This is the 100th issue of the E-Photo Newsletter, which I began rather modestly nearly seven years ago. It started because a number of friends, collectors and dealers had continued to ask me about the results of the Sotheby's Southworth & Hawes auction (April 1999). Instead of repeating the same individual response to the many emails I was getting, I thought that I would send the information out to my very small email list (less than 400 people). At the time, I did not have even one website, although I had the gleam of an idea for a major photography collecting website. Little did I know what I was getting myself into.
As landmarks go, the 100 newsletters have not been earthshaking or life changing, but I hope you have enjoyed them over the years. By the way, the entire newsletter archive can still be searched at: http://www.iphotocentral.com/news/news.php
I appreciate the general tolerance that my readers have shown me. I have tried to be balanced and, I hope, fair in my often personal and opinionated approach to general news stories, as distinguished from our promotion of our multi-dealer website I Photo Central and its photography dealers. After all, we have to have something pay the bills. And I have always tried to keep the best interests of a healthy and educated photography collecting market in mind.
I know that I have often annoyed (which may be a mild description considering some of the responses I have received over the years) some with my coverage of things they wished I didn't cover, but I did so to help the long-term viability of the photography market, which I feel demands honesty, openness and integrity from all of its participants, especially today. And, to be fair, having these critics helps keep me "honest" and with an ego well deflated. So, thank you.
While we have had our fair share of scandals in photography, we have weathered them better because the overall group of people in this field are indeed honest, hardworking and have the good of their clients in mind.
I have always believed that education is the most important equalizer in life, and so I will continue to provide important information for even experienced collectors and curators--much of which can be accessed on the I Photo Central website. There are plans this year for more detailed market studies, including one for the contemporary photography art market.
Our list of direct readers is now approaching 4,000 and the number of pass-along readers is probably over 4,000, which makes it the largest circulation publication of its kind purely focused on photography collectors, curators and dealers. But please feel free to pass on this newsletter and suggest to your friends to sign up at: http://www.iphotocentral.com/subscribe/subscribe.php
. After all, the price is right (free).
I wish to thank each and every one of you for your patience and kindness with me. And, once again, I wish you all a prosperous and very happy New Year.
The world's largest and best run photography show put on its 9th extravaganza in Paris this past November, and it was a beauty. More than 40,000 visitors flooded the booths of 90 photography galleries and dealers, plus 16 photo book and magazine publishers.
The exhibitors came from 14 countries, making this a truly international fair (only a little over 28% were French). The fair received media coverage all over the world, including even from the New York Times.
Collectors also came from all over the globe, despite the earlier simplistic media coverage of a non-existent "Burning of Paris". While Reed's show management insisted privately that there were actually more American collectors this year, my own informal impression was that many of the Americans that I see regularly here had passed this year, for whatever reason. But there were still plenty of other big collectors and curators to take up the slack--many of whom I got to see, and a couple I missed in the crowds.
A few of the front-ranking collectors included Claude Berri, Manfred Heiting, Thomas Walther, James Hyman and Gary Sokel, among others. International corporate and museum curators included Peter Galassi (NY MoMA), Sandra Phillips (San Francisco MoMA), Sandra Gilman (Whitney), Rafael Doctor (Leon MUSAC), Chris Dercon (Munich's Haus der Kunst), Keith Davis (Hallmark Cards), Carol Ehlers (LaSalle Bank), Dr. Hans Rooseboom (Rijks Museum), Brian Wallis (ICP), Katherine Bussard (Art Institute of Chicago), Agnes Sire (Fondation Henri Cartier-Bresson), Anna Tellgren (Stockholm's Moderna Museet), Robert Flynn Johnson (San Francisco Museum of Fine Arts), Weston Naef (Getty Museum) and many others. Most of them managed to stop by our booth and say hello despite the huge crowds.
Asked for his observations about the show, English art dealer and photography collector James Hyman told me: "For me the highlights were 19th-century images, above all the Brecknell Turners on Hans Kraus' stand and the Charles Negres on Vintage Works'. Of the 20th-century material, I was particularly impressed by the Moholy-Nagy photogram on Tom Gitterman's stand. I know that people complain that there is less and less great vintage material and that every year the prices are higher at Paris Photo, but nonetheless it is terrific that vintage material of such quality and rarity should still be available. At Paris Photo there are still great buying opportunities of important vintage photographs, which may well have disappeared in just five or ten years from now."
