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AMA NEWSLETTER
178
13 November 2014
A SNapshot of the photography scene today

Top stories
page 6
Interview
Paris Photo 2014
director Julien Frydman
page 8
Museums
page 10
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...
Interview
Young collectors catching the photo
fever:
Ccile Schall
page 14
Galleries
page 18
Interview
A new perspective on
analogue photography:
Jean-Franois Velopp
page 21
Artists
page 24
Data
Gustave Le Gray
page 25
Interviews
A Post-Soviet state of mind: Olga
Chernysheva
page 30
Documenting Hobbledehoyhood:
Ed Alcock
page 33
Auctions
page 37
Fairs & festivals
page 39
No Wind - With Hijab - 2 Years with

Hijab
Lina Hashim
Lina Hashim, 2012
Archival 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 178 2
13 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 singularity
Still 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 photography 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, Cologne
THOMAS ZANDER @ Paris Photo
Five Hands (2006)

Roger Ballen
Galerie Karsten Greve Paris, Cologne, St. Moritz
@Paris Photo
13 November 2014
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% increase 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 photography 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 specialist'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 important 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 2014
This 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 emphasis 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 concurrently. 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 exhibition 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 displaying 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 photograhphie 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 David 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.
13 November 2014
Fototever finds its voice...

Running concurrently, fans can also visit the Carrousel du Louvre between 14 and 16 November for Fotofever. 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 emerging 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: Mediterranean 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 Schneider at Galerie Rivire/Faiveley; Peter Neuchs, Alexia Monduit and Jeffrey Silverthorne at Galerie Vu, previously 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 exhibition 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 Barzilay. Also worth nothing is Sotheby's 15 November sale of 400 photographs, paintings, drawings, objects,
jewellery and films, presented as 300 lots.
13 November 2014
Top stories
article of the week

Art collector Sheikh Saud bin Mohammed Al-Thani dies age 48
At one time considered to be the world's was during this period that he is also rebiggest art collector, Sheikh Saud bin puted to have spent over $1 billion on
Mohammed Al-Thani died at his London art, more than any other person at the
home on 9 November, aged 48.
time. He was dismissed from the post in
From 1997 until 2005, whilst he was Qa- 2005 after being accused of embezzling
tars minister of culture, he headed plans family and public funds, but was later
for an extensive new network of schools, cleared of the charges.
libraries and museums in the country. It 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 Library, the Natural History Museum, a Photography Museum, and a museum for traditional textiles and clothing.
collection
Detroit Institute of Arts collection saved
A judge ruled on 11 November that the Detroit Institute of Arts
collection will indeed be safe as the city undergoes a restructuring 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 Rivera, 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 ensuring the security of the DIA's collection by injecting $816 million
into the city over the course of 20 years through the state, nonprofits 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.
obituary
Arts patron Ina Ginsburg dies age 98
The 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 Washington 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 magazine, Interview. Through her activities she raised awareness for the
Kennedy Center for the Performing Arts, the American Film Institute
and the Washington National Opera.
appointment
Jennifer Scally appointed as managing director of AXA Art
Jennifer Scally, who joined AXA Art in 2006, has been promoted
to managing director. Since joining the company Scally developed AXA ART specialist services locally in Hong Kong, Singapore, China and most recently Malaysia.
I am delighted to announce Mrs. Scallys promotion. This further strengthens 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 local 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.
Sheikh Saud Al-Thani (2002)
conservation
New technology brought in to aid preservation of Sistine
Chapel
In 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 frescoes. 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 installation 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.
13 November 2014
funding
Restoration
119 beneficiaries to receive funding from

Creative Scotland
A 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. Evidence 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 provide significant support for thousands of individual 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 Hebrides Ensemble who received 550,000, Barrowland Ballet with 420,000 and Hospitalfield Arts with 300,000.
Crowd-funding project to aid restoration of the Duomo di Milano

The 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 Madonna statue that stands on the top spire of the Duomo overlooking the city.
controversy
NRW 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 notifying 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 respectively; a spokesperson from NRW explained that they had planned to
auction the works in the absence of interest from public museums.
13 November 2014
Interview
Interview with Julien Frydman,
director of Paris Photo
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 Paris 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.
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 participation 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.
Julien Frydman
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.
13 November 2014
Interview
Interview 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 diversity. 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 important 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 photography 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 important 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.
13 November 2014
Museums
Article of the week

Yarat to open new space in Baku
Not-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 understanding of contemporary art in Azerbaijan
whilst creating an international platform
for Azerbaijani artists. It has so far commissioned projects across Baku including exhibitions around the city, public
art festivals, education programmes and
collaborations with museums and institutions 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 artists from the Caucasus, Central Asia and
neighbouring countries. Artists from the
region will feature in the centre's permanent collection and exhibitions will
feature works by artists who particularly
resonate with Azerbaijani culture.
donation
LACMA receives huge $500 million donation
Television 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 museum 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-century art including Degas, Monet, Magritte, Cezanne, 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 described Perenchio's gift as inspiring. Selected
works from the collection will be on display at
the museum in Spring 2015.
plans
Centre Pompidou announces plans for Design and Architecture Gallery
At the inauguration of Centre Pompidou's new
photography gallery on 5 October, the Parisian
museum announced plans to open a new gallery 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 exhibitions per year and responding to the public's
growing demand for photography.
Yarat
legal
Kunstmuseum Bern risks onslaught of lawsuits related to the Gurlitt collection
Ronald 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 relatives, rendering restitution claims even more complex.
13 November 2014
controversy
appointment
Director of Museo Reina Sofa sued by Association of Christian Lawyers

