178-en

A SNApShot of the photogrAphy SceNe todAy

Top storiespage 6

InterviewParis Photo 2014

director Julien Frydmanpage 8

Museumspage 10

InterviewYoung collectors catching the photo

fever: Ccile Schall

page 14

Galleriespage 18

InterviewA new perspective on

analogue photography: Jean-Franois Velopp

page 21

Artistspage 24

DataGustave Le Gray

page 25

InterviewsA Post-Soviet state of mind: Olga

Chernyshevapage 30

Documenting Hobbledehoyhood: Ed Alcock page 33

Auctionspage 37

Fairs & festivalspage 39

Eighteen years after its creation, Paris Photo has managed to make a name for itself as an unmissable event on the art fair calendar, where photography fans and well-versed collectors from across the world are guaranteed to find the best of vintage and contemporary photography. Beyond the aisles of the fair itself, this year the French capital is to offer numerous opportunities for discovery for lovers of the 8th art. Although the photography market is still young, the strength of its dynamism is not about to run out; in fact, the case is quite the contrary...

No Wind - With Hijab - 2 Years with Hijab

Lina Hashim

Lina Hashim, 2012Archival Pigment Ink Print East Wing

EAST WING @ Paris Photo

This documenT is for The exclusive use of ArT mediA Agencys clienTs. do noT disTribuTe. www.artmediaagency.com

AMA NeWSLetter

17813 November 2014


In recent years we have seen superstars such as Gursky, Prince, Sherman and Wall become untouchable for a majority of fans, crossing the symbolic threshold of 1 million. The photography market, however, benefits from a tremendous capacity for renewal. This is partly thanks to the existence of a much broader base of potential collectors in relation to other contemporary media such as sculpture or installation. Contemporary photography remains in general the most accessible medium, not only in terms of budget, but in terms of comprehension of the work. Photography's evolution does not seem to have provoked a major breakdown in the general readability of the works. From the intelligible to the sensitive or violent, the dreamlike and infinite points of view that photography presents earns it a unique position in the world of contemporary creation. Photography tells us real life stories.

An advantageous singularityStill far from the excess that we see amongst other mediums, the contemporary photography market is running its own course, carried along by a measured growth since the early 2000s. As highlighted by Artprice, There is no foreseeable risk of market crash as demand is high. There has never been so many contemporary prints sold as in recent months. Artprice's Art Market Insight reveals that today photogra-phy represents 7% of contemporary works sold across the globe (4% of total product sales.)

For the period between July 2013 and July 2014 painting represented 60% of turnover for 40% of global transactions. If the average price of prints has rapidly increased, there has also been better control of editions; there was a lack of education before. A more significant growth of prices in coming years is therefore not to be ruled out. I believe this is just the beginning, the market is really growing, explains Julien Frydman, director of Paris Photo.

Beverly Hills #3, from the series Rodeo Drive (1984)

Anthony Hernandez

Anthony Hernandez, courtesy Galerie Thomas Zander, CologneTHOMAS ZANDER @ Paris Photo


AMA Newsletter 178 2 13 NoveMber 2014

Five Hands (2006)Roger Ballen

Galerie Karsten Greve Paris, Cologne, St. Moritz@Paris Photo


In its latest report Photography Market Confidence Indicator, the American company ArtTactic reveals that the level of confidence in Modern and contemporary photography is growing, with a 16.5% in-crease over the last six months the highest level noted since March 2011. Undertaken by a panel of experts, ArtTactic's confidence index for the photography market currently notes a score of 81 (a figure higher than 50 means a positive response to the market.)

It is a relatively young market with similarly young collectors, however over the last three or four years we have seen prices constantly increase. The gradual depletion of important works on the market, combined with the remarkable valuation work carried out over the last ten to 15 years by curators, gallery owners and institutions (for example Rencontres d'Arles) has paid off. The general public's interest for photogra-phy is constantly growing and we have seen evidence that prices will follow.

In parallel, we observe that more and more artists are now using digital photography (or film) rather than other medias. This may also be one of the major characteristics of contemporary art: porosity between the different practices (photography, painting, sculpture, video) has almost become the norm, explains Frydman, adding by joining Paris Photo in 2011, my objective was to get photography out of its specia-list's ghetto and open it up to other audiences, notably artists. The fair's move from the Carrousel du Louvre to the majestic Grand Palais also contributes to the status of the event, attracting the most impor-tant galleries and collectors from across the globe.

If the most prestigious collections are undoubtedly those from the United States, then London holds an equally important position (notably regarding photography with names such as Avedon, Newton, Penn and Lindbergh). It is in this city that the first edition of Photo London is to be held in May 2015.

Today the leadership of Paris Photo is well established. It serves as a point of reference and has skillfully taken advantage of the satellite events. Without the OFF and Month of Photography, the Reed Exhibitions fair would not have the same international impact. Unlike other periods of the year, there seems to be great synergy between the different institutional and commercial events organised alongside one another.

Paris Photo 2014This year Paris Photo is to take place between 13 and 16 November at the Grand Palais, bringing together 143 galleries from around the world of which there are 36 newcomers and 26 publishers, laying empha-sis upon the pioneering role of private collectors.

On the first floor of the Salon d'honneur du Grand Palais, the exhibition Reflet d'une poque: premires photographies d'Asie du Sud (1860-1910) de l'Alkazi Foundation for the Arts, New Delhi will run concur-rently. Another highlight is the exhibition Acquisitions rcents (recent acquisitions), highlighting new photography collections from high profile international institutions. Also open to the public is the ex-hibition Photographie amricaine: acquisitions rcentes du Museum of Modern Art, New York (MoMA) (American photography: Museum of Modern Art New York (MoMA)'s recent acquisitions).

This exhibition will allow the visitor to discover the details of the institution's acquisition process, choices made around certain figures such as William Klein, Geraldo de Barros, Susan Meiselas, information on movements such as conceptual photography (Regina Silveira, Liliana Porter, Sarah Charlesworth) and investigations into identity and gender (Lyle Ashton Harris, Mark Morrisroe, Oscar Munoz) as well as dis-playing an important focus on contemporary practices (Collier Schorr, Lisa Oppenheim).

To complete the programme, Paris Photo is to present the exhibition Livre Ouvert which underlines the importance of the book in the history of photography. This year, the exhibition Livres d'artiste et pho-tograhphie is to display a selection of art books published between the 1960s and today. Paris Photo is to present its annual Paris Photo Aperture Foundation Photobook Awards in partnership with the Aperture Foundation. For the 2014 edition, prizes will be awarded for First Book, Book of the Year and Catalogue of the Year.

Amongst the commercial solo shows there are numerous unmissable exhibitions: Christopher Williams at Da-vid Zwirner; Robert Mapplethorpe at the Thaddeaus Ropac stand, and Hiroshi Sugimoto at the Yoshii Gallery.

JP Morgan, partner of the event, is to present a part of its collection which totals 30,000 pieces, including 7,000 photographs. This collection beginning the 1930s has been a driving force for the medium, dating back to a period when no museum held a photography collection.




Fototever finds its voice... Running concurrently, fans can also visit the Carrousel du Louvre between 14 and 16 November for Foto-fever. The event fouded by Ccile Shall aims to be the younger offshoot of Paris Photo and hopes to incite young fans to begin collections, employing many tools including an informative guide Start to Collect, in which the works on offer are priced at less than 1,000 and are indicated with a star. This year more than 100 galleries are investing in the fair with a notable growth of 20% in Asian galleries.

The market is elsewhere beginning to tentatively open up in emerging countries, with Asian and Latin American collections becoming more important. Even if these territories don't yet offer a local clientele important enough to host these fairs, there is a feeling of genuine growth and interest in photography.Resolutely contemporary, this year the fair highlights the work of the Prix Fotofever 2014 laureate, the young artist Laure Fauvel. Amongst some of the most important images there are those of Grard Malang taken at the Factory; the photographer of art and rock icons from the 1960s to 1970s is to present around 30 images featuring Iggy Pop, Andy Warhol and Patty Smith.

In terms of other exhibitions, La Bellevilloise in Paris is to host Photo Off, a fair dedicated to young emer-ging artists, whilst Photovintage gathers around 50 galerie Vivienne dealers.

18th edition of Photo Month Photography is everywhere in Paris during November. Three themes are highlighted this year: Mediter-ranean photography (represented by artists Giovanna Calvenzi and Laura Serani); Anonymous and amateur artists (represented by Valrie Fougeirol) and The Heart of Intimacy (represented by Jean-Louis Pinte).

