Events photography

5 highlights of the AIPAD 2022 photography fair, from an archive of an artist’s daily life to new prints from a lost master

For the first time since 2019, the photography fair, presented by the Association of International Photography Art Dealers (AIPAD), is back in New York and has a new home to boot.

Forty-nine galleries from 23 cities moved into Center 415, an event space-turned-IT store in midtown Manhattan, for the 41st edition of the event.

On display, as usual, is an assortment of photographic works, from period prints of canonized legends like Dorothy Lange, August Sander and William Eggleston, for new efforts by newcomers trying to join their ranks.

For our look at the fair’s offering, we’ve decided to focus on the latter group, highlighting only works created within the last three years (with one notable exception). See some of the stars below.

Anastasia Samoilova
Laurence Miller Gallery, New York

Madison Avenue (2022). Courtesy of Laurence Miller Gallery.” width=”819″ height=”1024″ srcset=”https://news.artnet.com/app/news-upload/2022/05/SAMOYLOVA-Madison-Avenue -2022-819×1024.jpeg 819w, https://news.artnet.com/app/news-upload/2022/05/SAMOYLOVA-Madison-Avenue-2022-240×300.jpeg 240w, https://news.artnet.com /app/news-upload/2022/05/SAMOYLOVA-Madison-Avenue-2022-40×50.jpeg 40w, https://news.artnet.com/app/news-upload/2022/05/SAMOYLOVA-Madison-Avenue- 2022-1536×1920.jpeg 1536w” sizes=”(max-width: 819px) 100vw, 819px”/>

Anastasia Samoilova, Madison Avenue (2022). Courtesy of Laurence Miller Gallery.

In Samoylova’s photographs, bright publicity images overlap shots of Manhattan buildings to produce a kind of disorienting double exposure effect. But each is the product of a single click of the shutter, explained dealer Laurence Miller.

“These are all sightings.” he said. “She doesn’t make them.”

Of course, look closely and you’ll see that Samoylova shoots through store windows, capturing, in a single frame, both the ambient corporate ball in front of her and the industrial facades behind – New York’s past and present. York collapsed into single frames.

“These are dynamic images of how architecture is subject” to “the image-driven urban experience,” Miller added.

Six photographs from the series, a new body of work for the artist, are on display at Miller’s stand. Each is priced at $8,000.

Narumi Hiramoto
International Photo Gallery (PGI), Tokyo

Narumi Hiramoto, <i>Good news</i> (2021).  Courtesy of PGI.” width=”819″ height=”1024″ srcset=”https://news.artnet.com/app/news-upload/2022/05/029-good-news-narumi- hiramoto-819×1024.jpeg 819w, https://news.artnet.com/app/news-upload/2022/05/029-good-news-narumi-hiramoto-240×300.jpeg 240w, https://news.artnet. com/app/news-upload/2022/05/029-good-news-narumi-hiramoto-40×50.jpeg 40w, https://news.artnet.com/app/news-upload/2022/05/029-good -news-narumi-hiramoto.jpeg 960w” sizes=”(max-width: 819px) 100vw, 819px”/></p>
<p class=Narumi Hiramoto, Good news (2021). Courtesy of PGI.

Narumi Hiramoto was born just five years ago.

Well, sort of. The name is actually a pseudonym, adopted in 2017 by Japanese artist Yusaku Yamazaki (b. 1984) for a Instagram account on which he posts daily photographic experiments: trippy digital scenes, surreal collages taken from old images, etc.

Many images under Hiramoto’s name, including all of the examples on display at AIPAD, begin with a photograph from the local daily newspaper in the artist’s hometown outside of Tokyo, turning the project into something of a living archive.

“It’s a reissue of what the media tells us,” PGI said. said Miyuki Hinton. “They really attract you.”

The Tokyo-based gallery has partnered with L. Parker Stephenson Photographs of New York for a joint presentation at the fair. Half of the gallery stand – half Hiramoto – is organized around a surrealist theme, the other half around the sublimity of nature.

Guanyu Xu
Yancey Richardson, New York

Guanyu Xu, <i>worlds within worlds</i> (2019).  Courtesy of Yancey Richardson.” width=”725″ height=”580″ srcset=”https://news.artnet.com/app/news-upload/2022/05/5a951811964e06874855f6f18a26dc0f.jpeg 725w, https:// https://news.artnet.com/app/news-upload/2022/05/5a951811964e06874855f6f18a26dc0f-300×240.jpeg 300w sizes=”(max-width: 725px) 100vw, 725px”/></p>
<p class=Guanyu Xu, worlds within worlds (2019). Courtesy of Yancey Richardson.