The 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 Association 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 (International 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 reflected 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.
Adriano Pedrosa appointed as new artistic director at the Museu de

Arte de So Paulo
Internationally acclaimed curator, writer and editor Adriano Pedrosa 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, programming collections, research, restoration, archive, education, architecture, and publications. Our focus will be to explore connections
between the different museums holdings, and to start a new collection 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 director 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 European 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.
13 November 2014
what's on
france
A large portion of Roman Vishniacs work presented to
the public at the MAHJ
An 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 perception of Jewish life in Eastern Europe, and his work was
the subject of an exhibition at the MAHJ in 2006 entitled 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 portray in photographs in order to raise awareness of the
signs of the rise of Nazism. In 1935 he was commissioned by an important Jewish organisation to photograph 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 Vishniac 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 artist's works, proposing a total revaluation of his artistic 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, Frankfurt
Frankfurt'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 Michelangelo, 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 Gallery
Canadian 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 ranging 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 include investigations into mistaken identity and unstable memory, reconstruction, 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 features: 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 posing 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)
13 November 2014
coming soon
China
Polit-Sheer-Form: Fitness for All at UCCA
Polit-Sheer-Form: Fitness for All, a retrospective of the eponymous art
collective's career, is to be on display at the Ullens Center for Contemporary 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 installation Flower Bed, an installation reminiscent of floral topiaries popular during 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, cultural 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 equipment found in spaces throughout China.
The exhibition is currently on display at Queens Museum in New York.
Sean Scully at Shanghai Himalayas Art Museum
From 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 photography. 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 painting, one can draw parallels between his work and that of Matisse and Rothko.
united kingdom
Conflict, Time, Photography at Tate Modern
From 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 passing 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 Centre
The 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 LACMA
The first major retrospective of works by Pierre
Huyghe is to be held from 23 November 2014 until 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 social engagement, and use the exhibition model
as a site for playful experimentation. The artist
expressed his desire for a non-hierarchical exhibition, hence why the works are organised thematically in one cohesive park-like environment.
He received a Special Award from the Jury of the
Venice Biennale in 2001 and has had solo exhibitions at prestigious institutions such as Tate Modern 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.
13 November 2014
Interview
young collectors catching the fotofever:
interview with Ccile Schall
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...
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, sometimes 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 production 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.
Fotofever 2013
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.
13 November 2014
Interview
Fotofever 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.
Ccile Schall
Paola Guigou
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.
13 November 2014
Interview
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. Personally, 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. Regarding 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 Amsterdam 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 photography: 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.
13 November 2014
Interview
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 something 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 without 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.
Fotofever
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 relationships 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.
13 November 2014
Galleries
Article of the week

Rossi & Rossi moves their London premises
Rossi & Rossi, the gallery specialising in Sou- bition will present a rare Tibetan painting
th Asian Art, is relocating its London space on fabric dating from the 13th century and
depicting the Buddha Mahavairocana.
from Clifford Street to 27 Dover Street.
The new space is to open on 4 December Director Fabio Rossi said in a press release:
and will be situated in the Mayfair area Rossi & Rossi is delighted to be re-affirming
of London. The new space will present and strengthening its London presence parboth Himalayan and Indian works, an- ticularly as next year sees us celebrating our
cient Chinese and central Asian textiles, 30th anniversary. We are very proud of our
amongst other works. The inaugural exhi- 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 opened a space in Hong Kong.
LOUISE ALEXANDER GALLERY
:mentalKLINIK & Jason Gringler join the gallery
opening
Richard F. Taittinger Gallery to open new space in New York
Richard 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 Frerejean 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 promise to last beyond the trendy buzz.
representations
:mentalKLINIK and Jason Gringler now represented by
Louise Alexander Gallery
Italian gallery Louise Alexander have recently announced 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 Basel, 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 lives 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 contemporary space to inaugurate Aga Khans architectural vernacular
resort of Porto Cervo in 2007 and focuses on mid-career
and internationally acknowledged artists including painters, photographers, sculptors and video and kinetic artists.
Jason Gringler,
Large-Glass, 2014
Large Glass (2014)

Jason Gringler
Louise Alexander Gallery
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
13 November 2014
what's on
Canada
David Urban at Corkin Gallery
Until 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 ephemerality 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 poetry and painting at York University before receiving a
master's degree in English literature and creative writing from the University of Windsor in 1991 and a second 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 Town
Until 6 December 2014, the Goodman Gallery Cape
Town is to display the exhibition Structures of Dominion and Democracy by photographer David Goldblatt.
The exhibition is to display major works from the
Structures series, which Nobel Laureate Nadine Gordimer 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 focuses 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, founding the Market Photography Workshop in Johannesburg 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.
Fausto Melotti, L'Ariete (1976)