Whilst the Centre Pompidou has finally opened a permanent space dedicated to photography featuring a significant collection of almost 40,000 photographs, numerous Parisian institutions are to benefit from this Photo Month, organising special programmes. Important exhibitions include: Roberto Battisini at the Muse de l'Histoire de l'Immigration; American artists Garry Winogrand and William Eggleston at the Jeu de Paume and Fondation Cartier-Bresson respectively; Alex Clo Roubard at the Bibliothque nationale de France and Roman Vishniac at the Muse d'Art et d'Histoire au Judasme.

Galleries will also be participating, with Matt Wilson at Galerie des Filles du Calvaire, Guillaume Schnei-der at Galerie Rivire/Faiveley; Peter Neuchs, Alexia Monduit and Jeffrey Silverthorne at Galerie Vu, pre-viously exhibited at the ICP New York; Maurice Tabard at Galerie 1900-2000; David Lachapelle at Daniel Templor and Sebastiao Salgado at Galerie Polka. Galerie Karsten Greve is to present the landmark exhi-bition Asylum of the Birds dedicated to the American South Africa-based photographer Roger Ballen.

Auctions Benefiting from the presence of international collectors, auction houses are also to offer a week-long programme featuring artists from Man Ray to Mapplethorpe. On 14 November Christie's is to present the work of Berenice Abbott, whilst Artcurial will bring to sale a large collection of images by Andr Kertsz. Tajan is to offer vintage images from the early 20th century and Million, female nudes by Frdric Barzi-lay. Also worth nothing is Sotheby's 15 November sale of 400 photographs, paintings, drawings, objects, jewellery and films, presented as 300 lots.



top stories

coLLectioNDetroit Institute of Arts collection savedA judge ruled on 11 November that the Detroit Institute of Arts collection will indeed be safe as the city undergoes a restructu-ring plan that will allow it to exit bankruptcy.The city of Detroit filed for bankruptcy in June 2013. Since then, the question has remained whether or not the DIA would be forced to sell some of its collection which includes works by Diego Ri-vera, John Singleton Copley and James Abbott McNeill in order to help the city raise funds. The Grand Bargain was thus created, which would reduce pension and healthcare cuts as well as ensu-ring the security of the DIA's collection by injecting $816 million into the city over the course of 20 years through the state, nonpro-fits and supporters of the DIA; it was this plan which was approved by Judge Steven Rhodes. According to The Detroit Free Press, the museum will not have to sell a single piece of art.

obituAryArts patron Ina Ginsburg dies age 98The arts patron and Washington society hostess Ina Ginsburg died at her home on 9 November 2014, aged 98.She was born into a Jewish household in Vienna, Austria, having to flee the country from Nazi rule in the 1930s before settling in Was-hington DC in the 1950s. She married the lawyer David Ginsburg, who helped form Roosevelt's New Deal, and their home was the location for her high-profile dinner parties including one held for Andy Warhol in 1975, which spurred a strong friendship between the two resulting in her becoming Washington editor of his maga-zine, Interview. Through her activities she raised awareness for the Kennedy Center for the Performing Arts, the American Film Institute and the Washington National Opera.

AppoiNtMeNtJennifer Scally appointed as managing director of AXA ArtJennifer Scally, who joined AXA Art in 2006, has been promoted to managing director. Since joining the company Scally deve-loped AXA ART specialist services locally in Hong Kong, Singa-pore, China and most recently Malaysia.I am delighted to announce Mrs. Scallys promotion. This further stren-gthens AXA ARTs commitment to the local markets and our clients throughout Asia, with the support of AXA Asia and our other partners, commented Kai Kuklinski, global CEO of AXA ART. Under Jennifers lo-cal leadership we will continue to provide and improve our offerings to meet the needs of our customers and brokers. AXA ART will continue to expand and invest in Asia as one of our important markets.AXA ART specialises in the insurance of high value home contents and buildings, art, collectables and musical instruments.

ArticLe of the WeekArt collector Sheikh Saud bin Mohammed Al-Thani dies age 48At one time considered to be the world's biggest art collector, Sheikh Saud bin Mohammed Al-Thani died at his London home on 9 November, aged 48.From 1997 until 2005, whilst he was Qa-tars minister of culture, he headed plans for an extensive new network of schools, libraries and museums in the country. It

was during this period that he is also re-puted to have spent over $1 billion on art, more than any other person at the time. He was dismissed from the post in 2005 after being accused of embezzling family and public funds, but was later cleared of the charges.His collection includes antiquities, photo-

graphy, Chinese and Islamic art, furniture, classic cars, natural history and jewellery. His huge collection is, and will be, found in five existing and planned museums: the Museum of Islamic Art, the National Libra-ry, the Natural History Museum, a Photo-graphy Museum, and a museum for tradi-tional textiles and clothing.

coNServAtioN New technology brought in to aid preservation of Sistine ChapelIn recent years the Sistine Chapel has been at risk of falling victim to its own popularity as ever-increasing visitor numbers have threatened to damage Michelangelo's iconic frescoes.An estimated six million visitors pass through the chapel every year, bringing with them dust, excess carbon dioxide and an increase in temperature and humidity all of which, in high sustained levels, could cause irreversible damage to the fres-coes. The Vatican Museums were thus faced with two options: either lower visitor numbers, which are forecast to triple in the coming years, or improve the air conditioning in the chapel so as to filter out pollutants. The museum is pursuing both courses of action, with talks of a cap on visitors and the instal-lation of a new state-of-the-art air conditioning system.The new system will not only filter out dust and carbon dioxide brought in by visitors, but will also include cameras which will observe the number of people in the chapel at any given time and adjust the temperature and humidity of the room accordingly. A new LED lighting system has also been put in place, which will not only protect the artwork but uses 90% less electricity than the previous system.

Sheikh Saud Al-Thani (2002)



fuNdiNg119 beneficiaries to receive funding from Creative ScotlandA 100 million funding programme developed by Creative Scotland has announced its list of 199 beneficiaries who have been selected from 264 applicants.Beneficiaries include: Ayr's Gaiety Theatre, Dovecot Studios in Edinburgh and Wigtown Book Festival. Amongst the largest donations are 6.952 million which goes to the Edinburgh International Festival, 3.255 million to Dundee Repertory Theatre and 3.2 million to the Centre for the Moving Image.Arts and creativity can create a sense of wellbeing and transform the quality of life for everyone. Evi-dence shows they can play an important part in all of our lives, offering meaning and connection in a wealth of different ways, explains Janet Archer, chief executive of Creative Scotland, to the BBC. Importantly, these organisations will also pro-vide significant support for thousands of indi-vidual artists and the broader workforce across Scotland's creative sector, she continued.Those who missed out on funding include the Scottish Youth Theatre and Aberdeen's Sound Festival, whilst smaller donations went to He-brides Ensemble who received 550,000, Bar-rowland Ballet with 420,000 and Hospital-field Arts with 300,000.

reStorAtioNCrowd-funding project to aid restoration of the Duomo di MilanoThe International Patrons of the Italian Duomo di Milano cathedral in Milan, Italy are hoping to fund restoration work on the 12th-century building by way of crowd-funding with a campaign entitled Do You Duomo?.The campaign hopes to raise $188,000 by 22 December in order to repair in particular a marble statue of Italian American Saint Frances Cabrini. The beauty of this place is not Milanese or Italian or European, the beauty of this place is human. It belongs to all of us, wherever we are, claims the campaign video.An American restaurant chain, Eataly, has sponsored the campaign and is to display a piece of the cathedral in New York with an exhibition featuring three gargoyle sculptures, a statue of St. Lucia and a replica of the golden Ma-donna statue that stands on the top spire of the Duomo overlooking the city.

coNtroverSyNRW Bank cancels sale of two Polke works following Warhol controversy NRW Bank, the state bank of Germany's North Rhine-Westphalia, has decided to not sell off two works by artist Sigmar Polke following a controversial sale of two Andy Warhol works, a decision which incited nation-wide criticism.The aforementioned Warhol sale took place under the casino conglomerate Westspiel, a wholly-owned subsidiary of NRW Bank, and has been said to have taken place in order to pay off financial obligations and without no-tifying state museums or the local region's culture minister. The Polke sale however was due to raise funds in order to support emerging artists.The two works Hter der Schwelle (2003) and Primavera (2003) are now on loan to LWL Museum Mnster and Kunstsammlung NRW, Dsseldorf res-pectively; a spokesperson from NRW explained that they had planned to auction the works in the absence of interest from public museums.



interviewiNtervieW With JuLieN frydMAN,

director of pAriS photo

What noticeable changes can you see in this years edition?We had numerous applications from countries which, until now, had not participated in the fair. We have therefore gone from representing 24 countries to 35. Otherwise, if we had to pick out a trend that weve seen since our arrival at the Grand Palais four years ago, it would be the change from the dominance of galleries who specialise in photography, previously around 90%, to a stronger parti-cipation from general galleries rather than specialist ones. This year we have 55% general galleries and 45% specialist ones. This shows that the fair has gone from a photographer's ghetto to finally putting photography and the work of artists that use this medium at the centre.As far as renewal goes, almost a quarter of this years galleries are new to the fair, with 95% of last year's particpants returning in 2014.

