AIPAD Photography Show 1999

 

AIPAD, The Association of International Photography Art Dealers, Inc
The Photography Show 1999
Exposition of Vintage and Contemprary Photography
February 5-7, 1999

80 AIPAD Dealers from the United States, Canada, Europe, and Japan

Americas Halls I & II
New York Hilton
53rd Street & Avenue of the Americas
New York, NY

The Photography Show 99, sponsored by the Association of International Photography Art Dealers [AIPAD], will return to New York City February 5th to 7th, 1999. The Photography Show 99, the world's largest art fair devoted to fine art photography, will be held in the Exhibit Halls at the New York Hilton, 53rd Street and Avenue of the Americas.

More than eighty AIPAD dealers from the United States, Canada, Europe and Japan will participate in the 1999 exposition. An extensive range of fine art photography, from rare vintage works to cutting edge contemporary, will be on view and available for purchase. The Photography Show, now in its nineteenth year, is internationally recognized for unparalleled connoisseurship and has become an invaluable event for leading museum curators, established as well as beginning collectors, and interior designers.

A special feature of The Photography Show 99 will be an exhibition of rarely seen photographs from the collection at The Center for Creative Photography at The University of Arizona in Tucson. Entitled Images for an Age, the exhibition will feature more than thirty masterworks by American photographers who have defined the art of photography in the 20th century. Included in the exhibit will be Ansel Adams, Lola Alvarez Bravo, Richard Avedon, Harry Callahan, Louise Dahl-Wolfe, Laura Gilpin, Helen Levitt, Margrethe Mather, Tina Modotti, Dorothy Norman, Aaron Siskind, W. Eugene Smith, Frederick Sommer, Paul Strand, Edward Weston, Garry Winogrand, and others.

On Saturday morning, February 6th, from 9:30am to 11:30am, AIPAD will host a symposium on the history of collecting photography. The symposium is open to the public at no charge.

The 1999 event will be The Photography Show's seventh year at the exhibit halls of the New York Hilton Hotel. The popularity of the exposition has grown steadily since AIPAD's return to New York City in 1993. Attendance for the last show in February 1998 was well over 7,000 visitors. AIPAD Photography Show 98

The Photography Show 99 will be open to the public on three consecutive days: Friday, Saturday and Sunday: February 5th, 6th and 7th. Admission price is $15 daily; $30 for a three-day pass. The admission price includes AIPAD's annual Illustrated Catalogue and Membership Directory, 288 pages, over 200 illustrations. After February 7th, the catalogue can be purchased by mail from the AIPAD office: $25 postpaid; $35 outside the U.S. postpaid.

 

PHOTOGRAPHY SHOW 99 EXHIBITORS

AMERICAS HALL I

banning + associates
Stuart B. Baum, Inc.
The Camera Obscura Gallery
Zelda Cheatle Gallery
Galerie Michele Chomette
John Cleary Gallery
Jane Corkin Gallery
Catherine Edelman Gallery
Gary Edwards Gallery
Carol Ehlers Gallery Ltd.
Etherton Gallery
Keith de Lellis
Henry Feldstein
Galerie Faber
Peter Fetterman
Fay Gold Gallery
Howard Greenberg Gallery
Paul M. Hertzmann, Inc.
Michael Hoppen Photography
Edwynn Houk
Hyperion Press Limited
Gallery of Contemporary Photography
A Gallery for Fine Photography
Ken & Jenny Jacobson
Robert Klein Gallery
Alan Klotz/Photocollect
Robert Koch Gallery
Paul Kopeikin Gallery
Lee Gallery
Janet Lehr Inc.
Lewis Lehr, Inc.
gallery luisotti
Robert Mann Gallery
Laurence Miller Gallery
Scott Nichols Gallery
Picture Photo Space
PhotoArt
Photographs Do Not Bend
The Ralls Collection
Julie Saul Gallery
William L. Schaeffer
Scheinbaum & Russek, Ltd.
Charles Schwartz
Michael Senft / Masterworks
Staley-Wise Gallery
The Tartt Gallery
Throckmorton Fine Art