116 x 57 x 21,5 cm
Brass, copper and fabric
Image courtesy of Galera Elvira Gonzlez
spain
Fausto Melotti at Galera Elvira Gonzalez
Until 10 January 2015, Galera Elvira Gonzalez in Madrid 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 reluctant to make emphatic statements and who convert fragility into one of their central tenets, using minimal material 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 abstract 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 colours that are layered on top of each other and the colour transitions 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.
13 November 2014
coming soon
China
Christian Schoeler at Galerie Urs Meile Beijing
Galerie 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 techniques with watercolors or pastels instead of oil paint.
Christian Schoeler was born in Hagen in 1978 and studied at the Munich Academy of Fine Arts. He has had solo exhibitions in several cities 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 Cortese
Milan gallery Raffaella Cortese is to present their second solo exhibition by Mathilde Rosier from 20 November until 14 February.
Mathilde Rosier is a multimedia artist who works in film, performance, 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 focus 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 Dauphine University, Paris, before her further studies at cole Nationale Suprieure des Beaux Arts, Paris.
united kingdom
Edoarda Emilia Maino at S|2
Sotheby's S|2 Gallery, London, is to show an exhibition by Edoarda Emilia 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 Volumi 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 Nouvelle Tendence movement and explored Op Art in the 1970s. She
has twice featured in the Venice Biennale.
Space 2, 2009
Meng Huang,
Galerie Urs Meile Beijing
united kingdom
Alan Cristea Gallery announces 2015 schedule
Contemporary art and editions gallery Alan Cristea,
London, has announced its schedule for the coming
year, beginning with a 20th anniversary exhibition running 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 exclusive 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 October), Cornelia Parker (12 October until 7 November) and Ian
Davenport (12 November until 23 December) to follow.
13 November 2014
Interview
A new perspective on analogue photography:
An interview with Jean-Franois Velopp
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 professional 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.
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 photograph 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.
Jean-Franois Velopp
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.
13 November 2014
Interview
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 photographers 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 moment. Its about being closer to life.
Jean-Franois Velopp
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.
13 November 2014
Interview
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 dimension 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.
Jean-Franois Velopp
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 competition. 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.
13 November 2014
Artists
Article of the week

Absolut 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 contemporary 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 nominated people each to recommend five artists 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 addition to 100,000 to produce the winning
artwork or 25,000 to complete the winning 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.
awards
Artist duo JODI win Rhizomes inaugural
Prix Net Art Award
Rhizome 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 processes and effects more transparent.
The prize money comes with a no strings attached disclaimer, which is rather significant
considering the intangible, ephemeral nature
of the medium. JODI have been active in Internet 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 recipients
The Greater Milwaukee Foundation has announced 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, collaborators Shana McCaw and Brent Budsberg,
and John Riepenhoff, who make up the established 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 participate 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 following the artist's death in 2001 when her
estate of $11 million was left to the Greater
Milwaukee Foundation.
Part of Renata Lucas site-specific installation Museum of the Diagonal Man, funded by her 2013 Absolut Art Award. (Roberto Chamorro/
Courtesy of the artist and Absolut)
award
Winners of the Jeune Cration Prize unveiled at Cent Quatre
The names of the winners of the Jeune Cration Prize were unveiled on 29 October 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 Brunet, 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 Supriere 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.
13 November 2014
Art Analytics
Gustave Le Gray
Born 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, exhibiting 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 remain 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, previously 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 of

exhibitions by type
Evolution of the number of
exhibitions by type of venue
6
4
2
0
1998
1999
2000
2001
2002
2003
2004
2005
2006
2007
group shows
2008
2009
2010
2011
2012
2010
2011
2012
2013
solo shows
10
8
6
4
2
0
1998
1999
2000
2001
gallery
2002
2003
2004
museum
2005
2006
2007
2008
2009
biennials
2013
other
13 November 2014
Art Analytics
Gustave Le Gray
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; Kunstmuseum Basel and the Institut du Monde Arabe, Paris. The artists work also forms part of the collections 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 National Gallery of Art, Washington, United States; Museum of Fine Arts, Boston, United States; Muse
dOrsay, France and Galerie Daniel Blau, Germany.
Distribution by venue type

Distribution by exhibition type
Distribution by country
10%
Evolution of the number

of articles published on
Gustave le Gray
78%
88%
87%
gallery
events
9%
5%
7%
12%
museum
other
group shows
solo shows
United States
France
Germany
other
1,000
800
600
400
200
0
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
1,000
800
600
400
200
0
2000
2001
2002
2003
2004
2005
2006
2007
2008
2009
2010
2011
2012
2013
13 November 2014
Art Analytics
Gustave Le Gray
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 (hammer 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.
Evolution of the
number of lots
The number of lots on offer has steadily increased since 2003, following a spike in 2001 when around 80
lots were on offer.
Evolution of
revenue
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%.
Evolution of the
average value of lots
90
60
30
0
1989
1991
1993
1995
1997
1999
2001
2003
2005
2007
2009
2011
2013
$120k
$80k
$40k
$0k
1989
1991
1993
1995
1997
1999
2001
2003
2005
2007
2009
2011
2013
1991
1993
1995
1997
1999
2001
2003
2005
2007
2009
2011
2013
$3m
$2m
$1m
$0m
1989
13 November 2014
Art Analytics
Gustave Le Gray
Regarding 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 remaining 15% is distributed across the United Kingdom (14%) and the United States (8%).
Distribution of lots by
medium and revenue
Distribution of lots by
country and revenue
The rate of unsold work is relatively high at 29%.
3%
8%
14%
34%
62%
75%
98%
99%
Photography
other
France
United States
United Kingdom
other
Rate of sold/unsold lots

