Photo Blog Triangle, Version 2.0

I had originally planned to let the Art Blog Triangle quietly die into the oblivion of the archives, but there has been so much interest in it that I feel compelled to provide a follow up post with some additional comments and ideas. For those of you that find this discussion tedious, we’ll be back to our normal range of topics tomorrow.

Soon after the first post, Joerg Colberg of Conscientious contacted me and mentioned that he had been thinking about some of the same ideas. In fact, last fall, he collected some detailed statistics on nearly 40 photography blogs he was following (not designed to be a representative sample of all that is out there, just a group that he was reading consistently). For the period of roughly two months (October 17 through December 16 of 2008), he categorized each and every post by these blogs into nine different buckets, based on the content of the post. His original purpose was just to get a more detailed look into what various blogs really contained, including some aspects that aren’t relevant to this study.

He hadn’t yet decided what to do with the data, and so he sent it all over to me. He wasn’t following us during that time, since we had just gotten started, so I went back and used his formulas to categorize our posts into his buckets, using that same time period. Joerg also didn’t collect data on some of the broader art blogs we follow, so we’ve left those aside for the moment (these were C-Monster, Edward Winkleman, MAO, and Modern Art Notes, even though I believe they are generally accurately placed in the first triangle).

We then spent some time slicing and dicing the data into a spreadsheet, merging his categories into the COMMENT, CURATE, PROMOTE framework and recasting the formulas. What popped out were some detailed statistics about each blog and its relative position in the triangle, but instead of using my finger in the air anecdotal method, we now had actual numerical data to back up the placement of the blogs in the map. Of course, underlying these numbers are the original definitions of the categories, so if you don’t buy those definitions, then you won’t likely agree that the conclusions are valid (which is OK by the way). So another person might arrange these data in another way and get very different conclusions. Thus, as a reminder, the particular categories here and the specific view they represent drive the data.

Without going into the gory statistical detail of each and every blog, we can start with the conclusion that the general placements in the first version of the Art Blog Triangle were right for the most part. From there, we have the following second level of detail:

*We (DLK COLLECTION) were the only blog in the study pinned into the COMMENT corner. 5B4 and Fugitive Vision were a bit further out, slightly closer to PROMOTE than I had placed them originally, but still mostly in this zone. Horses Think (which I wasn’t following) is another located in this general corner.

*The CURATE corner had Conscientious and Mrs. Deane as we had expected, but was much more crowded than we knew. Other active blogs that were clustered in this corner were: I Heart Photograph, Hippolyte Bayard, The Sonic Blog and Shooting Wide Open among others.

*The PROMOTE corner did have Exposures at its vertex as we claimed, and there were many, many more blogs that live in this neighborhood (Joerg had 18 blogs that I wasn’t aware of that ended up in this area). Nymphoto was another I wasn’t following that was centered in this corner. As I mentioned in the first post, most of these are artist blogs that include some form of discussion/PR of their own work and activities, with a smattering of commentary on other topics of interest. Mangum did indeed have the most in depth commentary of these artist blogs, and thus stayed about where it was in the first version. Rather than listing them all, we’ll continue to use Amy Stein’s blog as the proxy for all the rest in this genre.

*There were another dozen blogs that were more balanced, living in the middle zones of the triangle, often with surprisingly equal parts of each approach. The Year in Pictures was actually much further to the left and much closer to the middle than I had placed it. So overall, this area was more populated than I had led you to believe.

So without much fanfare here’s the Photo Blog Triangle diagram, version 2.0, now built upon more reliable statistical data (with the general art blogs removed and using the Tri-Plot Excel add-in for accuracy):

A few other comments. The data came from a specific period last fall, so if you weren’t posting “normally” in those two months, the placement of your blog may not be where you naturally envision it. As an example, Conscientious is actually closer to COMMENT in this set of data than normal; on average, it usually lives closer to the tip of CURATE than is shown here. Also the data is inherently somewhat subjective in terms of the category in which any given post might have been placed. So this is an inexact science, and you should take it as such.