How do you select your galleries? Do you try to present more affordable works in order to attract younger collectors, and at the same time make sure that major works by important artists are also presented?We are interested in the projects that galleries put forward. We receive around 250 applications, which are then looked over by a committee composed of eight international gallerists. We look at each project individually. Some are selected because they display important artists, contemporary or historic.

The inaugural edition at the Grand Palais in 2011 and the organisation of a Los Angeles event in 2013 has seen Paris Photo join the ranks of the most globally important fairs from every kind of medium. Behind this success lies the work of a director, Julien Frydman. General Director of Magnum Photos Pa-ris for continental Europe and the United Arab Emirates from 2006 to 2010, he succeeded in making the event a major date in the calendar of photography enthusiasts. A few days before the opening of Paris Photo (running from 13 until 16 November) AMA had the chance to speak to Frydman.

Julien Frydman



interviewiNtervieW With JuLieN frydMAN,

director of pAriS photo

But we also look at the quality of the gallery, their reputation and if they are known by the gallerists on the committee so we can evaluate their stability. The selection is made firstly on the interest of the propositions and of the artists being represented, which means that the for us, it's not about if the gallery is big or not. Were not looking to please everyone, but rather to be representative we want to show the state of photography today.

As far as the price is concerned, some pieces are on sale for 1,000 to 2,000, but some also reach 1.5 million to 2 million. Amongst the most expensive works, a vintage print by Irving Penn was on sale for 1.5 million at Hamiltons. Its really the rarity of the work that is key. There is a huge diver-sity. You can see from the wide range of audiences that we welcome that there is a new generation of collectors, between 30 and 40 years old some older, around 50 for whom photography is part of everyday life. The importance of the image is something that is well known and they allow themselves to buy, say, three prints in the 5,000 to 15,000 range, sometimes more. This buyer profile is an important one which guarantees the success of the fair. We have succeeded in moving beyond just photography collectors as we have more and more collectors of contemporary art in general. Its not a fair which is over in the first three hours; over the course of five days important sales are made.

Is collecting photography something that continues to be mainly based in America and Europe?Historically yes, but now each year, we welcome a collection of photography from India the Alkazi collection. I also know that there is an important Chinese collector who bought an entire collection of Magnum photo books. I think that we are in the process of discovering them. Evidently it is a more emerging market, and Europeans know it better right now. However, Latin America also has some im-portant photo collectors: MoMA is exhibiting a number of recently-acquired works from Latin America. We are in the process of discovering that there are people who have been interested in it for a long time who are now creating their own collections.

At the same time that these fairs are developing, there still isn't a fair in Asia dedicated to photogra-phy as the market there is not as big.

This leaves you with a important area for potential growth then?Yes, our setting up in Los Angeles was not just by chance. LA is a hub of activity directed at Asia and Latin America and the aim of our work is to have more and more buyers and galleries present from these emerging areas. In Paris we now have Chinese galleries, which we didnt have in the past.

Do you not risk slowing down the influx of American collectors to Paris by the setting up of an edition in LA?You are almost right, but not quite. A few important American collectors who dont come to Paris and never will. They already came to FIAC, to Frieze, and then spent two weeks in Miami. Therefore by branching out to Los Angeles, we set the date for spring in a place which allows American collectors to join the fair little by little.

What do you have in store for the VIPs?Our programme is called close-up, which allows access to several exhibitions, around 30 premiers which are organised for the VIPs. Were doing the same thing in LA, with a focus on architecture.

You dont seem to be suffering from the economic crisis? Photo Month has existed for the past 40 years and it happens every other year. However, there is such a high concentration of events around Paris Photo that some people think that Photo Month happens every year. Gallerists and institutions make sure that in November they host photography related events, it is celebrated every year. Even aside from photography, Paris is developing into a very impor-tant place. The fair is almost like an island, timeless; we have around 50% European visitors.

There are so many quality works on offer this week in Paris, so it's the perfect time to find pieces and make important discoveries.



Museums

doNAtioNLACMA receives huge $500 million donationTelevision tycoon Jerry Perenchio has bequeathed 47 paintings to Los Angeles County Museum of Art upon his death, with the gift thought to be worth in the region of $500 million.The collection was built up over several decades and will be gifted on the condition that the mu-seum completes construction of its new building which is set to cost $600 million, 21% of which is due to come from public funding. Amongst the collection are signficant paintings by some of the most prominent names in 19th- and 20th-cen-tury art including Degas, Monet, Magritte, Ce-zanne, Picasso and Caillebotte, among others. Director of LACMA Michael Govan admitted that buying such world-class masterpieces would not be financially possible for the museum and des-cribed Perenchio's gift as inspiring. Selected works from the collection will be on display at the museum in Spring 2015.

pLANSCentre Pompidou announces plans for Design and Ar-chitecture GalleryAt the inauguration of Centre Pompidou's new photography gallery on 5 October, the Parisian museum announced plans to open a new gal-lery dedicated to design and architecture. As with the photography gallery, the new gallery will be housed in the existing building, taking the place of former technical facilities which are now elsewhere, the plan being that eventually only essential offices will remain in the famous Piano + Rogers-designed building. Currently, a lack of space means that the Centre Pompidou is only able to exhibit a tiny 2% of its collection at any one time; current solutions to this issue include temporary locations, such as that which will open in Malaga in 2015, and a satellite in the French town of Metz.The recently-opened photography gallery is a step forward, the space showing three exhibi-tions per year and responding to the public's growing demand for photography.

ArticLe of the WeekYarat to open new space in BakuNot-for-profit art organisation Yarat, based in Baku, Azerbaijan, is to open their first permanent space in the capital in March 2015.The organisation was founded by Aida Mahmudova and a group of artists in 2011 and aims to encourage understan-ding of contemporary art in Azerbaijan whilst creating an international platform

for Azerbaijani artists. It has so far com-missioned projects across Baku inclu-ding exhibitions around the city, public art festivals, education programmes and collaborations with museums and insti-tutions in Azerbaijan and neighbouring countries. Yarat also featured in the 2013 Venice Biennale.The new centre will be at a 2000-me-

tre-squared former Soviet naval hub, and will be dedicated to contemporary art and arts education. It will focused on ar-tists from the Caucasus, Central Asia and neighbouring countries. Artists from the region will feature in the centre's per-manent collection and exhibitions will feature works by artists who particularly resonate with Azerbaijani culture.

LegALKunstmuseum Bern risks onslaught of lawsuits related to the Gurlitt collectionRonald Lauder, President of Jewish World Congress, has warned that the Kunstmuseum Bern would open itself up to an onslaught of lawsuits if the institution were to accept the 1,300-piece collection of late German collector Cornelius Gurlitt.Around 600 works from the collection are suspected to potentially be Nazi loot; Lauder told German newspaper Der Spiegel that to accept the collection would be to open a Pandora's box with the probability of an influx of claims from Jewish heirs and German museums trying to reclaim works that which are rightly theirs.As previously reported, Kunstmuseum has claimed that it will not accept any work which is currently under restitution claims or is suspected to have been looted by the Nazis. Furthermore, Neue Zrcher Zeitung has acknowledged that it must be remembered that if the collection does not go to Kunstmuseum, it will probably end up in the hands of Gurlitt's rela-tives, rendering restitution claims even more complex.

Yarat



coNtroverSyDirector of Museo Reina Sofa sued by Association of Chris-tian LawyersThe Spanish Association of Christian Lawyers has filed a lawsuit against the director of Madrid's Museo Reina Sofa, Manuel Borja-Villel, after the museum displayed the artwork Cajita de fsforos (Little Matchbox, 2005) by the collective Mujeres Pblicas.The controversial piece is a matchbox with the sentence The only church that illuminates is the one that burns written on it; a petition was created stating that the piece was in reality a succession of offences and insults directed at an important sector of the public. The petition has currently amassed over 39,000 signatures. The lawsuit filed by the As-sociation of Christian Lawyers demands the removal of the work and Borja-Villel's resignation. The paper El Confidencial also reported that an anonymous group of museum workers had published a letter stating their opposition to the piece and their fear of speaking out against the director.However, Borga-Villel does not stand alone; the CIMAM (Inter-national Committee for Museums and Collections of Modern Art) launched a petition in his favour. The museum released a statement on 30 October 2014 stating that the works re-flected only the opinions of their authors, that they respect freedom of expression and that they have not and can not censor the work of an artist.