Distribution of lots by auction
house and revenue
15%
29%
26%
14%
62%
71%
sold
bought in
9%
Sothebys
Christies
Rate of unsold lots by price of works
> $50k
$20-50k
$20-50k
$10-20k
$10-20k
$5-10k
$5-10k
23
61
56
51
91
$2-5k
$2-5k
70
$1-2k
$1-2k
69
< $1k
< $1k
25%
sold
50%
75%
Beaussant Lefvre
other
Total sales by price of works
> $50k
0%
5%
59%
9%
100%
$0m
$1m
$2m
$3m
$4m
$5m
bought in
13 November 2014
Art Analytics
Gustave Le Gray
100%
75%
50%
25%
0%
1989
1991
1993
1995
1997
1999
2001
2003
sold
2005
2007
2009
2011
2013
bought in
The rate of unsold work has remained relatively stable in recent years despite the increase in the number
of lots at auction.
Evolution of unsold rate
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 expensive works were created.
Number of lots presented, and

sales figures by year of creation
180
$6m
120
$4m
60
$2m
1848 1849 1850 1851 1852 1853 1854 1855 1856 1857 1858 1859 1860 1861 1862 1863 1864 1865 1866 1867 1868 1869 1870
lots
$0m
turnover
Auctions results from Artprice.com
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13 November 2014
Interview
Post-soviet state of mind:
An Interview with Olga Chernysheva
Olga Chernysheva is a Russian artist who born in Moscow in 1962. She studied at the Moscow Cinema Aca-
demy, before going on to do a Master's degree at Rijksakademie Van Beeldende Kunsten, Amsterdam; the first
Russian artist to study there. Her photography (for which she has been widely praised), amongst her work in
other media such as drawing, painting and video, captures the essence and ambience of post-Soviet Russia,
a world in which she grew up, through a wide range of subjects from tramps to security guards, in a range of
everyday spaces. Her work is to be exhibited at Pace Gallery, London, from 26 November 2013 until 16 January
2015. AMA spoke to her about this depiction of her home country, her career and photography's relation to
the rest of the art world.
How did you begin taking photographs?

I was educated as an artist I studied at Moscow Cinema Academy and photographs were always
the material I was working with. At the beginning when I was using photographs, they were not separate art pieces, but instead the material which made up the film.
Olga Chernysheva
Why did you decide to go and study in Amsterdam?

I was invited by Rijksakademie van beeldende kunsten. It was the '90s and Rijksakademie were on a trip to
Moscow, which they hold every year for their students. I think it was 1993, and they were visiting me; they
explained what the academy was and I was invited there. I didnt know much about it before I went there.
Where do you draw your inspiration from?
It might sound banal but I take my inspiration from everyday, automatic action; subtle and minor events
in time. This is what Im always looking out for. Im just a reflection of life. Everything inspires me.
13 November 2014
Interview
You are known for your documentation of post-Soviet Russia what is it that interests you about this era?
Its the era Ive lived through, I dont have anything else. Ive lived through the Soviet era, the post-Soviet era, and what we could call the post-post-Soviet era. Its the era I have been absorbed into. Perhaps if I lived in a different place at a different time that would interest me just as much. I dont have
anything else. I am fascinated by what's happening around me.
So you were at art school during the Soviet Union; how has the approach to art changed since the dissolution?
When I was in art school in Russia, the existence of contemporary art was not obvious. Although I was studying
cinema, it was still very traditional in the sense that it was rooted in academic study there was a lot of
drawing and painting, but using very conservative methods. We werent introduced to contemporary art. What
I do now is accepted by the contemporary art market, but I wouldnt describe it as a clear example of contemporary art. I think I would be doing what Im doing even if contemporary art didnt exist. It is my experience in
images, like a diary. I would be doing the same if I were still a filmmaker, but just in my own time for myself.
Contemporary art gives me an audience, and I am very happy to share my work with them, despite the fact that
sometimes I am hesitant about putting my work out there. Theres a more personal answer to the question.
Olga Chernysheva
How do you try to communicate Russia to the rest of the world? How do you wish to depict it?
I feel like the things I am searching to, or am, depicting, are very genuine. The dreams, the movements
of the human mind are recognisable everywhere. When Im travelling with my exhibition, people tell me
that they can understand things in my works, people from different places such as Hungary and Germany;
I want my work to be a uniting force. Its like an endless loop of experience which is clearly recognisable,
and it is this cyclical condition which really interests me.
13 November 2014
Interview
What is the kind of relationship do you have with your subjects?
I like to take pictures of people who I feel close to, as I feel like my pictures are a part of me. For example,
I was shooting the people whose job it is to sit and watch the escalators on the metro, whose job it is to
watch. I too am an observer; I felt a connection with these people. I work through empathy, which is why I
can sometimes feel uncomfortable showing my work.
Where do you think photography stands today in the art scene?
There are lots of theoretical and analytical writings on photography, but for me its still a way to get an
image. Its a difficult question; I work in drawing and painting too, as I like to switch mediums when one
might suit the subject better.
What do you think is the current state of the photography market?
Well really I dont know as Im not an expert. Its hard to judge for me as Im not too involved in the market. The
photography market is so broad, with different scales of quality and different aims for each photograph. I feel
like photography is double sided, as it can be accepted by the art market and the photography market. We can
manipulate photographs, resulting in not merely a photograph, but a built-up image.
Have you ever been tempted by commercial photography?
No I dont think so. I don't think I'm a good enough photographer! I like accidents and mistakes, and
commercial photographs have to be perfect.
Olga Chernysheva
What do you have coming up in the future?