Many of you have offered other ideas or parameters to consider. One interesting idea (from Blake Andrews’ blog) was that there could be a fourth axis for REFLECT, as many artists blogs are in concept about thoughtfully considering their art, rather than crassly promoting it, as the triangle might have you believe. This indeed is possible, but if artists were actually writing in depth pieces about photography (theirs or someone elses), I think this would have been captured in the data by COMMENT, as we basically threw anything that was text heavy into this bucket. So while many of you out there may think of yourselves as using your blog to reflect, I’m not sure the data we gathered supports that conclusion; maybe you just need to write more deeply more often, as short snippets tend to be captured in CURATE.

Another idea was that blogs are used to EDUCATE. I think that’s entirely right, and different folks use the medium in different ways to educate others (and themselves). We find COMMENTing the best way to increase our education. Conscientious uses CURATEing (misspelling on purpose) to introduce us to photographers we might not know. Others use a mix of both, plus discussion of their own work to teach others. All these paths are valid and successful. The data we used for this study didn’t distinguish between text heavy posts that were meant to REFLECT or EDUCATE, so someone else will have to gather some more fine grained data to get at these nuances.

We have purposely tried not to list every last blog that was tallied, in the effort to be inclusive rather than exclusive in the findings. Again, the sample used is not meant to be representative and the absolute number of posts is not reflected in the way the data is presented. There are many, many great blogs out there covering photography in different ways, and we don’t want anyone to feel like we think their approach is somehow less “right”, especially if they post more infrequently (as many of these blogs were generally left off of this study due to lack of good data).

At the core, this was an exercise in observation of just what was really going on out there in the photo blogosphere, not any kind of judgment of good and bad. That said, our general conclusion is that we’d like to see even more great photography writing of all kinds. So we both feel doubly compelled to upgrade our efforts and keep up the pace. We hope you will too. As always, comments are welcome, and who knows, maybe there will be a Photo Blog Triangle version 3.0 someday.

The original post, as background, can be found here. Joerg’s post on the project can be found here.

Arnold Newman, The Early Work

JTF (just the facts): Published by Steidl in 2008. 232 pages, including 107 black and white plates. Essays by Ron Kurtz, Howard Greenberg, and Philip Brookman. (Imperfect cover shot at right.)

Comments/Context: Odds are that the first thing most collectors remember about Arnold Newman is that he was a master portrait photographer. His images of Piet Mondrian in his studio, Albert Giacometti in front of his sculptures, and Igor Stravinsky at the piano (among many, many others) made him the father of “Environmental Portraiture”, where subjects were photographed in the context of their lives, rather than pinned to monochrome surfaces like Penn or Avedon.
This book however chronicles the first five years of Newman’s career as a photographer (1938-1942), when he was experimenting with documentary and abstract imagery (non-portraits). In these images, Newman arranges fragments into carefully composed formal structures of light and form, digesting the ideas of both Modernism and Cubism. There are also echoes of the Walker Evans of American Photographs, both in subject matter and approach, particularly in the more documentary pictures.
To our eyes, the images of walls and doors, ladders and light fixtures, clapboard houses and wood shacks compare well with Evans, Strand, and Steiner (who predate him), and inform early Siskind and Ralston Crawford (who came slightly later). This is a well crafted book of an excellent body of work, right in the wheelhouse of the kind of abstract city images we like for our collection.
Collector’s POV: Newman’s early work isn’t available much in the secondary markets, but his portraits are nearly always up for sale, fetching anywhere from $2000 to perhaps $20000, depending on the subject. Arnold Newman is represented by Howard Greenberg Gallery (here) and the estate is owned by Commerce Graphics (here).