AMERICAS HALL II

Deborah Bell
Joseph Bellows
Bonni Benrubi Gallery
Sandra Berler
Christian Bouqueret
J.J. Brookings Gallery
Stephen Bulger Gallery
Stephen Cohen Gallery
Commerce Graphics Ltd, Inc.
Stephen Daiter Photography
James Danziger Gallery
Kathleen Ewing Gallery
Fahey/Klein Gallery
Wm. Floyd Gallery
The Halsted Gallery, Inc.
Hamiltons
L. Herschtritt
Charles Isaacs Photographs
Galerie Rudolf Kicken
Hans P. Kraus, Jr. Inc.
Baudoin Lebon Galerie
LIFE Gallery of Photography
Lee Marks Fine Art
Mayer & Mayer
Galerie Bodo Niemann
Photography: The Platinum Gallery
Yancey Richardson Gallery
Howard Schickler Fine Art
Lisa Sette Gallery
Singer Photography
Andrew Smith Gallery
Joel Soroka Gallery
Galerie Zur Stockeregg
Vision Gallery
Wach Gallery

 

AIPAD
1609 Connecticut Avenue, NW
Washington DC 20009

Jasper Johns: Process and Printmaking at Philadelphia Museum of Art

Prints By Jasper Johns Provide Insights To Creative Process

Jasper Johns: Process and Printmaking, an exhibition on view at the Philadelphia Museum of Art from January 23 through April 4, 1999, presents 125 proofs and edition prints drawn almost entirely from the artist's personal collection. Among them are 30 completed works that are shown alongside their preliminary proofs, providing insight into the artist's complicated working process. Jasper Johns: Process and Printmaking will be installed in the Berman and Stieglitz Galleries on the Museum's ground floor.

JASPER JOHNS was at the center of the "painter-printmaker" revolution of the 1960s and was preeminent among a group of artists who broke with tradition by devoting themselves equally to both media. His works on paper, which frequently echo the imagery and themes of his paintings, continue to represent an important and integral component of his work. During the course of his intense exploration of the printmaking medium, Jasper Johns has expanded the possibilities of each of the print techniques he has used. At the same time, he has incorporated the concepts intrinsic to printmaking—reflection, reversal and transfer—into other aspects of his art, such as painting and sculpture.

Experimentation and variation are central to Jasper Johns's work. He has stated, "I think that the picture isn't pre-formed, I think it is formed as it is made; and might be anything." Jasper Johns's painting method, while involving constant alteration and feedback, produces completed works that bear little (if any) evidence of the stages of their dramatic development. His prints result from a similar approach, but the proofs made during the process allow the viewer to glimpse specific points in each work's evolution.

Beginning in the early 1960s, Jasper Johns often would embellish early stages of his prints with chalk, crayon, paint, and ink while he refined his imagery. These "thoughts, experiments, and asides," as Jasper Johns has called the proofs, reveal the unfolding of his painstaking working process.

Works by Jasper Johns figure prominently in the galleries of the Philadelphia Museum of Art. The Department of 20th-Century Art includes Johns's Sculpmetal Numbers (1963) in its permanent collection, and its galleries have long been graced with loans of important works by the artist, including the painted bronze Savarin Can with Brushes and Painting with Two Balls (both 1960). The Department of Prints, Drawings and Photographs has an extensive permanent collection of works on paper by Jasper Johns, including some 80 prints and proofs, a drawing, and a group of posters. Jasper Johns has previously been the subject of two Museum exhibitions: Jasper Johns — Prints: 1960-1970, which was presented in 1970, and Jasper Johns: Works Since 1974, which was organized for the Venice Biennale of 1988-1989.

Jasper Johns: Process and Printmaking, organized by The Museum of Modern Art, New York, was sponsored by Philip Morris Companies, Inc. Additional support was provided by the National Endowment for the Arts. In Philadelphia, the exhibition is coordinating by John Ittmann, Curator of Prints at the Philadelphia Museum of Art.

The Return of Works of Art Belonging to Jewish Owners

ICOM Recommendations concerning the Return of Works of Art Belonging to Jewish Owners

 

During its last meeting, held in Paris in December 1998, the Executive Council of the International Council of Museums (ICOM) discussed the issue of works of art confiscated from Jewish owners during the Second World War and kept in museums or public collections.