Well theres the show at Pace, which is really exciting. Its not a massive show but it displays a huge range
of works, some old and some new. Its a combination of images, videos and sound installations.
13 November 2014
Interview
documenting Hobbledehoyhood:
an interview with Ed Alcock
Ed Alcock is a British photographer who started out as The Guardian's Paris correspondent in 2000 and has
since established a solid career collaborating with the British and international press, whilst also developing
self-initiated projects that explore the sensibilities of relationships through his intimate portraits. With the
recent release of his photobook, Hobbledehoy, shot across three summers, Alcock illustrates his adolescent
appellation Hobbledehoy given to him by his father with photos of his own son, documenting the transitional period of pre-pubescence and the inevitably transient relationships that young boys have with their
mothers; the word Hobbledehoy comes from old English and is defined as a clumsy or awkward youth.
AMA had the chance to meet with Alcock in the days prior to fotofever, the international Paris-based photography fair, which he will be participating in with his agency MYOP, to talk about the progression of his
photography career, his artistic style and his personal projects.
How did you go from a maths doctorate to photography?

I suppose I started to get into photography when I was about 15, there happened to be a darkroom class
at my school. I was really taken by it but in England you are forced to squeeze down to three subjects at
the age of 16 and make these huge life decisions. I had always been more driven by art, but I was good at
maths and science. It is difficult making a choice like that so young and your parents, being sensible parents, want to advise you to follow a career that might guarantee some form of economic survival so they
advised me to do maths, physics and science. I really did enjoy the maths, pure maths; with that degree
of abstraction, there is some sort of link to art, like moulding clay, but let's keep the link as simple as that.
I went to university and continued doing mathematics, and I turned out to be quite good at it.
Hobbledehoy
Ed Alcock
Hobbledehoy
Installation view
at MYOP In ARLES,
Rencontres International de la Photographie
d'Arles 2014.
13 November 2014
Interview
I think it was the path of least resistance in some sense; I got to the end of my degree, lecturers
started proposing that I continued my studies. I got a grant to do a master's, moved to London, got a
grant to do a PhD; perhaps it was just that I didn't want to go out into the working world. I had pretty
much stopped taking pictures during that period. In the first year of my PhD I went and signed up to
work for the student newspaper and very quickly became the picture editor, and at the end of that
year I was invited to become picture editor of the collegiate university newspaper of University of
London. At the end of that second year I actually won the Guardian and Independent Student Media
Awards Best Photographer of the Year in 1999. It was one of those moments when you think, oh,
after all this time being a mathematician, what I always wanted to do is what I am going to end up
doing! Eamonn Mccabe, who was at that time picture editor of the newspaper, invited me to look
around the newsroom and looked at my portfolio. He said Ed, you've won a work experience, but
I'm not going to give it to you because you are better than a work experience, you need to be under
the pressure of working to earn a living for you to progress, so I said well give me a job then and
he said I can't give you a job this is The Guardian! you've got no experience. So I was a bit like, you
don't give me the job and you won't give me the experience... My girlfriend, who is now my wife,
had called me earlier in the day telling me she had been offered a job in Paris and she was going to
take it, so I turned to Eamonn and told him I'm moving to France and he said, great! you're our correspondent. So I became a photographer for the Guardian in 2000 and it all went from there really.
So was it the commercial/commissioned jobs that came first or the artistic?
It depends how you define it, my experience is not what I would call commercial because my work
has never been very commercial, even the commissioned work is not that commercial in a corporate
structured sense; I find it quite hard to put my artistic ambitions aside. I've been lucky in that my
clients for the most part let me do what I want; I have very little artistic direction, they call me up
and ask me to take photos of this that and the other, I do my thing and then normally they publish
the right pictures!
Is there interplay between the self-initiated projects and your commissioned work?
Yeah, more so now, I think the first part of my career, until around 2007, was quite dictated by the
kind of commissions I received I guess I hadn't found the confidence to really allow myself to go
after what I wanted. Around 2008 I began thinking about what I wanted, who I was, who I am as a
photographer; on one hand to be a photographer and the other, how it feels to be on the other side,
what is the relationship between me and my subject. Once you start thinking about that, it applies
to whatever context. I tend not to photograph professional models, I mostly photograph the world
of culture; models don't let anything of themselves through, they're kind of just vessels and that
is less enjoyable. So yeah there is an interplay of sorts, as my work has started to be seen, people
come to me to ask me to create a project in the same style as one of my personal projects such as
Hobbledehoy or Love Lane, which is great!
Tell us more about your collaboration with Emmanuel Carr
I took the Hobbledehoy photos to set when I was shooting a portrait of Emmanuel and gave him
them to look at whilst I was setting up. He went away for about 10-15 minutes, before rushing back
saying Ed, these are marvellous, if ever you make a book, I would love to write something for it. The
whole project just fell together very quickly after that.
Had you spoken to him before about what you were looking for from him?
No, not at all, he had carte blanche. I find that quite fascinating because I hadn't talked about the
work; everything he knows about and everything he talks about is only gleaned from what he sees
in the pictures. The first part is quite classic Emmanuel, he looks at the pictures and says, what does
this make me think of, then tells a story from his own life. The second part he analyses my role in
taking the pictures, which is so intriguing because I never spoke to him about how I felt taking the
pictures but he is basically spot on.
13 November 2014
Interview
Your self initiated work seems to take inspiration from the everyday, in project such as Love Lane
and Broke, what is it about this that interests you?
In Love Lane, all of those portraits were taken in the town where my family comes from, there is a
certain identification with these people. It is not where I grew up, but where my parents grew up,
where my grandparents and cousins lived; I'm quite intimate with the place, but it's difficult to say a
lot more because the series isn't finished! Broke was one of first projects with this new way of working that I'd found, it is quite introspective, I see it more as a self-portrait of how I was at the time. It
was the beginning of a crisis, I lost a very big client through their own financial problems; suddenly
you see your commercial world retract, violently. I wasn't doing too well, I was a bit fed up of doing
solely commissioned work and not yet having found my own voice. Broke was the moment where I
really let go, I wandered around with this silly little plastic camera taking pictures in the neighbourhood where I more or less live, it was about letting this fed up feeling come into the work too.
Would you say your work is socially engaged? looking at projects such as the one about John
Demjanjuk or Afghanistan's Lost Boys for example...
Not really... not in the sense that you mean it I think; I'm more interested in family which is a fairly
major theme and a sense of intimacy, be it mine or others. I think I am a socially engaged person, I
am interested in those issues, but I don't feel like it has too much presence in my work. The Afghan
piece was a commission, for example, so obviously I'm sensitive to what I am trying to photograph,
but I found the interest in working with adolescents, these guys who had travelled all across Europe.
Demjanjuk came up in different ways, I had this recurring dream that I was photographing Holocaust
survivors I don't know why, I'm not Jewish, I have no personal reason other than the collective
trauma of this event to find an explanation as to why these characters turn up in my dreams...but
they do, they're there. Demjanjuk was one of the last perpetrators of Nazi crimes, and also there is
book by Phillip Roth about the case and it's all about identity, this man is accused of committing
all these awful crimes, but how can we be sure 50 years on? He claims he is innocent, he says it is
a case of mistaken identity; how much can we rely on the memory of these survivors who say that
they recognise him this far on? If you read Roth's book there is this wonderful twist in that he mirrors this question of mistaken identity towards Demjanjuk with a Phillip Roth impersonator who is
pretending to be him in order to get interviews in Israel at the time of the trial. So there are these
complex multiple layers of identity and I think that idea appealed to me in my work in general.
When the trial came up it was something I really wanted to work on.
Your work really seems to capture the details of life's fleeting moments, how do you personally
feel this manifests itself in your images?
I think that is something that is quite intrinsic to photography already. Whatever you take a photograph of is already in the past tense, so it is very related to time. As Roland Barthes said, whatever
you have done is already dead in some sense, that's something we all struggle with; photography
deals with that quite well, yet there is still a tension between the dead and the alive. Once one has
accepted that, one is very conscious of what you refer to as the fleetingness and it undeniably
becomes the subject of the photograph.
How do you see the photography industry today?
I think it has always been difficult to get into the industry, but there is a certain democratisation
of photography with digital cameras etc. There is a perception of photography being a bit easier,
anyone can do it, cameras are apparently so sophisticated that they can do it all for you! But it's a
bit of a myth, it isn't easier, nor is digital photography easier than film; I work in both mediums, my
personal work is all shot on film, but for commercial work digital reduces costs and time. But is just
a difficult industry as a whole. I haven't seen figures, there are perhaps not more people who want
to be photographers but because of these social networks we become aware of all of these people
who want to become photographers! We were less connected when I began..
Ed Alcock will be signing copies of Hobbledehoy at the MYOP agency stand at Fotofever in Paris on at
3pm on Saturday 15 November alongside two colleagues from the agency, Philippe Guionie (author of
Swimming in the Black Sea) and Guillaume Binet (author of Sur la Route des Ecrivains Amricains).
13 November 2014
Auctions
Article of the week