AppoiNtMeNtAdriano Pedrosa appointed as new artistic director at the Museu de Arte de So PauloInternationally acclaimed curator, writer and editor Adriano Pedro-sa has been named as the artistic director of the Museu de Arte de So Paulo (MASP). The appointment comes during a period of major restructuring for the Museum led by the recently-elected executive president Heitor Martins and a new board of trustees.Pedrosa's role will see him take charge of exhibitions, programmi-ng collections, research, restoration, archive, education, architec-ture, and publications. Our focus will be to explore connections between the different museums holdings, and to start a new col-lection of Amerindian art, contextualized not as ethnographic, but quite simply as Brazilian, he explains.Adriano Pedrosa studied Law at the Universidade Estadual do Rio de Janeiro, Economics at Pontifcia Universidade Catlica do Rio de Janeiro, and Art and Critical Writing at the California Institute of the Arts, Valencia. Notable achievements include his role as artistic di-rector of the 2nd Trienal de San Juan, co-curation of the 12th Istanbul Biennial and his role as curator of the So Paulo pavilion at the 9th Shanghai Biennale.The MASP holds arguably the most important collection of Euro-pean art in the southern hemisphere as well as a large selection African art, archaeology, Asian art, Brazilian art, Latin American art, costumes, textiles and photography, all of which totals around 10,000 pieces.



WhAt'S oN

FRANCE A large portion of Roman Vishniacs work presented to the public at the MAHJAn exhibition entitled Roman Vishniac. From Berlin to New York, 1920-1975, is on display at the Museum of Jewish Art and History (MAHJ) Paris, until 25 January 2015. The exhibition has previously been displayed in New York at the International Center of Photography, as well as in Amsterdam at Joods Historisch Rediscovered under the name Roman Vishniac Rediscovered.Roman Vishniac has strongly influenced the percep-tion of Jewish life in Eastern Europe, and his work was the subject of an exhibition at the MAHJ in 2006 entit-led Un monde disparu. The artist was born in Russia in 1896 into a wealthy Jewish family who emigrated to Berlin in 1920, the city which he would go on to por-tray in photographs in order to raise awareness of the signs of the rise of Nazism. In 1935 he was commis-sioned by an important Jewish organisation to photo-graph destitute Jewish communities in Europe, before he was detained in 1939 at the Ruchard camp after joining his parents who were refugees in France; later he journeyed to New York where he documented the life of Jewish Americans and immigrants. Roman Vi-shniac returned to France in 1947 and photographed Holocaust survivors who were trying to rebuild their lives, as well as the ruins of Berlin.The exhibition brings together around 220 of the ar-tist's works, proposing a total revaluation of his ar-tistic production from his beginnings in Berlin until the post-war years in the United States, and displays more than 100 images for the first time.

GERMANY Raphael to Titian at the Stdel Museum, FrankfurtFrankfurt's Stdel Museum is currently hosting the exhibition Raphael to Titian, showcasing a number of the Italian drawings in their collection until 11 January 2015.Amongst the Renaissance drawings on display are works by Masters Miche-langelo, Raphael, Correggio and Titian, as well as drawings by anonymous masters of the 15th century and less well known artists of the 16th century such as Giulio Romano, Sebastiano del Piombo and Taddeo Zuccari. The drawings, around 90 of which are on display, were gifted to the museum by Johann Friedrich Stdels foundation. The presentation centres around High-Renaissance works of the early-16th century as its art-historical pivot and not only ensures an experience of the utmost perfection in drawing, but also illustrates the various artistic movements of that period.

uNITED KINGDoM Stan Douglas at Fruitmarket GalleryCanadian artist Stan Douglas is currently the subject of an exhibition at Edinburgh's Fruitmarket Gallery running until 15 February 2015.The exhibition presents a selection of Douglas' films and photographs ran-ging from the period when he rose to prominence in the mid-1990s to work which has only recently been completed. Topics explored in his work in-clude investigations into mistaken identity and unstable memory, recons-truction, reinvention and the long shadows the past casts into the present.Amongst work on display is Der Sandmann, the film installation which launched Douglas' career at Documenta X in 1997. The exhibition also fea-tures: Vido, a film installation based on Orson Welles film The Trial (itself based on Kafkas novel of the same name); the just-completed The Second Hotel Vancouver, shown here for the first time; Corrupt Files, a series of large abstract images; and a recent series of photographs taken by Douglas po-sing as a fictional North American post-war press photographer.

Vido (2007)Stan Douglas

High definition video installation, colour, sound (six musical

variations), 18 mins, 11 secs (loop)



coMiNg SooN

CHINA Polit-Sheer-Form: Fitness for All at uCCAPolit-Sheer-Form: Fitness for All, a retrospective of the eponymous art collective's career, is to be on display at the Ullens Center for Contem-porary Art in Beijing from 21 November 2014 until 4 January 2015.The exhibition is a retrospective of the art collective's career, comprising of 11 works including the brand-new performance piece Whip It, and the instal-lation Flower Bed, an installation reminiscent of floral topiaries popular du-ring Chinas National Holiday season. Polit-Sheer-Form was founded in 2005 by artists Hong Hao, Xiao Yu, Song Dong, Liu Jianhua, and curator/critic Leng Lin. They create multi-disciplinary works which comment on political, cultu-ral and spiritual life in 21st-century China. The title of the exhibition alludes to a government slogan encouraging exercise amongst Chinese citizens and is a starting point for the exhibition which appropriates the workout equip-ment found in spaces throughout China.The exhibition is currently on display at Queens Museum in New York.

Sean Scully at Shanghai Himalayas Art MuseumFrom 23 November 2014 until 31 January 2015, Shanghai Himalayas Art Museum is to present the exhibition Follow the Heart by artist Sean Scully.The exhibition covers Scully's 50-year-long career, featuring over 100 works in a variety of media including oils, watercolour, pastel, pencil drawings and pho-tography. The exhibition is the first of its kind dedicated to the artist in China, and will include a new work created by Scully inspired by his first visit to the country entitled China Piled Up. A significant figure in post-war abstract pain-ting, one can draw parallels between his work and that of Matisse and Rothko.

uNITED KINGDoM Conflict, Time, Photography at Tate ModernFrom 26 November 2014 until 15 March 2015, Tate Modern, London, is to show the exhibition Conflict, Time, Photography.The exhibition features photographs taken in the aftermath of war, tracing the past 150 years of human conflict at the time of the centenary of the First World War. Photographs are ordered not according to the chronology of the event which they depict but instead are grouped together in view of how much time they are showing to have passed; for example, photographs taken 25 years after the fall of Saigon in Vietnam are displayed with images from 25 years after the cataclysmic bombing of Nagasaki. Furthermore, events are viewed from different points in time, with the Second World War's lasting effects seen from across the later-20th century. The focus here is on the pas-sing of time, with the innovative curation allowing the viewer to draw new connections and look at the legacy and impact of war in a different way.

uNITED KINGDoM Back to the Fields by Ruth Ewan at the Camden Arts CentreThe exhibition Back to the Fields by artist Ruth Ewan, to be held at the Camden Arts Centre from 30 January until 29 March 2015, brings to life the French Republican Calendar.The French Republican Calendar, in use from 1793 until 1805, reworked the Gregorian calendar by stripping it of all religious references. Months and weeks were restructured and seasons and days renamed in collaboration with artists, poets and horticulturalists to reflect the seasonality of nature and agriculture. The exhibition brings together all 365 items which were used to denote days of the year, turning the space into a tangible calendar. She reconsiders the calendar as a complete artwork in itself, asking what can be gleaned now from this bold reframing of our daily lives.

uNITED STATES Pierre Huyghe retrospective at LACMAThe first major retrospective of works by Pierre Huyghe is to be held from 23 November 2014 un-til 22 February 2015 at the Los Angeles County Museum of Art.Huyghe was born in Paris in 1962, studying at the cole Nationale Suprieure des Arts Dcoratifs, Paris. He creates films, installations and events which blur fact and fiction, reinvent rituals of so-cial engagement, and use the exhibition model as a site for playful experimentation. The artist expressed his desire for a non-hierarchical exhi-bition, hence why the works are organised thema-tically in one cohesive park-like environment.He received a Special Award from the Jury of the Venice Biennale in 2001 and has had solo exhibi-tions at prestigious institutions such as Tate Mo-dern in London, Muse dart Moderne de la Ville de Paris, the Solomon R. Guggenheim Museum in New York, Museum of Contemporary Art in Chicago and Centre Georges Pompidou in Paris.



interviewyouNg coLLectorS cAtchiNg the fotofever:

iNtervieW With cciLe SchALL

Your principles are based on hunting down new talent. Where do you look?All of the buyers involved in the market share the desire to unearth new talent, but I find that at Fotofever we are the only ones to dedicate ourselves exclusively to these artists. When I go to visit festivals and fairs, what is important for me is to be able to discover artists who have either hardly or never been seen before and who are represented by galleries who have found them when they were very young, some-times straight after they left school. The artists on show at Fotofever all belong to galleries; we are not a fair of artists. It is an important criterion, because I believe that an artist is not really part of the market until they belong to a gallery, and overall that in order to really dedicate themselves to their work, artists must be relieved of everything which isn't their creation. Galleries can offer an advance on an artist's pro-duction costs, being aware that when dealing with photographic production, materials are very expensive and artists who are just starting out often need help on this level. It's an investment.