According to ICOM's Code of Professional Ethics, the Executive Council wished to reiterate that In all activities, museum employees must act with integrety and in accordance with the most stringent ethical principles as well as the highest standards of objectivity

 

Concerning the confiscation of Jewish works of art, the Executive Council of ICOM made the following recommendations to museum professionals around the world:

> To actively investigate and identify all acquisitions of a museum, especially those acquired during or just after the Second World War, that might be regarded as of dubious provenance (notably objects once belonging to Jewish owners and stolen, looted or removed forcibly).

> To make such relevant information accessible to facilitate the research and identification of objects of doubtful provenance by potential rightful owners or their heirs.

> To actively address and participate in drafting and establishing procedures, nationally and internationally, for disseminating information on these objects and facilitating their rightful return.

> To actively address the return of all objects of art that formerly belonged to Jewish owners or any other owner, and that are now in the possession of museums, to their rightful owners or their heirs, according to national legislation and where the legitimate ownership of these objects can clearly be established.

 

About ICOM

Created in 1946, ICOM is the international organisation of museums and professional museum workers. Composed of 15 000 members from around the world, ICOM is devoted to the promotion and development of museums and the museum profession.

In 1986, ICOM adopted a Code of Professional Ethics that every museum professional agrees to respect upon joining the Organisation. This Code, now translated in more than 20 languages, lays down precise rules governing the acquisition and de-accessioning of collections, and personal responsibility towards the collections, the public and the profession.

The Executive Council is ICOM's governing body. It is composed of 10 members elected triennially and chaired by Alissandra Cummins (Barbados), President of ICOM.

 

ICOM - International Council of Museums

Maison de l'Unesco
1, rue Miollis
75732 Paris cedex 15
France   

Olympus OM-2000 35mm SLR camera - Features & Specifications

Olympus OM-2000 35mm SLR camera

 

The convenience of an automated camera does not always leave room for individual expression. Those who look for creative freedom will find the new OM2000 a perfect companion to discover the joys of artistry and personal satisfaction full manual photography can bring. The OM2000 brings the quality and flexibility of SLR performance within affordable reach.

Full Manual Control SLR

Elegant, affordable, simple, yet uncompromising in quality, the OM2000 is a rugged, mechanical-shutter, 35mm SLR that continues the Olympus OM-system series tradition of putting the photographer's judgment first. The OM2000 provides total manual control over all the variables: aperture, shutter speed and focus. In the hands of a creative student or serious photographer the OM2000's mechanical excellence, aided by a precision Olympus Zuiko lens, can faithfully capture images on film just as the photographer conceived them.

Professional Look and Feel

The sturdy qualities of this camera start with the professional feel of its robust, die-cast aluminum body, with the top and bottom finished in a very durable ternary-compound alloy made of nickel, copper and zinc. Its inner beauty resides in the all-metal, precision focal plane shutter assembly. Covering the range from 1 second to 1/2000 second, the OM2000's mechanical shutter is always ready since it does not require battery power.

There is also a bulb setting and cable release for extended exposures in low light and even capturing the night sky.

Precise Exposure Control

Light is one of the most critical factors in photography, and accurate measurement of light is critical in determining exposure values. The manual OM2000 SLR features both spot metering and center-weighted average metering. With two systems available, a photographer can pick the appropriate one for a wide range of lighting conditions, including difficult backlit scenes. The choice also offers the freedom of creating striking effects with any combination of lens aperture and shutter speed. Switching between the two exposure systems is a simple matter of moving a lever.

Red and green LED indicators in the viewfinder verify battery condition and make it easy to set exposure value correctly. Pressing the spot metering selector on the OM2000 causes an orange LED to show in the viewfinder and makes a precise reading of light in the spot circle—the central 2% of the frame.

The viewfinder of the OM2000 uses a microprism split-image matter focusing screen. In addition to making it easier to see subjects and frame shots, the screen offers exceptional clarity and contrast. An optional dioptric lens offers -3 to +1 diopters of correction, to assure all photographers of optimum viewfinder image sharpness.

Compatible with OM System Lenses

Central to all creative decisions is the choice of which lens to use. The OM2000 uses interchangeable Zuiko lenses. These fit securely to the sturdy, metal OM mount and can be changed quickly. The compact, lightweight S Zuiko 35-70mm f3.5-4.8 lens comes with the OM2000 kit. A compact alternative is one Zuiko 70-210mm f4.5-5.6 one-touch zoom lens that makes telephoto shooting easy.

