Inspiration at PhotoFairs New York!

What Makes It Great? / Featured / September 27, 2023

By Elin Spring

What do you look for at a photography fair? A classic like Cartier-Bresson, something new and edgy, or maybe an image that moves you in ways you don’t care to fathom? Me, too. But even more than that, I look for trends. Some would dismiss this approach as faddish but every movement – whether in politics, the economy, or in art – takes a pulse of the times, holds a mirror to our lives, and often portends the future.

Recently, I went to the inaugural PhotoFairsNY at the Javits Center in New York City. What I saw there was as diverse as it was inspirational – which is to say, very. And most of it shared a defining characteristic: handcrafting. The aesthetic and psychological rewards of creating (and collecting!) something made by hand are enormous. So, is this some kind of backlash to the meteoric rise of work created using artificial intelligence? Or like ai, is it an alternate way of fusing the many facets of modern life?

Whether in concept, through composition, or materials and methods (and often all of those), the most exquisite work was unique and personal. Each found ways to explore themes as old as identity and memory or as contemporary as climate change and technology. I am delighted to share some of my favorites here and have provided links to each gallery, if you want to explore further.

Lucia Engstrom “Archipelago, 2022” Hand Embroidered with Organic Wool, Silk and Mohair; Cotton Rag Paper, 32 x 46 inches, courtesy of Von Lintel Gallery, Santa Monica, CA.

Lucia Engstrom, Detail of “Archipelago, 2022” Hand Embroidered with Organic Wool, Silk and Mohair; Cotton Rag Paper, 32 x 46 inches, courtesy of Von Lintel Gallery, Santa Monica, CA. (Installation photo by Elin Spring)

Rhiannon Adam “Super Soft Ice” Collage of Polaroid emulsion transfers, 56 x 76cm, courtesy Elijah Wheat Showroom, Newburgh, NY.

Rhiannon Adam, Detail of “Super Soft Ice” Collage of Polaroid emulsion transfers, 56 x 76cm, courtesy Elijah Wheat Showroom, Newburgh, NY. (Installation photo by Elin Spring)

David Samuel Stern “Untitled Woven Portrait 23, 2021″ Three photographic prints on archival translucent vellum, physically cut and woven together by hand, 15.25 x 10.5”, courtesy of Marshall Gallery, Santa Monica, CA.

David Samuel Stern, Detail of “Untitled Woven Portrait 23, 2021″ Three photographic prints on archival translucent vellum, physically cut and woven together by hand, 15.25 x 10.5”, courtesy of Marshall Gallery, Santa Monica, CA. (Installation photo by Elin Spring)

Lilly Lulay “Our Writing Tools Take Part in the Forming of our Thoughts A, 2017″ C-print, Lasercut, 59 x 79”, courtesy of Sous Les Etoiles Gallery, NY. (Installation photo by Elin Spring)

Lilly Lulay, Detail of “Our Writing Tools Take Part in the Forming of our Thoughts A, 2017″ C-print, Lasercut, 59 x 79”, courtesy of Sous Les Etoiles Gallery, NY. (Installation photo by Elin Spring)

Orly Cogan “Kitty in Pink, 2023″ Hand stitched embroidery on printed fabric, 7.75 x 10.75”, courtesy of Robert Mann Gallery, NY. (Installation photo by Elin Spring)

Tabitha Soren “St. Helena, 2019” from the series Relief, Archival pigment print with unique paper cuts, 35 x 35″, courtesy of Jackson Fine Art, Atlanta.

Tabitha Soren, Detail of “St. Helena, 2019” from the series Relief, Archival pigment print with unique paper cuts, 35 x 35″, courtesy of Jackson Fine Art, Atlanta. (Installation photo by Elin Spring)

Delphine Diallo “The Protectors, 2023″ Collage mixed media on archival paper, Unique, 27 x 25” courtesy of Fisheye Gallery, Paris.

Rose Marasco “Projection No. 2, 2002,” Camera Lucida projection, courtesy of OSMOS, NY.

Chris Engman “Playroom, 2021,” Photograph of drawings & paintings by the artist & toddler son on projected photograph, 57.5 x 74.5″, courtesy of Luis De Jesus, Los Angeles.

Albarrán Cabrera, from the series The Mouth of Krishna, “handcrafted prints using a wide range of processes & materials either by inventing new techniques or by experimenting with established ones expanding their ‘photographic syntax’,” courtesy of BILDHALLE, Zurich + Amsterdam.

Amanda Marchand & Leah Sobsey, “Herbarium Plate 8 – Petunia, 2023″ Archival pigment print of fugitve Anthotype, 40 x 31.5”, from the series & book This Earthen Door: A Reworking of Emily Dickinson’s Herbarium, courtesy of Rick Wester Fine Art, NY.

Feature Image: Amanda Marchand & Leah Sobsey at an Artist Talk about their Anthotype project & book This Earthen Door: A Reworking of Emily Dickinson’s Herbarium sponsored by (at left) Rick Wester Fine Art at PhotoFairsNY. Every Anthotype was created using flora grown or referenced by poet & avid gardener Emily Dickinson. (Photo by Elin Spring)

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2 Comments

Raphael Shammaa

on January 31, 2024

It is usually hard to tell why something works and when we (think we) succeed at spelling it out, not everyone agrees. It’s like makeup on a woman, if you notice the makeup before you notice the woman … it’s poor makeup.

For me, a beautiful photograph generates wonderment for, at least, a fraction of a second – witness the effect of work from great photographers. During that brief time the brain disconnect from the senses because it finds itself out of its depth.

But when I look at many of the so-called new and creative images at art fairs or galleries today, chances are that, in the preponderance, I’ll notice the artifice first and my mind, of course, will be kept busy.

I also think that galleries presenting new work should be grouped separately so as to allow visitors to exercise choice.

Still, I love these venues, and attend them regularly.they are great for meeting friends and fellow photographers.But I never write about them. Occasionally, I run into someone I want to interview.

Raphael Shammaa

on January 31, 2024

It is usually hard to tell why something works – like a piece of art. And when we succeed in spelling it out, not everyone agrees.

Looking at art, I feel, is like looking at makeup on a woman, if you notice the makeup, the artifice, before you notice the woman, it’s poor makeup and/or not art.

For me, a beautiful photograph generates wonderment for at least a fraction of a second – witness the effect of work from great photographers. During that brief time the brain disconnects from the senses because it finds itself out of its depth.

Not many new works of art do that at art fairs these days – especially in Photography, I find.

Still, I love these venues, and attend them regularly. They are great for meeting friends and fellow photographers. Occasionally, I run into someone I want to interview.

Still, it has to be said that art fairs hold a special place in art for both collectors and artists alike in so many other ways. And, they are good for business.