Another thing: photography is becoming increasingly visible in museums, which is a great opportunity; today there are photographic exhibitions which are beating visitor records set by exhibitions of paintings like those by Cartier-Bresson or Helmut Newton. However what is important is to go beyond exhibitions, which is another core principle of Fotofever. Sometimes people say to me, Your exhibition is superb; whilst it's true that Fotofever is an exhibition, it is still first and foremost a fair, and a fair is a salesroom. Fotofever is a place where you can buy works which are hanging up.

Can you describe the idea behind Start to Collect?With Start to Collect you are really aware of the price. When you go to see an exhibition, you have a nice plaque which tells you the name of the artist, the technique used, the year it was created and where it came from. In fairs you have the name of the gallery, the name of the artist, the title of the work and the year it was made. That's all great, but what sets apart a fair from an exhibition if not the idea of putting consideration of the price at the forefront? I remember the first time that I went to Art Basel Miami; there were around 200 galleries and only one showed the price. It was an American gallery. Seeing my obvious shock, the gallerist said that she was asked so often for prices that she put them up with the works. I found this funny, but Americans are more at ease with the notion of money.

From 14 to 16 November, the Carrousel du Louvre will host Fotofever, the fair which explores the diversity of photography today. AMA met with Ccile Schall, the director of the fair which pays particularly close attention to young photographic talents. Look out: this fever's contagious...

Fotofever 2013



interviewfotofever cAtchiNg AMoNgSt youNg coLLectorS:


The one that stood out was Gagosian, whose stand didn't show the name of the artist, no details, nothing. Their strategy was to only approach the connoisseurs who generally didn't need this information because they were meant to know it already. I think this is such an elitist way of doing things. Outside of these connoisseurs, you could have people who pass a work and may like it, but they think that it is outside of their budget before even having seen a price. I therefore force galleries to show their prices; I know that this can be controversial, because some refused to do so as they worry that visitors will not stop and talk to them. In fact, they can speak about other things the artist, for example.

Putting the price to one side, galleries have, for the most part, taken part in Start to Collect. The rule for the galleries is to choose a favourite work that they think would be ideal for starting off a collection and which is also the cheapest on the stand. Some want to choose two or three, which is no problem they just have to be less than 1,000. These starred works on each stand create a great path through the fair. We wanted to go even further this year, by asking galleries to contribute one work or more to us for the Start to Collect collection, shown on a 7.5-metre-long red wall. It will present a condensed selection of works which would be ideal to kick-start a photography collection.

Are the collectors at Fotofever mostly amateurs or more experienced? What do you do to accommodate both?I think that it's important to appeal to both groups, because there's always some confluence. People who are used to collecting have a lot to contribute to those who haven't collected before and who may want to start. The common denominator for these two groups is their passion. Collectors don't have much need for guidance, the majority amongst them being able to spot a real gem it's what gives them the thrill. Some like to buy the big names, because they know they have a sure value which will grow, so they're interested financially. But I've also met other collectors who search for a hidden gem that they can promote, which gives them a really important role. Fotofever is based on the idea of If you like the artist, buy it, because you're supporting them.

Buying work supports the artist, so in a way you're becoming their patron. The difficulty with established collectors is that there aren't necessarily galleries with big names on their roster to attract them. Amongst our 106 exhibitors, we have five big names. Often, in fairs with international prestige, collectors are familiar with 95% of the galleries. I may be exaggerating a little; but at Fotofever, being a baby fair, we say that not knowing a gallery or an artist does not mean they are uninteresting.

Ccile Schall Paola Guigou





Furthermore, I see the role of Fotofever as being to encourage the wider public. Of course, we are also addressing people who have the means, who are well-read in art, design and photography and who can spend 300 to 500, maybe even 1,000 on a work. The idea is to encourage more people to collect art via the medium of photography. Personally, I think it is the medium of the 21st century; we are in a society of images and photography is easy to access in terms of understanding.

What sells best?Well-known names, as one would expect; after all, they have assured value. Photographs of famous figures also have a lot of success. For example, Grard Malanga was taking photos in the 1960s at Andy Warhol's Factory of a whole host of stars, like Nico and that whole group of artists, during this mythical period his solo show at Fotofever will most likely go very well. Also there are galleries like Julia Grangnon's Galerie de l'Instant, Julia being the daughter of the great photo-reporter from Paris Match. She focuses on photographs of personalities in her gallery you can find photos of the Stones, for example. These works sell really well and it's great that we have have them at the fair. They come from about five or six galleries at the fair but 95% of other galleries show work by unknown artists.

Photography is a relatively small market; it's a niche in the art market which makes up around 15%. Sure, it's a rapidly growing niche; but it's a niche nonetheless. We at Fotofever are placing ourselves in the niche within a niche which is young photography, but that has a huge future.

So you not only encourage young artists, but young galleries as well?Large fairs are shut off to young galleries. In a sense, that's normal. You cannot become great overnight and the big fairs only want the best. There are steps everyone must go through and I think Fotofever can be one of them. For example, the big fairs demand that galleries have been around for at least three years before putting themselves forwards and other really big fairs require that a gallery puts themself forward at least three times before they are accepted, with some also requiring the gallery to have a physical space. Perso-nally, I find that with photography the gallery model is a little out of date and needs to adapt. You need to bring it to the public.

Where are you in relation to Paris Photo?I saw Paris Photo begin 18 years ago and what Rick Gadela did was great because, finally, photography was being recognised! He succeeded in his goal because he launched Paris Photo at the right moment and he instantly managed to unite American galleries, positioning it from the start as an important international fair. Since the beginning my position has been that Paris Photo finds the big names in terms of galleries and artists, whilst at Fotofever we focus on young photographers and discovery. All of it is close together geographically to benefit collectors; we compliment Paris Photo.

However, at Fotofever unlike Paris Photo you'll find different things from one stand to the next; you can be sure of making a discovery and sure of an informative journey, which the market needs. Our principle is one artist, one gallery, otherwise the visitor has the impression of always seeing the same thing. Re-garding the discovery aspect, there is the example of Vincent Fillon which I'm really proud of. Last year, the young Parisian gallery Little Big exhibited his work because he's one of the laureats of SFR Young talents. Fotofever was his first fair and he was there throughout. He sold 17 works at the fair because his work, both beautiful and relatable, attracted both experienced and new collectors. It is in these moments that I feel strongly that Fotofever gives a boost to young artists. Vincent is not being exhibited this year because the gallery considers him to have already launched into the market. Instead, they're presenting two other artists.

What are your highlights for this edition?I really loved the artist Takashi Suzuki who was presented by the Japanese gallery Kana Kawanishi at Ams-terdam Unseen. From across the room I spotted a wall full of smaller works, very colourful against a deep black, which intrigued me. It was really striking and the hanging was beautiful. As I got closer, I saw that it was colourful sponge-like structures that Suzuki had photographed. I see that as another aspect of photo-graphy: taking the idea of an everyday object which isn't necessarily beautiful as we normally see it, then magnifying it in the photograph. This resulted in the small pieces which sold for between 400 and 500 which were really quite accessible, which was definitely in the spirit of Fotofever so I invited the Kana Kawanishi gallery to come along. As they hadn't initially intended to come, they didn't have the budget for a stand so I instead proposed a wall, which is more affordable because they're coming all the way from Japan so need to accommodate the costs that brings.





This concept of a wall is adapted from the reality of the market because a lot of galleries really do not have the funds to take part in a fair, so this is a way to give them a boost. At first we expected to have a dozen galleries, but in the end we had 33...

What are the trends you have noticed in contemporary photography?It is always difficult to talk about art which is happening at the moment, because it's afterwards that we can talk about underlying trends and patterns. That said, the first thing that comes to mind it that more and more often young artists are reappropriating the techniques of old photographers to get across their messages, as is seen in the instance of Saartje Van De Steene, the winner of the 2013 Fotoprize.

There is also a real move towards using smartphones as a tool, because it allows the artist to create so-mething really different. My grandfather started with Leica then used Rolleiflex, a camera which you hold to your chest. He was able to create photos which were very different to those he took with the Leica. Why? Because when you have a camera, you target someone it's quite aggressive. You use target when speaking about a weapon and also weapon when talking about a camera...when my grandfather started to take photos with Rolleiflex, he would talk to people then take their photo wit-hout them knowing that they were targeted. The return is very different. I think that with a smartphone, it's the same thing. Nobody knows if you are taking a picture, filming, reading your texts...the important thing is not the camera, but how you use it.