Auction Results: Photography in the London Contemporary Art Sales, Spring 2009

The last of today’s auction results posts cover the photography buried in the various Contemporary Art sales in London over the past few weeks (the original preview post is here). The three houses had decidedly different results, as follows. The results are below (all results include the buyer’s premium):

Sotheby’s

Whether it was the selection of the lots, the wooing of the right collectors, or the setting of realistic estimates, Sotheby’s found the formula for selling contemporary photography in its pair of London sales. Only one photography lot was bought in out of 29 up for sale, and the total sale proceeds of photography for the two sales combined exceeded their total high estimates. Well done.

Evening Sale

Total Lots: 5
Pre Sale Low Total Estimate: £890000
Pre Sale High Total Estimate: £1270000

Total Lots Sold: 5
Total Lots Bought In: 0
Buy In %: 00.00%
Total Sale Proceeds: £1218250

80.00% of the lots that sold had proceeds in or above the estimate range. One surprise (defined as having proceeds of at least double the high estimate) was Rashid Rana’s Veil IV at £313250. Complete lot by lot results can be found here.

Day Sale

Total Lots: 24
Pre Sale Low Total Estimate: £471000
Pre Sale High Total Estimate: £663000

Total Lots Sold: 23
Total Lots Bought In: 1
Buy In %: 4.17%
Total Sale Proceeds: £732825

A staggering 95.84% of the lots that sold had proceeds in or above the estimate range. Surprises (defined as having proceeds of at least double the high estimate) included Vik MunizBlack Marilyn at £46850, Tracey Emin’s Good Smile Great Come at £16250, Candida Höfer’s Trinity College Library, Dublin II at £32450 and Robert Mapplethorpe’s Self Portrait at £33650. Complete lot by lot results can be found here.

Christie’s

Christie’s didn’t have much photography included in its two sales, and the results for these lots were mixed. As a result, Christie’s had the lowest total proceeds from photography of the three houses in this round of sales, by a meaningful margin.

Evening Sale

Total Lots: 2
Pre Sale Low Total Estimate: £420000
Pre Sale High Total Estimate: £500000

Total Lots Sold: 1
Total Lots Bought In: 1
Buy In %: 50.00%
Total Sale Proceeds: £271250

The one lot that sold (Gursky) sold above the estimate range. There were no surprises in this sale. Complete lot by lot results can be found here.

Day Sale

Total Lots: 8
Pre Sale Low Total Estimate: £104000
Pre Sale High Total Estimate: £144000

Total Lots Sold: 6
Total Lots Bought In: 2
Buy In %: 25.00%
Total Sale Proceeds: £123750

83.33% of the lots that sold had proceeds above the estimate range, but the two highest value lots didn’t sell, which explains the lower total proceeds. There was only one surprise (defined as having proceeds of at least double the high estimate): Vanessa Beecroft’s VB 35 at £16250. Complete lot by lot results can be found here.

Phillips

Phillips had the most photographs on offer and took a few more risks in its selections in these sales. The results were very uneven, with proceeds from both sales falling under the low estimates.

Evening Sale

Total Lots: 9
Pre Sale Low Total Estimate: £710000
Pre Sale High Total Estimate: £1050000

Total Lots Sold: 4
Total Lots Bought In: 5
Buy In %: 55.56%
Total Sale Proceeds: £587000

75.00% of the lots that sold had proceeds above the estimate range, but less than half of the lots on offer sold. There were no surprises in this sale. Complete lot by lot results can be found here.

Day Sale

Total Lots: 31
Pre Sale Low Total Estimate: £296000
Pre Sale High Total Estimate: £411000

Total Lots Sold: 22
Total Lots Bought In: 9
Buy In %: 29.03%
Total Sale Proceeds: £212525

68.18% of the lots that sold had proceeds in or above the estimate range, but the combination of buy-ins and sales below the low estimate led to the lower total proceeds. Again, there were no surprises in this sale. Complete lot by lot results can be found here.

So what conclusions can we draw from all this data? First, photography generally performed quite well in these sales. Second, Sotheby’s seems to have discovered the formula for the successful recession era sale (the details of the recipe are of course secret). The others would be well advised to steal from their playbook for the next round of sales.