Olympus Zuiko lenses are equipped with a preview button. Accurate results are simplified by the preview function. When the preview button, which is located on the side of the lens, is pressed the current aperture is set so the depth of field can be checked in the viewfinder.

An OM2000 body is a welcome addition for owners of other OM camera models since the OM2000 accepts most OM system lenses.

Flash Photography Options

For flash photography, the OM2000 offers X-synchronization at any shutter speed up to 1/125 of a second. An optional Olympus S20 slim-line electronic flash unit boasts a guide number of 66 (ISO 100/ft), 20 (IS) 100/m), and offers auto flash performance at f2.8 and F5.6. It also comes with a wide adapter that provides flash coverage up to 24mm wide-angle shots.

Other Features

The OM2000 accommodates a wide variety of film types and speeds from ISO 25 to ISO 3200, with film speeds manually selected in 1/3 step increments. Film advance is by a convenient lever that also locks the shutter button between film-frame advances.

Interesting and unusual multiple exposures of two or more images on a single frame can also be made, if desired. Simply set the multi-exposure lever to the ON position, and you can cock the shutter without advancing the film. A self-timer is also included, providing up to about 10 seconds of shutter-trip delay.

Suggested list price of the OM2000 is $418.00

_   _   _   _   _

OLYMPUS OM2000 SPECIFICATIONS

Type: 35mm SLR camera with focal plane shutter

Film format: 24mm x 36mm

Lens mount: Olympus OM mount

Shutter: Mechanically controlled metal focal plane shutter (vertical action)

Light metering method: Center-weighted average light metering, switchable to spot metering

Light metering range: 2EV~19EV (ISO 100)

Shutter speed range: Bulb, 1~1/2000 sec.

Flash synchro speed: X contact, Shutter speed of 1/125 or slower

Film speed: ISO 25~3200 (manually set by 1/3 steps)

Film advance: Film advance lever (locks shutter release when pushed in; does not allow several short strokes)

Film rewind: Rewind crank

Exposure counter: Progressive type with automatic reset by opening back cover

Multi-exposure: Possible by operating multi-exposure lever

Viewfinder:

Fixed focusing screen (microprism/split image-matte type).

-1 +/- 0.4 diopter

Finder view-field: 93% of actual picture field

Magnification: 0.84x with 50mm lens

Viewfinder information: Exposure indicator/spot metering indicator activated when shutter release button is pressed halfway

Selftimer: Mechanical selftimer, approx. 10-sec. delay

Battery check: Activated when shutter release button is pressed halfway. Power is sufficient when LED inside viewfinder lights and low when it does not light.

Power source: Two 1.5V silver oxide batteries SR44 or two alkaline manganese batteries LR44

Dimensions: 5.4 x 3.4 x 2.0 inches (body only)

Weight: 15.2 oz. (body only)

Specifications subject to change without notice.

OLYMPUS USA

www.olympusamerica.com

Bruce and Norman Yonemoto at the Japanese American National Museum, Los Angeles

Bruce And Norman Yonemoto: 
Memory, Matter And Modern Romance
Japanese American National Museum, Los Angeles
January 23, 1999 - ...

In recognition of the importance of visual art in the Japanese American community, the mid-career survey Bruce and Norman Yonemoto: Memory, Matter and Modern Romance opens at the Japanese American National Museum on January 23, 1999. Since 1976, the Yonemotos have created an extensive body of film, single-channel video, video installations, and objects that explore the complex creation of meaning and identity through film and media representation. The exhibition, which presents the most comprehensive treatment of the Yonemotos’ work as well as a new site-specific installation for the Hirasaki Gallery in the Museum’s Historic building, opens simultaneously with the unveiling of the Museum’s new 85,000 square-foot Pavilion and remains on view until July 4, 1999. The exhibition is initiated and sponsored by Fellows of Contemporary Art.

Curated by the Japanese American National Museum’s art curator Karin Higa, the exhibition is a comprehensive examination of the Yonemotos’ significant careers, and will be on view in three exhibition gallery spaces at the Japanese American National Museum. President and Executive Director Irene Hirano says: “The Museum is proud to present artists whose work reflects the diverse and varied interpretations of the Japanese American experience. The Japanese American National Museum recognizes the central role that creativity and artistic interpretation play in defining what we know as culture.”