Finally, the edition is coming back to centre stage. It was the first to support the diffusion of photography. I find that it's a real tendency of the market; editors are all completely engaged, they have very strong rela-tionships with artists and we love to welcome them. Throughout the event we try to get across this passion and spread this fever to encourage more and more people to buy photography, to support artists and to contribute to the development of this virtuous circle of creation. Fotofever



galleriesArticLe of the WeekRossi & Rossi moves their London premisesRossi & Rossi, the gallery specialising in Sou-th Asian Art, is relocating its London space from Clifford Street to 27 Dover Street.The new space is to open on 4 December and will be situated in the Mayfair area of London. The new space will present both Himalayan and Indian works, an-cient Chinese and central Asian textiles, amongst other works. The inaugural exhi-

bition will present a rare Tibetan painting on fabric dating from the 13th century and depicting the Buddha Mahavairocana.Director Fabio Rossi said in a press release: Rossi & Rossi is delighted to be re-affirming and strengthening its London presence par-ticularly as next year sees us celebrating our 30th anniversary. We are very proud of our reputation and remain committed to sour-

cing and exhibiting the very best examples of classical and contemporary Asian art.Since 2005, the gallery has been dedicated to presenting the works of emerging artists from the Pacific, the Middle East and Asia, particularly Tibet. In 2013 Rossi & Rossi ope-ned a space in Hong Kong.

opeNiNg

Richard F. Taittinger Gallery to open new space in New YorkRichard F. Taittinger Gallery, who are currently based at 48 Mercer Street in New York, has announced that they are to open another space in New York in Spring 2015. The new space will be located on Ludlow Street.Richard F. Taittinger is a consultant and art collector who received his masters degree from Christie's New York and who has also worked as Gallery Director for the Cueto Project NYC and co-founded Champagne Frere-jean Freres. He founded Richard F. Taittinger Fine Art in 2010. He is quoted on his website as saying that, as an art consultant, I believe my commitment is to protect collectors from fly by night art sensations and inflated prices, to focus on secure art investments with a pro-mise to last beyond the trendy buzz.

repreSeNtAtioNS

:mentalKLINIK and Jason Gringler now represented by Louise Alexander GalleryItalian gallery Louise Alexander have recently an-nounced that emerging Canadian artist Jason Gringler and Turkish artist duo :mentalKLINIK have joined the gallery, with the artists presenting solo exhibitions at the gallerys Porto Cervo space in spring 2015.:mentalKLINIK, otherwise known as Turkish artists Yasemin Baydar and Birol Demir, began their collaborative works in 1998, ranging from immersive installations to sculptures with a distinctly experimental approach. Their work has been recognised internationally with exhibitions at the MUDAM museum in Luxembourg, ART Unlimited at Art Ba-sel, a retrospective curated by Jerome Sans in Istanbul in 2011 and in 2013 at MAK museum in Wien.Jason Gringler was born in Toronto, Canada in 1978 and li-ves and works in New York. He works mostly with Plexiglas, aluminium tape, acrylic, mirrored glass, spray paint, epoxy and wood.Louise Alexander Gallery launched as the first contempora-ry space to inaugurate Aga Khans architectural vernacular resort of Porto Cervo in 2007 and focuses on mid-career and internationally acknowledged artists including pain-ters, photographers, sculptors and video and kinetic artists.

LOUISE ALEXANDER GALLERY :mentalKLINIK & Jason Gringler join the gallery

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Jason Gringler, Large-Glass, 2014

We are delighted to announce Turkish duo :mentalKLINIK and emerging Canadian artist Jason Gringler have joined the gallery and on the occasion of their first collaboration with Louise Alexander Gallery, both artists will present a new installation solo show in the gallerys Porto Cervo space in Spring 2015. :mentalKLINIK and Jason Gringler will also present new works part of Louise Alexander Gallerys group show at artgenve 2015 taking place between 29 January and 1 February 2015.

Large Glass (2014)Jason Gringler

Louise Alexander Gallery



WhAt'S oN

CANADA David urban at Corkin GalleryUntil 17 November 2014, Corkin Gallery, Toronto, is showing an exhibition by David Urban entitled Love of the Real.David Urban is a prominent Canadian painter and this exhibition at Corkin showcases some of his new works. His reduced vocabulary of colour is expressed in a Modernist-style aesthetic, a style in which he has been working for some 10 years now. In these new works, Urban dwells on ideas of mortality and ephe-merality through subtle variations of rhythm and form, taking advantage of the multiplicity of vantage points to toy with perception.Born in Toronto in 1966, David Urban studied poe-try and painting at York University before receiving a master's degree in English literature and creative wri-ting from the University of Windsor in 1991 and a se-cond master's degree in painting from the University of Guelph in 1993. His work is represented in many private and public collections including the National Gallery of Canada.

SouTH AFRICA David Goldblatt at the Goodman Gallery Cape TownUntil 6 December 2014, the Goodman Gallery Cape Town is to display the exhibition Structures of Domi-nion and Democracy by photographer David Goldblatt.The exhibition is to display major works from the Structures series, which Nobel Laureate Nadine Gordi-mer described as, an extraordinary visual history of a country and its people. Goldblatt has travelled South Africa for over 30 years documenting sites weighted with historical narrative; the exhibition in question fo-cuses on the period after the fall of apartheid. Goldblatt commented that: Im mainly showing Democracy. And the reason for this is that people here are familiar with Baaskap and the period of apartheid, but they are not very familiar with looking at what is emerging now.David Goldblatt was born in South Africa in 1930, foun-ding the Market Photography Workshop in Johannes-burg in 1989. In 1998 he was the first South African to be given a solo exhibition at the Museum of Modern Art (MoMA), New York.

SPAIN Fausto Melotti at Galera Elvira GonzalezUntil 10 January 2015, Galera Elvira Gonzalez in Ma-drid is to host an exhibition of works by the Italian artist Fausto Melotti.This is the second time that the gallery has hosted an exhibition by the artist. It comprises of 14 sculptures, eight bas-reliefs in plaster and clay, five ceramic works and seven drawings on cardboard and paper.Art critic and historian Valeriano Bozal wrote of the artist in the official catalogue for the exhibition that he forms part of the group of contemporary artists who are reluc-tant to make emphatic statements and who convert fragi-lity into one of their central tenets, using minimal mate-rial elements, in elementary structures, emphasizing the potential for flexibility, verticality and horizontality. The artist was born in Italy in 1901 and died in 1986; during wartime he formed an important part of a group of abs-tract artists in Milan which included Lucio Fontana.

TuRKEY Pi Artworks Istanbul presents paintings by Nejat Sat Pi Artworks Istanbul is currently presenting Nefs, an exhibition of new paintings by Nejat Sat, which will be on display until 27 December 2014.Sat uses a technique which he calls organic abstraction, which involves mixing acrylic paint with a viscous, quick-drying gel to create his own signature material, which is then applied to his canvases by either brush or squeegee. In the series of paintings presented in the exhibition entitled Nefs, he takes this approach in a new direction, representing flesh-like forms. The striking co-lours that are layered on top of each other and the colour tran-sitions he creates reveal the emotions and human desires that reflect on the body. Artist and writer Rafet Arslan said about the works: Undoubtedly, Nefs is an adventure in abstract painting which is not geometric creating its own forms via depth, texture and plastic flesh likeness layer by layer.

Fausto Melotti, L'Ariete (1976)116 x 57 x 21,5 cm

Brass, copper and fabricImage courtesy of Galera Elvira Gonzlez



coMiNg SooN

CHINA Christian Schoeler at Galerie urs Meile BeijingGalerie Urs Meile Beijing is to host a solo exhibition of works by the German artist Christian Schoeler from 8 November 2014 until 11 January 2015.It is to be Schoeler's second exhibition at the gallery, focusing on his works on paper. His inspiration is drawn from fashion magazines and romanticism to create haunting and dream-like portraits of male figures. The works on display in this exhibition, many on view for the first time, mix drawing and printing tech-niques with watercolors or pastels instead of oil paint.Christian Schoeler was born in Hagen in 1978 and studied at the Mu-nich Academy of Fine Arts. He has had solo exhibitions in several ci-ties around the world such as Munich, Beijing, Dusseldorf and Paris. In 2009 he collaborated with Louis Vuitton to design a suit made entirely of canvas, which was later exhibited at London's Somerset House.