Sotheby's Contemporary Art evening sale totals $343.6 million
On 10 November 2014 Sotheby's Contemporary Art evening sale totalled $343.6 million, with a sold rate of 85.9%.
The most expensive lot in the sale was
Mark Rothko's No. 21 (Red, Brown, Black and
Orange), which sold for $44,965,000 after
being sought by five different bidders.
The second most expensive piece was the
iconic Jasper Johns Flag which sold for
$36,005,000, a record price for the artist
at auction. Andy Warhol's Liz #3 (Early Co-
lored Liz) sold for $31,525,000 to a private

American collector, his Brigitte Bardot for
$11,645,000 and his Self-Portrait (Fright
Wig) for $11,365,000. An untitled work
by Robert Ryman sold for $15,005,000,
setting a record for the artist. Other artist
records at auction were set not only for
Jasper Johns and Robert Ryman but for
Glenn Ligon, Jean Dubuffet ($7,445,000)
and Alexander Calder, whose Personnage
sold for $1.9 million.
Collectors came from 38 countries with

almost 40% of them from outside the
United States, notably Latin America
and Asia. Alexander Rotter, Co-Head of
Sothebys Global Contemporary Art Department, said of the sale: It has been a
wonderful start to our week of Contemporary Art sales, with the running total now above $460 million, and a very
strong day sale yet to come.
human resources
results
Elizabeth Beaman appointed head of American Art at Christies