From the curator side of the fence, San Francisco MoMA's Sandra Phillips told me: "Besides the very excellent American dealers who were there, I especially enjoyed the booths of Thomas Zander, Serge Plantureux, and Alain and Francoise Paviot. I had only been to the very first Paris Photo--so this was a new pleasure for me. Yes, we are looking seriously at a number of things. I was also especially happy to see all the photography shows in museums and art spaces around the city, and I loved seeing the Melancholy show and the Dada show."
This was the first year that my company Vintage Works, Ltd. exhibited. Even with the largest size booth available (a massive 53 square meters), most of the time our only problem was that there were too many people in the booth to reasonably do business. A complaint--if one can complain about too many potential clients--which I heard from a number of the exhibitors.
There were also a few gripes from Paris Photo exhibitors about Christie's putting on a major auction during the show that some thought took away sales. Interestingly enough there was also some gossip about Claude Berri going around "reserving" images at the show. Some dealers thought he wasn't serious about actually purchasing, but just wanted to drum up support at his Christie's auction from those dealers. In recent years the French auction houses have shaded away from putting on sales during Paris Photo after a spate of poor results. Dealers have come to look at auctions (and previews) run during major shows, such as Paris Photo and AIPAD, which cannibalize those shows' attending audiences, with less than enthusiasm.
But Paris Photo was still an unqualified success. The show's own survey of dealers indicated that this year's average per booth sales soared over 36% over last year's. And my own queries to dealers indicated that business was indeed up for most dealers at this year's event, especially European dealers.
But many dealers told me that they also felt that the very high costs of doing the show put a damper on some of this success. The average American dealer had to look at a total cost of $30,000-65,000 to do this year's show. That is more than double the cost of a show in the U.S. with a similar (if available) size booth. Of course, the cost is not just for the booth space and its furnishings (lights, walls, carpet, furniture, electricity, phone, etc.), but also for shipping/customs, hotels/housing, meals, travel, promotion to clients in Europe, VAT collection, and booth workers with multi-lingual skills and photography knowledge. Of course, for a Parisian dealer the show makes more sense. After all, this is the best-attended photography show in the world, and arguably more money is spent here now than anywhere else. Even so, my friend and Parisian dealer Alain Paviot quipped, "God, it's a fortune for such a few ugly square meters."
Contemporary work seemed to be much more evident and in demand here than at U.S. photography fairs. Framing is done quite differently in Europe, where spacers replace mats in frames and di-bonded prints (adhered directly to acrylic and aluminum) are the norm. My one concern is with the di-bonded work, which must have conservation issues, but it does seem to be used more and more here. Apparently the process has been tried in the U.S., but only Europeans have been able to perfect the process.
According to reports from Paris Photo's show management, New York dealer Yossi Millo, whose Twilight-Zone children's portraits by Loretta Lux were snatched up at 24,500(wow!) euro each, was one of this year's success stories, reportedly selling out the work in the booth.
Adriaan van der Have of Amsterdam's contemporary Torch Gallery said that he also did well with Loretta Lux, and with Teun Hocks, a talented Dutch artist, who I admire. Van der Have noticed something that I certainly did not, when he commented, "This year I noticed that many galleries brought smaller works, so in total I thought the fair looked a little less impressive."
Despite Van der Have's comments, a lot of the work I saw was large-scale color, which seemed more dominant than ever this year. And it was definitely selling this year. I saw more red dots on this type of work than ever before. But, his humor always at the ready, dealer Alain Paviot told me, "It's very simple to buy red dots, just for potential client excitement." Many American dealers, on the contrary, left the red dots behind, trying not to tempt problems with French customs officials.
Paviot and his wife Francoise always seem to have, as Sandra Phillips noted above, one of the more interesting booths in the fair. Alain said that this year the "most fun part of our booth was the installation of small bondage images by John Willie. He had used these in the late 40s for drawings in publications with names like "Sweet Gwendolyn" and "Bizarre"." At only 400-600 euros, 19 of the 25 individual prints on display quickly sold to collectors. A series of five images by Willie had been put on reserve (and sought by a second collector as well), only to come open much later in the show. It still remains unsold. Man Ray's Meret Oppenheim portrait was quickly sold to a French client. A vintage Brassaï of Bijou was put on hold (also with secondary interest) only to leave the show unsold. Commenting on some of the booth's contemporary work, Alain said, "Dieter Appelt was very well loved (his work ''Canto II'' was sold twice) by a lot of visitors, and old and new clients. Francoise's excellent work on curating the Maison Rouge's large exhibition helped the recognition of the work of this important artist in Paris." I have always felt myself that Appelt's work was greatly under appreciated and applaud Francoise on her efforts.