Auction Results: 100 Fine Photographs, February 19, 2009 @Swann

Swann’s February 19th sale of 100 Fine Photographs was a solid performer, with total proceeds covering the total low estimate by nearly $100000, something that was a rarity last fall. The results are below (all results include the buyer’s premium):

Total Lots: 117
Pre Sale High Total Estimate: $816400

Total Lots Sold: 79
Total Lots Bought In: 38
Buy In %: 32.48%
Total Sale Proceeds: $641520

Here is the breakdown (using the Low, Mid, and High definitions from the preview post, here):

Low Total Lots: 98
Low Sold: 66
Low Bought In: 32
Buy In %: 32.65%
Total Low Estimate: $543400
Total Low Sold: $316440

Mid Total Lots: 17
Mid Sold: 13
Mid Bought In: 4
Buy In %: 23.53%
Total Mid Estimate: $213000
Total Mid Sold: $133080

High Total Lots: 2
High Sold: 2
High Bought In: 0
Buy In %: 00.00%
Total High Estimate: $60000 + 1 lot estimate on request
Total High Sold: $192000

Complete lot by lot results can be found here.

69.23% of the lots that sold had proceeds in or above the estimate range. Surprises (defined as having proceeds of at least double the high estimate) included William Henry Jackson’s Grand Canyon of the Colorado at $16800, Dave Heath’s Vengeful Sister, Chicago at $19200, and Francis Bedford’s suite of 3 albums at $132000.

Auction Results: Constantiner Collection, Part II @Christie’s

Part II of the Constantiner Collection of fashion and glamour photography was sold at Christie’s on February 12th, with much more modest success than the record breaking results from Part I. The proceeds from the sale were more than $200000 below the total low estimate. The results are below (all results include the buyer’s premium):

Total Lots: 155
Pre Sale High Total Estimate: $1734500

Total Lots Sold: 104
Total Lots Bought In: 51
Buy In %: 32.90%
Total Sale Proceeds: $910251

Here is the breakdown (using the Low, Mid, and High definitions from the preview post, here):

Low Total Lots: 113
Low Sold: 77
Low Bought In: 36
Buy In %: 31.86%
Total Low Estimate: $523500
Total Low Sold: $276126

Mid Total Lots: 38
Mid Sold: 24
Mid Bought In: 14
Buy In %: 36.84%
Total Mid Estimate: $771000
Total Mid Sold: $334125

High Total Lots: 4
High Sold: 3
High Bought In: 1
Buy In %: 25.00%
Total High Estimate: $440000
Total High Sold: $300000

Complete lot by lot results can be found here.

44.23% of the lots that sold had proceeds below the estimate range, so more work is needed going forward to bring estimates in line with buyer expectations. Surprises (defined as having proceeds of at least double the high estimate) included Alvin Booth’s lot of 9 untitled images ($6875) and Lee Friedlander’s nude of Madonna ($37500).

Eugene De Salignac: Manhattan Bridge, Centennial Exhibition, 1909-2009 @De Lellis

JTF (just the facts): A total of 46 vintage cyanotype images, taken between 1913 and 1922, framed in black and displayed throughout the gallery. Many are annotated directly on the image.(Installation shots at right.)

Comments/Context: Eugene De Salignac was a municipal employee, working for the Department of Bridges in New York in the first few decades of the 20th century, taking photographs to provide a record of the various construction projects undertaken during those years. His images were recently rediscovered and became the subject of a book and exhibit at the Museum of the City of New York in 2007. This small but comprehensive show traces the building of the Manhattan Bridge, one hundred years later.

While the pictures clearly have a historical and documentary purpose, it is their surprising modernity that makes them memorable. There are plenty of roads and trolley tracks, spans and wires, fluttering flags and paving stones, all with strong lines and contrasting patterns. There are views of the plaza in Brooklyn, and from the tops of the suspension towers, densely striped with wires, looking in both directions. In the best of the images, De Salignac captured the romantic aura of those years (enhanced by the blue tint of the cyanotype process), the awe and pride in the face of what man could accomplish.
Collector’s POV: The images in the show are priced between $1200 and $4500. These images would make good companions for some of our early New York bridge scenes by Abbott and Bourke-White.

