The AIPAD Photography Show New York, presented by The Association of International Photography Art Dealers each spring at the Park Avenue Armory, celebrates the medium’s irresistible alchemy, from its 19^th-century origins to its practice by artists around the globe today.

Every year I go as a collector with an invisible [actually, non-existent] budget. But that wouldn't deter me from my intention, which is to assemble a fine collection of images that satisfies something deep inside my soul. My most recent imaginary collection began last year, with photographs that express mysteries of the universe as revealed by artists enraptured by science [here].

This year, I continued my search, somewhat in the thrall of cloud- and cloud-like forms. On entering the Drill Hall of the Armory yesterday, I was greeted by contemporary work [some of it made this year], mid-century classics, and sublime antiquities. The first thing that got my attention was a piece by Marco Breuer from his camera-less series of images that are folded, scratched, and burned, and created under night-time skies, at Yossi Milo.

Daniel Blau, London

Across the aisle, at Daniel Blau, were two photographic documents of military operations:  a TV picture of a nuclear test in Nevada, in 1952; and an image from one of the first nuclear tests at Los Alamos, on July 16, 1945. At Bruce Silverstein was a Stieglitz Equivalent from 1927, and at Hans P. Kraus Jr., a photogravure landscape with towering high clouds, by Alvin Langdon Coburn, from the early 1900s.

Robert Klein Gallery, Boston

I’m off to a great start, and it’s hard not to be distracted by large, colorful images—Steven Kasher has a series of the most luscious lips and tongues in action by UK fashion efant terrible, Miles Aldridge; Robert Klein hosts the US fashion duo, Formento and Formento; Julie Saul is showing prints from Tanya Marcuse’s Fallen series, images of decaying fruits on the ground; and M+B Gallery has several formal abstractions by Hannah Whitaker, who is influenced by early 20^th-century mathematical experiments, as well as Jessica Eaton’s dimensional constructions that play off the color inquires of Josef Albers.

Julie Saul Gallery, New York

Several photograms from mid-century to the present that would complement my collection-in-the-works include a spectacular visual explosion by Herbert Matter, from 1943, at Gitterman Gallery. At Yancey Richardson, I found new work by Bryan Graf, who makes hypnotic cameraless abstractions by combining black-and-white and color film. One of the most surprising images to make my short list was Kevin Cooley’s Starlight Trajectory, at Kopeikin Gallery, which he created by exploding toxic dyes inside his studio.

Kopeikin Gallery, Los Angeles

Even with an imaginary budget, like any legitimate collector I still have to narrow down my choices. That’s what makes this exercise both challenging and rewarding. At The Armory, the floor is open to collectors and aficionados alike through the weekend.


Gitterman Gallery, New York

The AIPAD Photography Show continues through Sunday at The Park Avenue Armory. 643 Park Avenue at 67^th Street, NY, NY. Information.
On Saturday, a series of panel discussions begins at 10 am. Tickets/$10 per for these events, which take place nearby, at Hunter College, can be purchased at The Armory. Information.