Alain Paviot went on to discuss the show: "Americans love the Carrousel--this poor location without light and space. I can't understand it. From our discussions with visitors and friends, it was not a great year. Quality and selection was just so-so. This salon will soon become an art fair for contemporary photography. It is 'dans l'air du temps'. This year the visitors were of lower quality, and, although some curators were present, they were not here as in past years. The same could be said for foreign (non-French) clients. Fortunately, there were some very serious French clients for well-known contemporary work. And for classic material, it's not 'on time' but 'gone time'."
At Camera Works' booth, which focused much more on its contemporary artists this year than previously, the Berlin galley reported they sold: four David Drebin's; five Esther Haase's; 11 Peter Lindbergh's; four Robert Polidori's; six Martin Schoeller's; and one photograph by Irving Penn. The gallery was still following up on another possible 20 sales at the end of the show. The company had also sold five additional prints before the fair even opened.
Boston photography dealer and AIPAD president Robert Klein reported "sales at Paris Photo this year were very strong, although most of the business occurred in the first 48 hours." Klein was one of the big hitters at the show, selling a 1923 Moholy Nagy 'Fotogramm'; a Giacomelli; a 1932 Walker Evans portrait of Berenice Abbott; a 1926 Man Ray portrait of Andre Derain; a 1929 Man Ray portrait of James Joyce; and a Brassai 1940s print of Place de La Bastille from his 'Secret Paris' series. On the contemporary side, Klein sold a Michal Safdie from his new ice series; a Chip Hooper- New Zealand seascape; a huge 50 x 60 inch Tom Baril collodion enlargement print; and Lajos Geenen's "Birth of Solution" from Birth of... series.
Roger Szmulewicz of Antwerp's Fifty-One Fine Art Photography told me, "The fair was very good. It was very crowded, but with the right people. The work was of high quality and there was good diversity." Szmulewicz noted that his African photography was very popular, including Seydou Keita (5,000-10,000 euro), Malick Sidibe (1,800-4,000 euro) and Ojeikere (between 1,800-4,000 euro). He said that Jurgen Schadeberg (around 2,000 euro) and Jean-Dominique Burton (2,500 euro) also sold well. Burton's photographs of African kings "had very good feedback". Bart Michiels (2,000-6,000 euro) and Ivan Pinkava (2,000-6,500 euro) were also highlights of the booth. Just for our readers' reference, the euro was trading at about $1.19 at the time of the show; it is currently approaching $1.22.
Anna Walker Skillman of Atlanta, GA-based Jackson Fine Art told me that the gallery had a great response from the collectors at the show and that her show experience was "overall successful. The energy was terrific and positive. The crowds were large the first night, and it was difficult to see the work; however, the buzz fuelled the energy of the show." Skillman noted that she showed contemporary work that "did very well", including Ruud Van Empel's 'World #5' and Mona Kuhn's 'Amsterdam V'. Graciously complimenting a fellow exhibitor, Anna said, " I also really loved Angela Strassheim and Ingar Krauss at Marvelli Gallery's booth."
New York dealer Tom Gitterman said, "We did fine but sales were a bit off compared to last year; however, we got some great new European clients and excellent press for our artists and the gallery. We did very well with work by Joseph Szabo, photographs of teenagers in the 1970s and early 1980s on Long Island (price range $2500-4,000) and by the Dutch photographer Fieret. After the show a French client bought a great Brett Weston from us after visiting us in New York. It also looks like a nice Mapplethorpe male nude we had at the fair will sell to a client from the fair as well." Gitterman noted that "We still have available a great Moholy fotogram at $175,000, a 1944 vintage Siskind 'Glove' at $18,000, a vintage Cunningham 'Flax' at $90,000 and a great vintage Weston 'Dune' at $100,000." Gitterman says that Paris Photo "still looks great, gets great press, and attracts a great and diverse audience."
Paris dealer Serge Plantureux revealed that while he did "well, better than last year", few of the sales resulted in immediate payments (an on-going complaint about cash flow from dealers these days). His stand, near my own, had some interesting images, as Sandra Phillips mentioned earlier. The booth featured Luke Swank's coated vintage prints, Wright Morris' contacts prints and a group of vintage Man Ray images, including several of the notorious Kiki that came directly from her. He sold four Man Ray's in all, including one for over 90,000 euro--although some of these sales may have been made just prior to the show. He reported that he sold a little bit of every type of photography--19th, 20th-century and contemporary. Serge Plantureux felt that the show was "more mature than ever, but it did not have enough 19th-century work."