Christie's New York has announced the appointment of Elizabeth Beaman as Head of American Art.
Beaman has been Vice President of the department since
2011 and replaces Liz Sterling, who will continue to work for
Christie's as a consultant. She trained with Sotheby's Financial Services before officially becoming a specialist in American paintings in 2000. In a press release, Christie's President
for the Americas, Doug Woodham, said of the appointment:
We know that the department is in very capable hands with
Elizabeth [...] Elizabeth has been an incredible asset to the department in her short time here [and] has deep relationships
with both consignors and buyer and terrific expertise. We look
forward to a seamless transition during this time of change.
Sotheby's private sales drop 61% in 2014's third quarter

Samuel According to a US Securities and Exchange Commission filing, Sotheby's private sales have dropped from $390.4 million to
$153.5 million in 2014's third quarter. This news follows the report
that already in the first half of this year private sales had dropped by
48%.
Private sales have previously proved a successful source of revenue
for the company, bringing in $1.2 billion between 2003 and 2013
and providing an alternative to auctions which render the sale of
a work incredibly public, potentially damaging to the value for an
unsold or under-sold artwork in the long term.
We do believe long-term our brand is super relevant in private
sales and our expertise is super relevant, says chief financial officer Patrick McClymont.
These figures tarnish an otherwise positive quarter for Sotheby's.
Sotheby's Auction House, New York (10 November sale)
13 November 2014
acquisition
results
Van Gogh buyer revealed

The buyer of Van Gogh's Still Life, Vase with Daisies and
Poppies has been revealed as Wang Zhongjun, one of
China's richest men.
He bought the painting for $61.8 million at Sotheby's
New York during their sale on 4 November 2014, bidding over the telephone. He is believed to have paid
the highest price paid overseas for Western art by a
Chinese collector. Wang is the cofounder of Huayi Brothers Media Corp., which comprises a film production
company, record label and talent agency. The company
has a market capital of over $4.7 billion, making Wang
one of the richest men in China. Wang is not only a
collector of Impressionist art but also likes to paint
himself, selling his own works for charity at around
$65,000 per piece.
united states
Bunny Mellon Collection sells out at Sotheby's
In a sale taking place 10 November, the Bunny Mellon Collection brought in $159 million in what proved to be a rare white
glove sale.
The collection of the late Rachel Bunny Mellon, wife of philanthropist Paul Mellon and a prolific collector, contained 43 pieces
of mainly blue chip Modern and contemporary works as well as Old
Master paintings. In a rare turn of events every single lot sold, particularly surprising given the range of work on offer, and the auction exceeded its estimate of $82.9 million, fetching 120.1 million
in total. The success of contemporary works in the sale, which accounted for $116.6 million of the total, were particularly promising for the auction house given that the sale came at the start of a
week of high-profile contemporary sales. Noteworthy sales in this
area consisted of two works by Mark Rothko a blue Untitled from
1970 and Untitled (Yellow, Orange, Yellow, Light Orange) from 1955
which both incited enthusiastic bidding and brought in $35.5
million and $32.5 million (hammer price) respectively.
record
An African statue reaches the $12 million mark at auction
During Sotheby's New York's Tuesday evening sale on
11 November, an African statue originating from the
Ivory Coast or Burkina Faso reached $12 million (premium included).
The piece comes from the collection of the late businessman Myron Kunin whose fortune was built on his
hair salon chain. Prior to Kunin, the statue had passed
through the hands of collectors including sculptor Arman, psychologist Werner Muensterberger and curator
William Rubin and has also been exhibited at MoMA
New York and at the Fondation Beyeler in Switzerland.
The Sikasso-style piece's Modernist qualities have
been compared to the work of Alberto Giacometti, the
early 20th-century Swiss sculptor.
French newspaper Le Figaro reports a fierce bidding war
between French dealer Bernard Dulon, who dropped
out at $8.8 million, and a telephone bidder who took
the piece, possibly for the collection of a prestigious
North American Museum, according to Bernard de Grunne who initially sold the piece for $1 million in 1989.
Whilst Paris is normally the capital of Tribal art, it is
clear that is not easy to sell such expensive lots.
coming soon
united kingdom
Sothebys sale to raise funds for Elton John AIDS Foundation
Eleven works generously donated by the world's leading contemporary artists are to go on sale at Sotheby's New York as part of an
auction, the proceeds of which are to go towards the Elton John AIDS
Foundation which will take place on 12 November.
Thanks to the generosity of caring people like these artists and
the buyers who purchase their work, EJAF was able to award
more than $7.3 million in grants to 114 worthy organisations
during 2013, explained Sir Elton John. Their gifts helped support programmes assisting homeless teens in New York City, enabling poor people to access the treatment and care they need
in the Deep South, providing housing and medical assistance
to HIV-positive parolees in the Bronx, serving the urgent needs
of HIV-positive people in Haiti and so much more. This sale at
Sotheby's will help us to keep on expanding on these efforts.
Highlights of the sale include: Naked Arrest by Urs Fischer, valued between $250,000 and $350,000; Medium Cool (B/W blur),
estimated at $50,000 to $70,000, by Jeff Elrod and #STAYINSCHOOL by Rob Pruitt, estimated to realise $30,000 to $40,000.
Senoufo Statue
Courtesy of Sotheby's
13 November 2014
Fairs & festivals
Article of the week