ITALY Mathilde Rosier at Raffaella CorteseMilan gallery Raffaella Cortese is to present their second solo ex-hibition by Mathilde Rosier from 20 November until 14 February.Mathilde Rosier is a multimedia artist who works in film, perfor-mance, installation and painting. This latest show reflects upon the artist's experience with dance and physical gestures in relation to the narrative representation of space and time, with particular fo-cus on the human form and representation of motion. Large-scale collages of dancers will form the backdrop of the performance she will perform at the exhibition's opening.French-born artist Mathilde Rosier was born in 1973 and currently lives and works in Berlin. She studied Economic Sciences at Dau-phine University, Paris, before her further studies at cole Natio-nale Suprieure des Beaux Arts, Paris.

uNITED KINGDoM Edoarda Emilia Maino at S|2Sotheby's S|2 Gallery, London, is to show an exhibition by Edoarda Emi-lia Maino, otherwise known as Dadamaino, from 20 November 2014 until 16 January 2015 entitled The Infinite World of Dadamaino.The show is the widest survey of the artist's work to be shown in London and shows works from across her career sourced from private collections, offering buyers the chance to purchase works which are new to the market. Highlights include the cut canvases of Volumi, created whilst the artist was a member of the Azimuth Gallery group in Milan, and her optical experiments known as Vo-lumi a Moduli Sfasati, Ogetti Ottici Dinamici and Cromorilievi.Born in 1930 in Milan, Edoarda Emilia Maino was a self-taught painter who took up art after completing a medical degree. She has been associated with the Azimuth Gallery group and the Nou-velle Tendence movement and explored Op Art in the 1970s. She has twice featured in the Venice Biennale.

uNITED KINGDoM Alan Cristea Gallery announces 2015 scheduleContemporary art and editions gallery Alan Cristea, London, has announced its schedule for the coming year, beginning with a 20th anniversary exhibition run-ning from 28 January until 14 February.English painter, sculptor and photographer Richard Long will then be hosted at the gallery from 20 February until 2 April. Long is Britain's most famous Land artist, and the only artist to have been nominated for the Turner prize four times.From 14 April until 30 May the work of Gillian Ayres is to go on display. Represented by Alan Cristea, she is described by the gallery as one of the leading British abstract painters of her generation. As well as her celebrated work as a painter, Ayres is an established printmaker, with Alan Cristea the ex-clusive publisher and distributor of her works.The Ayres exhibition is to be followed by Julian Opie whose work is to be on display between 4 June and 18 July, with exhibitions by Richard Hamilton (16 September until 6 Octo-ber), Cornelia Parker (12 October until 7 November) and Ian Davenport (12 November until 23 December) to follow.

Space 2, 2009 Meng Huang,

Galerie Urs Meile Beijing



interviewA NeW perSpective oN ANALogue photogrAphy:

AN iNtervieW With JeAN-frANoiS veLopp

What led you to being a photographer? What is your background?I arrived relatively late into the world of photography, in 2006. I didnt go to a photography school but I used to take family photos so I am totally self-taught. It was when I saw a video by Henri Cartier-Bresson, which I found on the internet, when I realised I wanted to discover photography for myself. Its man, more than just the pho-tograph itself, which bowls me over: its his vision of the world, all the philosophy which lies behind his work I asked myself how I could take such photographs, what exactly was in the process. I consider my training to be done mostly through the observation of and the inspiration that I draw from these photographs.

As you didnt do to a photography school, what were the unavoidable processes you had to go through to master the technical aspect?Theres a quotation by Anatole France which I really like and which perfectly illustrates how I started out: As I studied nothing I learnt a lot. I shot my first images armed with my Leica M8, which taught me, amongst other things, to understand the many paradoxes associated with the interpretation of light. My sense of composition came a lot later.

Around the time of the Paris Photo fair, AMA went on the search for international and French photo-graphers who demonstrate the diversity of current practice. Jean-Franois Velopp has been a professio-nal photographer since 2008. After working in Los Angeles and taking celebrity portraits, he is currently dedicating his work to a series of photographs of the streets of Paris. His shots offer an authentic and elegant vision of photography, thanks to his tool of choice: analogue photography. He met with AMA to speak about the beginnings of his career, his career path and his projects.

Jean-Franois Velopp





You are currently working on a series of images taken on the streets of Paris. Can you speak to us about your artistic process?The idea of working on the streets of Paris came to me when I saw the work of Henri Cartier-Bresson, Paris vue dil, which brings together all of his shots taken between 1929 and 1975. I wanted to carry out the same process with the same tools but with a different angle.

Certainly, my images are shot in the capital, but Ive always wanted to show people a different side of Paris. I didn't want to end up repeating the work done before me by the great humanist photo-graphers of the 20th century. Paris has changed a lot but what is the most important is the way in which we look at the world around us. I want to create my own visual vocabulary but also to establish dialogues between my images and the way in which they communicate with each other. I dont take the approach of a photo-journalist, I don't look to document things, but instead to extract from daily life an authentic aesthetic. This way of working demands that I am available almost all the time. Add to this the notion of anticipation, that is to have enough patience to allow for unforeseen events, and then to capture it. Thats it you have to be ready for chance, to seize the most opportune mo-ment. Its about being closer to life.

Your photographs are taken with a black-and-white analogue camera. Is this a deliberate choice?Definitely. In my aesthetic quest black and white enhances the now. It also allows me to play with the notion of in-temporality. Its difficult to place my shots in a certain time period, despite the fact that they were all produced between 2011 and 2014; I play with this ambiguity. I try to create timeless images.Jean-Franois Velopp





I have also had the chance to work with one of the best Parisian photographers, Stephane Cormier, who manages to perfectly interpret my compositions. I am still very much attached to the artisanal dimen-sion of traditional photography: selecting a composition on a contact sheet, taking and interpreting photography and then watching it come alive in the darkroom that in itself is a form of poetry.

Who are your most important influences?My influences are very varied. I really like the work of artists such as Richard Avedon, Jeanloup Sieff, Sebastio Salgado, Helmut Newton, Martine Franck, Ernst Haas and Saul Leiter, as well as the cinema of Fellini, Stanley Kubrick and David Lynch.

What experiences or meetings are really significant in your career? There are two: when I met David Lynch, who I photographed in 2010 and who I see regularly in his lithography workshop in Paris, and my meeting with Voja Mitrovic, Henri Cartier-Bressons photo developer, who did me the honour of developing some of my photographs.

one last word on your unusual career how do you see yourself in relation to the current Paris scene?I must admit I am totally disconnected from the Paris scene. When I finished making portraits, I had the chance very soon after to be represented by the Stephen Cohen Gallery in Los Angeles, a partnership which lasted for over two years (2010-2012). I also took part in the 2013 Henri Cartier-Bresson compe-tition. Jean-Charles de Castelbajac reccomended my application. Today Im not obsessively searching to promote my work, but rather asking myself the following question: what will be my next big photo? Then the time will come for me to present my photographs. Jean-Franois Velopp



Artists

AWArdSArtist duo JoDI win Rhizomes inaugural Prix Net Art AwardRhizome has named artist collective JODI (Joan Heemskerk and Dirk Paesmans) winner of its Prix Net Art award, for which they will be given $10,000.The Prix Net Art jury is composed of curators Michael Connor (editor of Rhizome), Samantha Culp, Zhang Ga and Sabine Himmelsbach, who said of the duo: Following the release of the first widely used web browser in 1993, a number of artists embraced the web for its aesthetic and political possibilities... JODI were key figures in this generation, often disrupting the web its HTML and other code in order to make its pro-cesses and effects more transparent.The prize money comes with a no strings at-tached disclaimer, which is rather significant considering the intangible, ephemeral nature of the medium. JODI have been active in In-ternet art since the mid-1990s, coming from backgrounds in photography and video art; they have also worked with software art and artistic computer game modification.

Mary L. Nohl Fund announces 2014 recipientsThe Greater Milwaukee Foundation has an-nounced the list of recipients of the 2014 Mary L. Nohl Fund. This fund is the largest offered by the foundation and awards the chosen artists with $15,000 to create or complete a new work.This year's artists include: Anne Kingsbury, col-laborators Shana McCaw and Brent Budsberg, and John Riepenhoff, who make up the establi-shed artist category; whilst the emerging artist section offers a $5,000 artist fellowship to Emily Belknap, Jenna Knapp, Erik Ljung, and Kyle Seis. The Nohl fellows are given the chance to parti-cipate in an exhibition at the Institute of Visual Arts at the University of Wisconsin-Milwaukee following the reception of their award.The Mary L. Nohl Fund was created fol-lowing the artist's death in 2001 when her estate of $11 million was left to the Greater Milwaukee Foundation.