Austrian dealer Johannes Farber told me, " We did very well; it was the best Paris Photo fair ever for us." Farber sold a Dorothea Lange print of White Angel Breadline from the 60s (this was the same image that recently and briefly held the world record for a 20th-century photograph at auction, when one sold at Sotheby's New York this fall), a rare large exhibition print by Josef Sudek of a 'Madonna' (plus other Sudeks), a vintage portrait of Jacques Prevert by Wols, an early Helmut Newton vintage fashion study, three Heinrich Kuehn gum prints and a rare nude study by Anton Josef Trcka. An early vintage print by Rudolf Koppitz of his famous Movement Study for 160,000 euro and a Man Ray portfolio print from Champs Delicieux for 38,000 euro were still available.
London gallerist Michael Hoppen called this year's Paris Photo the "best for a number of years. Overall quality was much better and more diverse." Michael said that he did "extremely well. Most areas sold very well, apart from classic Paris images!" Besides those Parisian images that may not have sold well, Hoppen exhibited the hot Japanese artist Araki.
Attila Pocze of the Hungarian Vintage Galeria said, "I felt this year was a breakthrough point to a higher level in the growth of the number of attendees and collectors at Paris Photo. Our most interesting pieces were Gyorgy Lorinczy's photographs from the series 'New York, New York' from 1968. The original book (1972) on this series was really a focus of interest."
Edwynn Houk sold four Stephen Shores at $16,000 and an absolutely stunning solarized nude by Raoul Ubac, one of my favorite pieces at the fair. The Ubac was very well priced in the mid-30s.
New York's Hans P. Kraus gallery, which presented a tribute to the English early photographer Roger Fenton (featured in several major museum shows last year), sold a dozen prints, one at more than $100,000, although not a Fenton but a Benjamin Brecknell Turner.
Returning to Paris Photo this year, the Rose Gallery from Santa Monica sold, among other items, four photos by Diane Arbus, including her 1967 'The Patriot' at $ 65,000 and four Egglestons at $18,000.
Other top 20th-century artists featured at various locations in the show included Raghubir Singh at the Munich gallery F 5,6, Sasha Stone at Paris' own (and my Paris Photo neighbor) ART 75-Yves di Maria, Antonio Caballero at Toluca, Ed Burtynsky at Charles Cowles Gallery, and Erwin Blumenfeld at Deborah Bell Photographs.
At our own booth (Vintage Works) our featured contemporary artist Marcus Doyle broke through at this show. It didn't hurt that the artist was on hand to sign his new book, "Night Vision". We had to replace some of his prints (ranging between $2,000-6,000) three times on the wall because of Parisian collectors wanting to take the framed pieces home with them. Along with orders from the show, six of Doyle's prints sold, and several more are still pending. Plus nearly 60 books ($39.95, plus postage, for softbound copies) quickly disappeared, including one limited edition with print ($500 and limited to 100 copies). The frenzy was quite palpable in the booth at times. Harper's magazine is planning to feature two of Doyle's images in its Readers' Section for up and coming artists and writers. Several museum curators were also very enthusiastic about the work. Marcus brought some new work for me to see at the show, which I am very excited about and will bring with me on my private selling trip to Los Angeles later this month (see the above story).
In addition to Marcus Doyle's large-scale color contemporary work, we sold a bit of everything, including a small but exquisite platinum print by contemporary artist Ray Bidegain, whose work is tremendously undervalued (that won't be for long). Over a dozen 19th-century pieces sold at and immediately after Paris Photo, including a six-figure Le Gray, an important print of Grasse by Charles Negre, a large print of Skull Rock by A. J. Russell and a marvelous image by Dr. John Murray, which was featured in the Traces of India exhibition. We sold even a bit more 20th-century photos, which included work by Brassai, Lartigue, Kertesz and Russell Lee. Our three Steichen masterworks were among the more admired of the images on our walls (and the Le Gray marine that sold early). But there was also lots of interest in our 19th-century prints by Auguste Salzmann, Roger Fenton and Charles Negre, plus some of our top daguerreotypes by Southworth & Hawes and by De Prangey. The large color contemporary work of Lisa Holden and Joel D. Levinson also received a lot of attention from curators and collectors alike. Several institutions who came to our booth are also considering work, and we have already sold to new clients from this show a second time via the website.
