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Paris Photo ’09

November 24th, 2009

paris_photo1

Sold[/caption]

Simon Roberts We English so it was nice to see my favorite image of the Paragliders from the book as a large print. I also saw prints from Amy Steins Domesticated project which I still love despite finding out they are constructed using stuffed animals.

Prints from Simon Roberts 'We English' book at the Photographers Gallery stand[/caption]

book of her work.

Image: Evelyn Hoffer[/caption]

Flow and Fusion that use long exposures to record the movement of people and objects, mostly in urban environments.

Image: Ken Kitano Tokyo Dome from the book Flow and Fusion[/caption]

image: Yao Lu[/caption]

images Yao Lu

images Yao Lu

Detail of image by Yao Lu

Detail of image by Yao Lu


Antoine d Agata, Diary, Palestine, 1999 -2005[/caption]

Antoine d Agata, Detail from Diary, Palestine, 1999 -2005

Antoine d Agata, Detail from Diary, Palestine, 1999 -2005


History project is a good example of a photojournalist breaking the mould but retaining his documentary credibility. Delahayes huge prints were on sale for $15,000 each when they first went on sale in NYC and he now refers to himself as an artist...

Luc Delahaye, Dead Taliban[/caption]

"At the heart of the discussion was the financial and artistic crisis that photojournalism is currently going through.

On the financial side, few magazines any longer commission photographers to go off for several months and produce an "essay". So, to consolidate their careers, photojournalists are inevitably looking to book production and the galleries.

On the aesthetic side, many photographers are going through a soul-searching similar to that of painters in the late 1800s when, for some at least, photography made figurative, naturalistic work redundant"

Strangely this quote is from the facebook page for his History Project.

One Response to “Paris Photo ’09”

  1. Johanna

    Hello N,

    I had similiar feelings when I was there last year and the year before that. That I was really seeing the commercial/business side of things – and felt a little cheated – where were the surprises? The galleries or dealers going out on a limb? It all felt very safe. (I thought this year with the Middle-Eastern theme you might see something different).

    To take a stand however (we looked into it for the first time this year) is horrendously expensive so I guess if you exhibit – what’s up on your walls has to be a pretty safe bet to cover your costs…

    Interesting you liked Lao Yu. He was exhibited last year too and I was blown away by them aswell – you really need to see them as large photographic prints – none of the reproductions in books or magazines do them justice…

    I think it’s good that Magnum & Agence Vu have a presence at events like this. It’s good to make people feel a little uncomfortable every now and then. Makes them think.

    Surely a documentary photographer has to chosen to “communicate” something – why should the method of distributing that message be restricted to traditional avenues? And because something has an aesthetic value does that it mean its message is devalued?

    Brings to my mind writers/commentators like Malcolm Gladwell for example – who write to entertain AND inform at the same time. Their ideas and messages reach a much wider audience that way…

    A sweet pill gets swallowed more readily than a bitter one… But I guess the thing is whether the good effects are diluted if they have a sugar-coating…?
    I have no answer to this…

    Lastly think what you say about S.P.’s strength as an “outsider” is interesting.

    I can draw parallels between Street Photography and Street Art – both come out of a passion – and are made “just because”.

    Just becuase the photographer or artist felt like it.

    Street Art, as we all know has become appropriated by the conventional art world fetching huge prices – and there are endless books published on the subject – but what I find interesting is on the whole the artists seem perfectly able to reconcile this with their own personal work – considering the prices (& celeb collectors) there aren’t really that many accusations of “selling-out”…

    Because the artists are staying true to their roots?

    J

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