ICP. In 1995 a Mexican filmmaker came forward to say that he had inherited the material from his aunt, whose father, a general, was stationed in France during the late ’30s. It took until 2007 to connect with the illusive man and convince him that the ICP is their rightful home. The material may answer many questions, especially regarding the role of Capa’s partner Gerda Taro, and additional work that might be attributed to her. “Rather than seeing images as isolated prints, we can put together the entire sequence of a story,” says curator Kristen Lubben. “The boxes and envelopes that house the negatives are annotated with notes about place, subject, and, in some cases, photographer—which will advance our understanding of well-known images and lead to new discoveries.” Copyright ©2008 photograph. All rights reserved. No reproduction or republication without written permission. |
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