AWArdWinners of the Jeune Cration Prize unveiled at Cent QuatreThe names of the winners of the Jeune Cration Prize were unveiled on 29 Oc-tober during the evening preview of the eponymous exhibition at Cent Quatre.The Jeune Cration-SYMEV Prize was given to Oriane Amghar, an artist born in 1986 who lives and works in Brussels and who was rewarded for her performance art. She is to be given prize money of 3,000.The Boesner Prize, with prize money of 1,000, was given to Pieter van der Schaff, whilst the Residence Prize was awarded to Johan Decaix, whose work will be exhibited at Palais des Paris, in Gunma, Japan, and who will benefit from a transport and creation bursary of 2,000.Finally, the Art Collector prizes were given to Dania Reymond and Thibault Bru-net, who will benefit from an exhibition at Patio Opra in Paris in Spring 2015.The Jeune Cration-SYMEV Prize and the Boesner Prize were awarded by a jury presided over by Didier Semin, Professor at the cole Normale Sup-riere des Beaux-Arts de Paris. The members of the 2014 jury were Isabelle Lematre, collector of video art with her husband Jean-Conrad Lematre; Philippe Riss, founder and director of Xpo Gallery; Valrie Mrjen, artist: Claire Le Restif, curator and director of the Contemporary Art Centre in Ivry-Le Crdac; Etienne de Baecque, of Baecque & Associates auctioneers; ric Tabuchi, artist; Catherine Viollet, artist and art advisor to the town of Vitry-sur-Seine and Bertrand Lamarche, artist.

ArticLe of the WeekAbsolut announces nominees for its 2015 award

Absolut Vodka have announced the list of nominees for their 2015 art award.The first award was given to a contempo-rary artist in 2009, and later in 2013 an award for an art critic was added. This year, the nominees come from a diverse range of 24 countries, having gone through the complex selection process which is as

follows: the jury of five select ten nomi-nated people each to recommend five ar-tists and a writer for the award; the jury is then presented with the selection chosen by their nominated people, and from this chooses the nominees for the award.The five finalists will be announced at Art Basel Miami Beach in December. The win-

ner will win a 20,000 cash prize in addi-tion to 100,000 to produce the winning artwork or 25,000 to complete the win-ning piece of writing. The vodka brand's history with art stretches back almost three decades, when they commissioned Andy Warhol and Keith Haring to create works for their campaign.

Part of Renata Lucas site-specific installation Museum of the Diago-nal Man, funded by her 2013 Absolut Art Award. (Roberto Chamorro/

Courtesy of the artist and Absolut)



gustave Le gray Art Analytics gustave Le gray Art AnalyticsBorn in August 1820 in Villiers-le-Bel, France, Jean-Baptiste Gustave Le Gray is a pioneering French photographer, whose legacy includes his numerous technical innovations such as the waxing of paper negatives before exposure, the theoretical collodion process as well as combination printing method, allowing seascapes to be photographed. Gustave Le Gray was also a teacher of photography whose students include: Charles Ngre, Henri Le Secq, Nadar, Olympe Aguado, and Maxime Du Camp. The date of his death is not confirmed yet he is reported to have died on 30 July 1884 in Cairo.

Gustave Le Gray initially trained as a painter under Franois-douard Picot and Paul Delarouche, ex-hibiting in the 1848 and 1853 Salons. In 1847 the artist created his first daguerreotypes, switching to photography in the early development stages of the mediums history. In 1851 he co-founded the Socit Hliographique, the first-ever photographic society before becoming the official photographer of Napoleon III in 1855. Following the collapse of his business Gustave Le Gray fled France, travelling across the Mediterranean with writer Alexandre Dumas and Giuseppe Garibaldi, from which period re-main some striking images taken by the photographer. He then travelled to Lebanon, Syria, Alexandria before settling in Cairo, photographing Henri dArtois and the future Edward VII of the United Kingdom along the way.

Early examples of the artists work feature portraits, nature scenes and buildings including subjects such as the Fontainebleau Forest and the Chteaux of the Loire Valley. His most famous works include his seascapes, which, thanks to his technical innovation, display the sea and sky in one image, pre-viously impossible due to the extreme luminosity range between the two subjects. Gustave Le Gray also documented French buildings as a commission from the government as well as being renowned for his successful portraits. In 1999 one of the photographers images set the world record for the most expensive single photograph ever sold at auction.

Evolution of the number ofexhibitions by type

Evolution of the number ofexhibitions by type of venue

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2

4

6

1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013

group shows solo shows

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6

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10

1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013

gallery museum biennials other

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AMA Newsletter 178 25 13 NoveMber 2014AMA Newsletter 178 25 13 NoveMber 2014

gustave Le gray Art Analytics Art Analytics

Distribution by venue type

Distribution by exhibition type

Distribution by country

The work of Gustave le Gray has been featured in multiple exhibitions, notably at The National Gallery, London; Tokyo Metropolitan Museum of Photography, Tokyo; Muse dOrsay, Paris; Kunst-museum Basel and the Institut du Monde Arabe, Paris. The artists work also forms part of the col-lections of contemporary art at renowned museums including: Tel Aviv Museum of Art, Israel; The Detroit Institute of Arts; MoMA, New York and San Francisco Museum of Modern Art.

It is in the United States that the photographers work has been most frequently exhibited, ahead of Germany, France and Canada. The artists with whom Gustave le Gray is most regularly exhibited include: Eugne Atget, Roger Fenton, douard-Denis Baldus, Julia Margaret Cameron and Man Ray.

The work of Gustave le Gray has been most regularly exhibited at the following institutions: The Na-tional Gallery of Art, Washington, United States; Museum of Fine Arts, Boston, United States; Muse dOrsay, France and Galerie Daniel Blau, Germany.

Evolution of the numberof articles published on Gustave le Gray

87%

10%

gallery museumevents other

12%

88%

group showssolo shows

9%5%

7%

78%

United States GermanyFrance other

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200

400

600

800

1,000

2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013

0

200

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1,000

2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013

THIS DOCUMENT IS FOR THE EXCLUSIVE USE OF ART MEDIA AGENCYS CLIENTS. DO NOT DISTRIBUTE. www.artmediaagency.com


gustave Le gray Art Analytics gustave Le gray Art Analytics

Evolution of thenumber of lots

Evolution ofrevenue

Evolution of theaverage value of lots

At auction, Gustave le Grays work has totalled over $14.5 million, averaging at $32,700 per work.

The record for the artists highest selling work was set at Rouillac Commissaires-Priseurs, Vendme in June 2011 for his 1856 albumen print Bateaux quittant le port du Havre (navires de la flotte Napoleon III) for $1,053,242 (hammer price). This work comes in just above another albumen print entitled Souvenirs du camp de Chlons au Lt Colonel d'Eggs (1857) sold at Artcurial Paris in November 2007 for $84,8366 (ham-mer price). In October 1999 a third albumen print entitled Grande vague, Ste (1855) was sold at Sothebys London for $76,0610 (hammer price) rendering it the third most expensive work sold by the artist.

The number of lots on offer has steadily increased since 2003, following a spike in 2001 when around 80 lots were on offer.

Whilst photography represents 99% of the artists turnover in public sales, amongst the 450 sold lots, two paintings were sold at an average of $13,4359 whilst three multiples average $3,514; both mediums with an unsold rate of 0%The rate of unsold work for each medium is as follows: ceramics, 100%; drawings, 25%; multiples 15%; paintings 17%.

$0k

$40k

$80k

$120k

1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013

$0m

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1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013

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1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013



gustave Le gray Art Analytics

29%

71%

sold bought in

99%

Photography other

98%

8%

14%

75%

France United KingdomUnited States other

3%

34%

62%

62%9%

14%

15%

Sothebys Beaussant LefvreChristies other

59%9%

5%

26%

Art AnalyticsRegarding country of sale, it is in France where the majority of the artists works have been on offer at auction (62%) with a proportion represented also in the United Kingdom (34%) and the United States (3%). Concerning the turnover, France represents the large majority of the total with 75%, the remai-ning 15% is distributed across the United Kingdom (14%) and the United States (8%).

The rate of unsold work is relatively high at 29%.

Rate of sold/unsold lots

Distribution of lots by auctionhouse and revenue

Distribution of lots bymedium and revenue

Distribution of lots bycountry and revenue

Total sales by price of worksRate of unsold lots by price of works

> $50k

$20-50k

$10-20k

$5-10k

$2-5k

$1-2k

< $1k

$0m $1m $2m $3m $4m $5m

61

23

5651

91

70

69

> $50k

$20-50k

$10-20k

$5-10k

$2-5k

$1-2k

< $1k

0% 25% 50% 75% 100%

sold bought in



gustave Le gray Art Analytics gustave Le gray Art Analytics

Auctions results from Artprice.com

Evolution of unsold rate

Number of lots presented, and sales figures by year of creation

The rate of unsold work has remained relatively stable in recent years despite the increase in the number of lots at auction.

An important percentage of the artists turnover was generated by works created in 1856 and 1857 which represent 40% of lots on offer at auction. It is also the period from which the two most ex-pensive works were created.

$0m

$2m

$4m

$6m

0

60

120

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