FIAC Cancels 2015 Los Angeles Fair
Initially scheduled for 27 to 29 of March
2015, French fair FIAC has altered plans
for its first Los Angeles-based event.
The news was announced shortly after the
closing of the 2014 Paris event and the
Los Angeles application deadline on 30
September 2014, potentially suggesting
that FIAC did not receive the volume of

applications it was hoping for.
A statement released has clarified that
the fair will be in fact rescheduled for
2016, explaining, In order to satisfy the
requirement level of the galleries, FIAC
has listened to the recommendations of
its participants to modify the launch of its

Los Angeles endeavor to provide both organizers and galleries sufficient time for
optimal preparation. The first edition of
FIAC LA will now take place at the beginning of 2016.
launch
coming soon
Details released for inaugural edition of Photo London in 2015

Details have been released about the inaugural edition of Photo
London, to take place 21 to 24 May 2015 at Somerset House.
The event has been set up as a response to a growing demand
for both vintage and contemporary photography in London and
internationally. 70 of the world's leading photography galleries
will exhibit at the fair which will also include a public programme.
Major London museums and auction houses including the V&A
and Tate Modern will compliment the fair in a week-long celebration of photography with special exhibitions and sales. Photo
London will be a commercial fair which will fill the gap for a dedicated photography fair in London. Participating galleries will be
selected by a curatorial panel and work by young photographers
in particular will be encouraged.
belgium
Dates for Art Brussels 2015 announced
The 33rd edition of Art Brussels is to take place from 24 until 27
April 2015, sponsored by ING.
The fair is to be split up into the following sections: Prime, galleries presenting established artists on an international level;
Young, galleries presenting younger generation artists on an
international level; Curator's View, galleries presenting a curated, thematic group show; and finally Discovery. Discovery is a
section which is new to this year's edition of the fair. This section
will feature 16 galleries that represent lesser-known and emerging artists, curated by a committee including Daria de Beauvais,
who is a curator at the Palais de Tokyo in Paris. There will also
be a programme of live performances, focusing on spoken-word
performances and lectures.
Artistic director of the fair Katerina Gregos identified the
fair's distinctive elements by commenting that Art Brussels
continues to emphasise the strong discovery element of the
fair and its reputation as the place to identify artists at the
beginning of their careers.
what's on
turkey
Ninth edition of Contemporary Istanbul
Contemporary Istanbul art fair is hosting its ninth edition from 13 until 16 November 2014 at Istanbul Congress Center (ICC) and Istanbul
Convention and Exhibition Centre (ICEC).
This year's edition will unite over 100 art galleries which will altogether represent 520 artists from 22 countries around the world.
Some of the galleries exhibiting at the fair include: Galerie Lelong
(Paris), Marlborough Galleries (New York), Rampa Istanbul (stanbul),
Emmanuel Fremin (New York), Galerie Javier Lopez (Madrid), Kashya
Hildebrand Gallery (London), Galerie Kornfeld (Berlin), Galeri Nev (stanbul) and Heis Gallery (Fukuoka-Japan).
There will also be the unique Plugin media section that explores
the latest, most avant-garde developments in the contemporary art
scene worldwide, showcasing the best digital art and design. New
this year is the CI Editions initiative a platform for the production,
mediation and sale of art editions which aims to promote the various
formats and conceptual dimensions of art editions and multiples.
united states
UNTITLED Miami Beach announces special projects
UNTITLED Art Fair, taking place from 3 until 7 December 2014 in
Miami Beach, has announced six special projects commissioned
by artists which will be located throughout the fair.
The six projects are as follows: works by Andr Komatsu and
Mauro Restiffe, presented by The Bronx Museum of the Arts;
cr_O_ma, a piece by Spanish artist Guillermo Mora, presented by FORMATOCOMODO; Publicar V (2010) by Paul Ramrez
Jonas, presented by Koenig & Clinton; works by Pablo Gmez
Uribe presented by Susan Inglett Gallery; Upfor Gallery will
present Solar Helix, a performance and installation by MSHR
(Birch Cooper and Brenna Murphy) and Belarus' Y Gallery will
present Maurizio Ians Incision.
Photo London
13 November 2014
exhibitors
BRAFA announces its 2015 selection
The anniversary edition of BRAFA Brussels' art and antiquities
far which in 2015 will celebrate its 60th birthday will take place
from 24 January until 1 February 2015 at the Tour & Taxis site.
From the 126 galleries exhibiting at the fair, 40% are Belgian
and 60% are European, the majority of which are French. Four
galleries are returning to the fair: the Charly Bailly Gallery (Geneva), Jacques Barrre (Paris), Pierre Dartevelle (Brussels) and
the Montanari gallery (Paris). The main items covered by this
edition of the fair are Classical and pre-Columbian archaeology,
Primitive arts, old, Modern and contemporary paintings, sculpture, graphic arts, Asian art, jewellery and collectable objects.
To celebrate their 60th edition, the Roi Baudoin Foundation has
created a special exhibition at the centre of the fair entitled

The Belgian Collector, composed of works from all styles and
periods, originating only from private collections. For this particularly special year, we wanted to pay hommage to collectors,
to their passion and to their sensitivity, explained Harold t'Kint
de Roodenbeke, president of BRAFA.
To compliment the fair, symposiums on art history the BRAFA
Art Talks will be held by curators, experts and members of
the art market each day of the fair. The 2014 edition of BRAFA
attracted more than 55,000 visitors. Created in 1955 under the
name Foire des antiquaires de Belgique, BRAFA is the oldest fair
in the world.
View @ BRAFA 2014

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