While in Paris, I bought a unique Man Ray (Kiki with Giacometti sculpture), two fabulous Francois Kollar prints (a doubled Eiffel Tower; and a triple impression of a woman and chess pieces), a fine group of Julia M. Cameron cartes-de-visite, two amazing stereo daguerreotypes, important 1850s Italian images and a vintage Manuel Alvarez Bravo, among the 110 new photographs that I posted to our websites just this past week. To view these images, just go to: http://www.iphotocentral.com/search/result_list.php/48/7/VintageWorks/0
Launched in 2004, the BMW-Paris Photo Prize, worth 12,000 euro, was awarded this year to the American artist Anthony Goicolea for 'Ghost Ship', 2005. Goicolea is represented by the Luis Adelantado gallery of Valencia. The theme was "Spirit on the Move" for this year's competition, open to living photographers represented by a Paris Photo 2005 participating gallery.
This year the country of Spain was selected as the spotlighted country. It was well represented by a robust contingent of 14 selected galleries (eight in the Statement sector alone); the Central Exhibition, featuring the collection of the Comunidad de Madrid; and the Project Room, where videos from the video collections of four Spanish museums (the Artium in Vitoria, the Burgos CAB, the Comunidad de Madrid and the Leon MUSAC) presented the best of a lively photography scene--all in all, bringing a fresh new generation of artists to the international market, among them Alicia Martin, Raul and Sergio Belinchon, Carmela Garcia, Dionisio Gonzales, Cristina Lucas, and Bleda & Rosa.
The next Paris Photo will take place at the Carrousel du Louvre, Paris, on November 16-19, 2006, with the spotlight on Scandinavia (Denmark, Finland, Iceland, Norway and Sweden).
Be-hold's absentee auction will take place on Wednesday January 18th, 2006, starting at 7 pm (Eastern Standard Time). Bids may be left directly with Be-hold, or bid on eBay Live in conjunction with iCollector.
While remaining faithful to its original foundation in small-format 19th-century photographs, the Be-hold 46 catalog/internet auction makes a major step forward in its presentation of significant 20th-century material. Maybe it is related to the other New York auction houses' move up the scale and on to erotica, but it seems that Be-hold appears willing and capable to fill the void for solid photography that isn't priced in six-figures, although give this auction time and it just might sell some items into that price range.
A strong selection of landscape photographs begins with some important moody pictorialist images by the great Belgian pictorialist, Leonard Misonne, followed by an equally moody 1918 French study by the Californian Fred Archer, made while he served in France in WWI. American material includes a rich California seaside scene by Jesse Tarbox Beals, a smaller 1930s "texture study" by Carlotta Corpron, and a 1965 shoreline study by Brett Weston. There is a great example of a glowing orotone sea and cloud view in its original frame, probably depicting a scene in Florida or perhaps Washington. But the highlight of this auction is an early 1970s print of Ansel Adams' iconic "Moonrise Over Hernandez, N. Mexico", reportedly in excellent condition. With a temptingly low $30,000 minimum bid and a quality level that the big houses only rarely get on this image, this print is clearly priced to go.
Contemporary images include a rare complete portfolio of Garry Winogrand's "15 Big Shots". This was projected to be an edition of 100, but only 35 portfolios were actually produced. Other prints include a printed-later abstraction by William Keck, photographs by Keith Carter, Franco Fontana and others. There is a rare pictorialist nude 1917c by Belgium pictorialist and friend of Misonne, Maurice Ummels and a group of eight postcard-sized photographs by Drtikol. A striking 1930 nude by Willy Kessels is offered, as well as a 1930s advertising collage by Kessels. Another striking collage in the sale, this time from the 1940s, is by Grancel Fitz.
Social-oriented material includes a large rich 1939 print by Arthur Siegel of a union crowd, similar to his famed "Right of Assembly" and a 1940s Chicago night scene by Gordon Coster. There are scenes of San Francisco billboards from the post-Earthquake era, and a 1950s picture by the under-appreciated San Francisco photographer Phil Palmer. Vintage press prints include some Israel War subjects by Cornell Capa, and Vietnam War images by P. Jones-Griffiths and Ralph Nelson.
Twentieth-century portraits include three great one-of-a-kind hand-colored Indian portraits by Carl Moon in their original frames, and wonderful pictorialist portraits by Max Thorek and the Hawaiian photographer Carolyn Haskins Gurrey. There is also a strong art-deco style portrait by Dorothy Wilding of the tennis star and fashion icon Helen Wills.