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

Eugene De Salignac: Manhattan Bridge, Centennial Exhibition, 1909-2009
Through February 28

1045 Madison Avenue
Number 3
New York, NY 10075

Walker Evans and the Picture Postcard @Met

JTF (just the facts): A total of 21 black and white photographs (10 approximately 8×10 or reverse, the other 11 in post card format 3 1/2×5 1/2), all from 1935-1936, displayed in the entry and two small rooms. There are also 10 wall cases of arrayed post cards (1 large case in the entry and 9 smaller one in the other rooms), 4 glass cases of magazines and post cards, an antique post card rack, and one wall case containing leather suitcases, boxes, printed signs, bottle caps, pull tabs and other collectibles. (Installation shots at right.)

Comments/Context: If you were to look in our library at home, or in that of most other photography collectors, you’d be sure to find an armload of books about Walker Evans. You might find American Photographs, or Many Are Called, or any of literally dozens of monographs and exhibition catalogues that have been published over the years. In these volumes, you’d find lengthy discussions of all the periods of his work, from the early New York images, to Cuba, to FSA shots, African still lifes, Fortune commissions, and even his late color Polaroids. The words and pictures weigh down half a shelf at our house. Given Evans’ 50 years of taking pictures, and his universal regard as one of the masters of the medium, I wondered to myself what on earth could possibly be said by the new show at the Met that hadn’t already been covered at length (ad nauseum) someplace else.
In 1994, the Evans estate gave the Met a treasure trove of material, including Evans’ vast collection of American picture post cards and other ephemera, collected over sixty years. Evans was clearly a dedicated and meticulous collector (there are 9000 cards in the collection, carefully and systematically organized and categorized by subject and maker), and the selection of cards on display makes a compelling case that these cards merit attention as a true American folk art, rather than junk gathering dust at flea markets and yard sales across the nation. All of the cards in the show come from the period of 1905-1920, and most are color lithographs that have an antique, hand colored feel. The display cases show groups of cards with common subjects: factories, railroad stations, boats, state capitols, lighthouses, hotels, and other city buildings and architecture. All of the pictures have a simple, straightforward style, an anonymous “American realism” stripped of emotion and pretense.
Seeing these post cards intermingled with Evans’ own images is nothing short of a revelation. Evans was clearly fascinated by these cards, so much so that he cropped many of his negatives to fit onto post card sized paper. The before and after comparisons of cropped and uncropped images captivatingly show Evans at work, drawing on the wellspring of ideas found in his collection and applying them to his art. Surprisingly, I found the framing of the smaller post card pictures to be even better than the originals.
Another case shows a group of cards Evans used for a 1963 lecture at Yale which he entitled “Lyric Documentary”, a handy moniker for both the overall style of the cards and for his own approach to picture making. While the images have a deadpan compositional style (often pointed straight down the center of the street), there is something aspirational about the cards, and about the ideas behind these buildings and monuments all over the country.
There are also a few other hidden gems buried in the displays. There is one case devoted to cards sent by other photographers to Evans, ranging from Diane Arbus to Lee Friedlander, penned in their own hands and reinforcing a sense of community amongst the artists. There is also one image (a straight city scene from Morgan City, LA) that is dead ringer for one of the cards.
Great shows make us think about important artists in new ways, and this exhibit completely redefined our image of Evans and his work. Met curator Jeff Rosenheim has done a superlative job of building a small, tight show that places Evans in a new and enlightening context. Go out of your way to see this show, as it will meaningfully increase your understanding of Evans’ art.
There is also a wrist breaking catalogue of the show available.
Collector’s POV: Evans’ work is widely available in the secondary market. Prices are all over the lot, based on subject matter and rarity. Later prints (some in large editions) can reliably be found under $10000, while vintage prints generally start at that number and range well into six figures. While we don’t have any images by Walker Evans in our collection at the moment, we have been looking for a terrific example from his early New York period (late 1920s/early 1930s) for quite a while. We could also imagine finding a graphic heavy image from the 30s that would fit nicely. And we have always thought a grid of four his late Polaroids would be a fun addition.
Rating: *** (three stars) EXCELLENT (rating system described here)
Through May 25
1000 Fifth Avenue
New York, NY 10028
Another review of the show can be found at Bint Photobooks (here).