For his “Home temporarily censored » series, an example of which is a view at Yancey Richardson’s booth, photographer Guanyu Xu surreptitiously hung hundreds of printed images – some personal, some found, many overtly erotic – in his parents’ Beijing home, transforming bland home decor into messy one. , gorilla-style setup. Then he photographed the results and wrote everything down before they returned from work.

For the artist, who grew up as a closeted gay man in a conservative home, the project was to “reclaim and queer this heteronormative space that otherwise could never be his,” Richardson said. “Xu understood his sexuality through fashion and film magazines. This is also how he discovered Western culture. For this reason, she explained, “the printed image is a touchstone in her work”.

Xu’s piece, priced at $8,500, was snatched up by Harvard Art Museums within the first hour of the fair, the dealer said. The artist’s works have also been acquired by SFMOMA, the New Orleans Museum of Art and the Museum of Fine Arts in Houston.

Saidou Dicko
Jackson Fine Arts, Atlanta

Saïdou Dicko, <i>Opera, Act1 T LUANDA3</i> (2022).” width=”1024″ height=”768″ srcset=”https://news.artnet.com/app/news-upload/2022/05/Saïdou-Dicko_Opéra_Act1-T-LUANDA3_2022-1024×768.jpg 1024w , https://news.artnet.com/app/news-upload/2022/05/Saïdou-Dicko_Opéra_Act1-T-LUANDA3_2022-300×225.jpg 300w, https://news.artnet.com/app/news-upload/ 2022/05/Saïdou-Dicko_Opéra_Act1-T-LUANDA3_2022-50×37.jpg 50w” sizes=”(max-width: 1024px) 100vw, 1024px”/></p>
<p class=Saidou Dicko, Opera, Act1 T LUANDA3 (2022). Courtesy of Jackson Fine Art.

Vibrant weaving patterns surround many subjects in Saïdou Dicko’s portraits, as if wrapped in mesh netting. The artist, born in Burkina Faso, digitally superimposes photographs of his family’s textiles to achieve this effect. He creates a sense of movement and flow around his models, each of which has been hand-painted, flattened into black silhouettes (hence the name of his series, “The People of Shadow”).

“He universalizes his subjects,” said Courtney Lee Martin, sales manager at Jackson Fine Art. Dicko grew up as a shepherd, she explained, noting that he is “very connected to animal spirits, deeply connected to their shadows.”

Priced at $6,000 each, each of the large-scale media prints is unique. Half of the proceeds from Dicko’s sales are donated to the artist’s foundation, which benefits communities in his home country.

Lora Webb Nichols
Danziger Gallery, New York

Lora Webb Nichols, <i>Bert Oldham Jr.</i> (1911).  Courtesy of Danziger Gallery.” width=”342″ height=”580″ srcset=”https://news.artnet.com/app/news-upload/2022/05/3e2a1161d5cdaab1584916052bf68584.jpeg 342w, https https://news.artnet.com/app/news-upload/2022/05/3e2a1161d5cdaab1584916052bf68584-177×300.jpeg 177w jpeg 29w” sizes=”(max-width: 342px) 100vw, 342px”/></p>
<p class=Lora Webb Nichols, Bert Oldham Jr. (1911). Courtesy of Danziger Gallery.

Lora Webb Nichols’ photographs are not new, but the prints exhibited at Danziger Gallery are. The stand marks the first time these photos, all taken by Nichols in the early decades of the 20th century while working as a professional photographer in the small mining town of Encampment, Wyoming, have been publicly displayed. Until recently, few people knew that the photos, let alone the photographer herself, existed.

Gallery owner James Danziger said he discovered the Nichols photos like most people did, through a popular book released last year. He worked with Nicole Jean Hill, the book’s editor, to produce gelatin silver prints from the artist’s own negatives, some over a century old. Each belongs to an edition of 15 and is priced at $2,500.

“You can see this person couldn’t help but take pictures in a way that makes them stand out,” the retailer explained. “There’s something about every image that strays a bit from a snapshot. That’s what attracts me to the job. There’s a generous perk in there.

Danziger added that he is planning exhibitions around Nichols’ work at his galleries in New York and Los Angeles later this year.

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