In the wake of the recent show of Spirit Photographs at the New York Metropolitan Museum of Art, there is an important spirit photograph tintype, and several photographs from the Cyril Permutt collection that were used for his book "Photographing the Spirit World".
Many other lots show the unexpected world of images that have characterized Be-hold offerings.
There are 41 lots of daguerreotypes, including a pair of important stereoscopic daguerreotypes by T.R. Williams with possible family connections to the photographer, as well as a stereo daguerreotype by Claudet and a stereoscopic daguerreotype nude with tambourine. Other daguerreotypists represented in the sale include Whitehurst, Root, Brady, Carleton and others.
The generous selection of daguerreotypes and later unique images--ambrotypes and tintypes--is supplemented by a collection of thermoplastic cases and related objects, some containing interesting images. This last section is available only on the Internet at the site http://www.be-hold.com
. Everything else is also presented in the excellent printed catalogue, which can be ordered from Be-hold for $20, or $50 (North America); $70 (elsewhere) for a subscription to three issues, plus follow-up results/reports.
The early material includes a strong selection of cartes-de-visite, cabinet cards and stereo views, as well as early albumen prints, including a rare signed albumen print showing a photo gallery by Abel Niepce de St. Pierre.
The absentee auction will take place on Wednesday January 18th, 2006, starting at 7 pm (Eastern Standard Time). See the catalog or web site for information. There will be a preview in New York City, at the Affinia 50 Hotel (50th St. and 3d Ave.) on January 11th, 12th and the morning of the 13th, with a reception at 5 pm on Thursday, January 12. Contact Larry Gottheim at Be-hold by phone at 1-914-423 5806, or by email at firstname.lastname@example.org
. The illustrated catalogue can be ordered from Larry directly or via the http://www.be-hold.com
As the E-Photo Newsletter reported two issues ago, the Droit de Suite (a commission paid to the artists and their estate on each and every resale of their work) is now in place in all of Europe, including the United Kingdom, which had been fighting to limit its provisions. Its provisions immediately effect all galleries, dealers and auction houses selling living artists whose work resells at €1,000 or more.
The Telegraph Group recently reported that the U.K. government published details of how droit de suite will be implemented and announced that the threshold for the levy would be reduced to €1,000 (£680). Although there was no pressure to do so from the European Union, apparently the Labour government abandoned--without a fight--a concession that it had spent years negotiating.
"By doing so," said the Telegraph, " it made all but the very cheapest contemporary works subject to the levy and inflicted even more paperwork on dealers and auction houses without creating a substantial extra windfall for artists."
The Telegraph's online columnist, Will Bennett, continued, "What is clear is that the battle over droit de suite has been lost. We are more likely to see pigs flying over London than to get the second part of the levy, payments to descendants of dead artists, postponed or scrapped. Welcome to the wonderful world of European harmonisation."
The New York Times has reported that the Italian government has refused to lend the GETTY MUSEUM a group of bronzes from the Italian National Archeological Museum in Naples for the Getty's gala reopening of its Villa facility. This follows on the heels of the Italians prosecuting former Getty curator Marion True for allegedly trafficking in stolen antiquities. Instead the Getty will dip into its photography collection to put on a major show of early images of archeological sites, which is scheduled to open shortly this month.
VIRGINIA HECKERT has been named Associate Curator at the Getty Museum, replacing Julian Cox, who had left to head up the photography program at the High Museum in Atlanta. Heckert had been the first curator of photographs at the Norton Museum of Art in West Palm Beach, FL. She was a collaborator with the University Art Museum, California State University, Long Beach, CA, in organizing "Candida Hofer: Architecture of Absence", which is currently on view at the Norton Museum.
Meanwhile, replacing Heckert, CHARLES A. STAINBACK has been named curator of photography at the Norton Museum of Art. The former director of the Aperture Foundation's Burden Gallery, the International Center for Photography and the Tang Museum at Skidmore College, Stainback was most recently director of SITE Santa Fe.
In what appears to be a major evolution for an auction house, PHILLIPS DE PURY & CO. is now representing Mario Testino for the sale of his photographic prints and will be hosting an exhibition of his work comprising 36 photographs from January 28 to Feb. 17 in its New York galleries in Chelsea. Included in the show will be iconic images of Madonna, Kate Moss, Gwyneth Paltrow and Jude Law, along with a selection of his work for Gucci, Vogue and Vanity Fair. As part of what it called a "new strategic development", Phillips de Pury said it would regularly hold such shows in its exhibition space in Chelsea. The exhibitions will run alongside the company's regular auction material and will include a select number of designers, photographers and artists.