Administrative Notes

Next week, the kids are off from school, so we will be taking a hiatus from posting. There will be no new posts at all from now until Monday, February 23rd.

A couple of other general notes for those of you who do not follow us via an RSS reader, but visit the site daily or occasionally (given in the spirit of optimizing your time):

1.) Monday through Friday you can expect a minimum of one new post, sometimes two or three, based on what’s going on in the world of photography.

2.) There are never any new posts on the weekends. Period. So feel free to come by and catch up on posts you’ve missed or to dig through the archives, but there won’t be anything new, we promise.

We have plenty of terrific shows and books backlogged for when we return (including our second three star show of the year), so we look forward to continuing the conversation then.

Collector Classifieds

This is the listing page for our Collector Classifieds. General information about how this process works, how to follow up on an item, how to list your items etc. can be found here.

No items currently listed. Previous items were either sold or have expired.

Another Experiment: Collector Classifieds

Like many collectors, from time to time, we get a note from a fellow collector who has some photographs they want to sell. More often than not, these aren’t a fit for our particular collection, so we send along a friendly but negative reply. This scenario occurred again for us earlier this week. But it got us thinking. What if we were to offer up these photographs to our readers on the blog? Perhaps we could assist in finding a collector to collector match and everyone would be better off.

So given our penchant for experimentation, we going to try out the concept of Collector Classifieds with these images we were recently offered (the seller has agreed as well). In the event we find that there is interest beyond this one-time listing, here’s how we think it will work, along with some general ground rules:

1.) A collector sends us the standard information about the photographs that are for sale (artist, title, date, edition, signature, dimensions etc.), including the price (email to classifieds@dlkcollection.com). No images will be published, nor will any comments or sales pitches. Think of this as the no-frills two line classifieds from your local newspaper or PennySaver, just with a much more targeted group of readers. We will post them on a Collector Classifieds page on the blog, for one month (or until they are sold).

2.) There will be no charges or fees for the listing or on the transaction if one occurs. This is a courtesy matching service for our readers, from one collector to another.

3.) Discretion is critical. Sellers will be always be anonymous on the blog. Prospective buyers will send an email, with the item number they are interested in as the subject of the message, to classifieds@dlkcollection.com. We will blindly forward this email directly to the seller and then get out of the way. The seller will then contact the prospective buyer directly so the two parties can negotiate the transaction, share scans of the works, figure out shipping etc. The only requirement we have of sellers is that they respond to each and every email from prospective buyers in a timely manner.

4.) We are not a reputable specialist auction house or even Ebay. We will not authenticate any of the images offered, vouch for the sellers or buyers, or help resolve any scams or disputes. We won’t comment on whether we think the prices listed are fair or not. In general, these are private transactions, and we’re not interested in knowing anything about them (good or bad). This is the Internet, so buyer and seller beware. We are not responsible for how you conduct yourselves.

5.) We will only list those items that meet our standards of high quality, collector appropriate material. We realize that that our decisions about what is listed may be subjective, random, or arbitrary, and that some sellers may be disappointed if we reject their material. Too bad. We feel it is up to us to provide some quality control so we don’t waste the time of our readers.

Will anyone want to do this beyond the first listing, which we’ll post soon? Will it work or scale this way? Will we need to improve the system later if we get more interest? Have we missed something important? Who knows. But it seems to us that helping collectors connect to each other is what this blog is about, so let’s give it a try. If you have ideas for how to improve this concept, leave them in the comments or send us an email.

Figure Studies @Deborah Bell

JTF (just the facts): A total of 21 black and white images, framed and matted in various ways and hung throughout the one room gallery space. Negatives range from 1887 to 2006. (Installation shots at right.)

The following photographers are included in the group show (with the number of works on display in parentheses):

Vito Acconci (1)
Erwin Blumenfeld (6)
Bill Brandt (1)
Harry Callahan (1)
Mariana Cook (2)
Louis Faurer (2)
Gerard Petrus Fieret (2)
Peter Hujar (1)
Andre Kertesz (1)
Dora Maar (1)
Daido Moriyama (1)
Eadward Muybridge (1)
Susan Paulsen (1)
.
Comments/Context: The fascinating thing about group shows, regardless of their theme or subject, is that they are nearly always less about the works that have been included and more about the editorial eye of the person who curated the show. Why were some works included and others left out? What was the curator thinking when he/she selected these pictures and sequenced them in this particular way?
The group show of nudes now on view at Deborah Bell feels less like a show with a strident viewpoint but more a collection of images carefully chosen by a connoisseur. The nude form is a subject that has challenged photographers since the very invention of the medium, and one that has left many lost in a fog of repetition and cliche. The overriding thought I had as I wandered through this exhibit is that her choices were not obvious; there are no greatest hits here, but instead an unusual mix of images (many that I had not seen before) that approach the subject in surprising ways. Each picture requires some thinking, and the show merits investing a bit of time to inspect every image carefully. Overall, it is an understated yet well crafted show that offers some new perspectives on a common form.
.
Collector’s POV: Since nudes are one of the three main genres in our collection, there were many images in this show to tempt us. Prices range from $1200 up to $50000, with one image not for sale and one “price on request”. There are a series of three amorphous solarized nudes by Erwin Blumenfeld that caught our eye, but our favorite piece was Louis Faurer’s Untitled, 1962, from Harper’s Bazaar (a woman’s back). Of course, this is the one image in the show that wasn’t for sale.
.
Rating: * (one star) GOOD (rating system described here)
Figure Studies
Through February 28

511 West 25th Street
New York, NY 10001

More on this show from Fugitive Vision here.

Ed van der Elsken, My Amsterdam @Mireille Mosler

JTF (just the facts): A total of 14 images (8 black and white and 6 color), along with a short 16mm black and white film from 1965. The black and white prints are vintage from the 1950s and 1960s and are approximately 9×12. The color prints are from the late 1960s and early 1970s and are posthumous prints, approximately 16×24 in size. There is also a portfolio of 12 color prints, entitled My Amsterdam, edited by Martin Parr in 2005, available for viewing. (Installation shot at right.)

Comments/Context: While the Dutch photographer Ed van der Elsken took pictures all over the world in his 40 year career, it is his pictures of his home city of Amsterdam that are perhaps his most well known. They capture the everyday life in the streets of the city in all its eccentric glory, full of energy and exuberance, spontaneous and happily nonconformist. The black and white images in this small show capture kids playing in grimy streets, climbing on burned out cars and wearing cardboard boxes, and yet, these are somehow positive pictures, documenting that life does go on amidst the chaos.

The color prints have a more 70s time capsule feel showing store fronts and people in the streets in saturated, dated colors. These images also have the signature van der Elsken spirit, and Parr has made some excellent selections for the portfolio; it is well worth looking through if you have the time.

The artist’s website is located here.

Collector’s POV: The vintage black and white images in the show are priced at 5500 Euros each. The color prints range from 2000 Euros to 12000 Euros based on their place in the edition, and the portfolio is available for 5000 Euros. There have been a small number of van der Elsken’s prints available in the secondary markets over the past few years, selling for affordable prices, usually under $5000. The Ed van der Elsken estate is represented by Annet Gelink Gallery in Amsterdam (here) and Howard Greenberg Gallery in New York (here).

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

Ed van der Elsken, My Amsterdam
Through February 21

Mireille Mosler Ltd.
33 East 67th Street
New York, NY 10021

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