Included in the exhibition is the new site-specific commissioned installation, Silicon Valley, which combines film and television footage projected onto a large white screen. Having grown up in the Santa Clara Valley just before the massive technological expansion turned it into “Silicon Valley,” the Yonemotos use their experience to create another interpretation of the Cold War icon of total destruction. Bruce and Norman Yonemoto recall changes that came to their “Valley of The Heart’s Delight” as a result of the technological boom in the 1960s and 1970s: “We watched as all the fruit trees were pulled out of the ground and burned to make way for tract homes and shopping malls. We, like many others, can’t go home again. It is gone as if a bomb had blasted it all away.” Viewers of the installation will see images of an exploding atom bomb, scenes from Stanley Kubrick’s Dr. Strangelove, and the infamous 1964 presidential campaign commercial “Daisy Girl” that together create a “personal representation of the annihilation of our ‘Valley of The Heart’s Delight’ to make room for today’s Silicon Valley.”

Also included in the exhibition is Framed (1989), an installation which incorporates video and slide projection to re-examine film produced by the War Relocation Authority (the WRA, the federal agency that oversaw the forced unconstitutional incarceration of more than 120,000 Americans of Japanese ancestry during World War II) in the U.S concentration camps. The Yonemotos reframed aspects of the footage which originally tried to put a smiling face on a grim episode in American history. The resulting stills have a poignancy and irony missing from the original film.

In addition to video projection installations, Bruce and Norman Yonemoto: Memory, Matter and Modern Romance will screen selections from the Yonemoto’s single-channel videos and films. There are five video-projected programs which will feature ten works by the Yonemotos, including: Made In Hollywood (1990) featuring Patricia Arquette and Ron Vawter; Green Card: An American Romance (1982); and Kappa (1986), a collaborative effort with Mike Kelley that inserts Kappa (the malevolent Shinto god of fresh water) into the Oedipus myth played out in postmodern L.A.

Background of the Artists

Norman Yonemoto was born in Chicago, Illinois in 1946. One year earlier, his father Tak, who was in the Army, married his mother Rosie who was incarcerated in the Tule Lake, California concentration camp. Eventually the Yonemotos returned to California, where Bruce was born in 1949 in San Jose.

Norman moved from the Bay Area to Los Angeles in 1968, where he attended UCLA before concentrating his studies at the American Film Institute Center for Advanced Studies. Bruce received a Bachelor’s degree from the University of California, Berkeley in 1972. The following year he went to Japan where he lived for three years while studying at the Sokei Bijitsu Gakko (Sokei Art Institute) in Tokyo, Japan. After returning in 1975, Bruce went on to earn a Master of Fine Arts from the Otis Art Institute in Los Angeles.

In 1976, Norman and Bruce embarked on their first collaborative work, an ambitious film project entitled Garage Sale (please see attached calender for screening date and place). In 1979 the Yonemotos formalized their partnership with the founding of their own company, Kyo-dai Productions. Captivated by what was then a relatively new artistic medium, the Yonemotos went on to work in video, where they played a central role in its establishment as a viable artistic medium.

The Museum’s curator of art, Karin Higa, says of the Yonemoto’s background, “Like many Japanese Americans, their reintegration into postwar life was characterized by the assimilation to the new American ideal as depicted on television, and much of their work examines the role of the media in our lives and questions the subtle power of Hollywood on the formation of identity.”

The Yonemotos’ work has been in numerous exhibitions at major institutions such as the Long Beach Museum of Art; the Santa Monica Museum of Art; the Wexner Center for the Arts, Colombus, Ohio; the Whitney Museum of American Art, New York; and the Museum of Modern Art, New York. Their films have been screened at the American Film Institute, Los Angeles; The Museum of Contemporary Art, Los Angeles; Anthology Film Archives, New York; Pacific Film Archives, Berkeley, California; Kunstverein, Cologne; and the Hara Museum of Contemporary Art, Tokyo. Among their distinctions are inclusion in the last Whitney Biennial and the permanent collection of The Museum of Modern Art, New York. Bruce and Norman Yonemoto are also recipients of several National Endowment for the Arts grants and the 1993 Maya Deren Award for Independent Film and Video Artists.

Publications

All Museum visitors will receive a free, sixteen-page brochure with descriptions of all exhibition pieces and installations. A translation of the brochure is available in Japanese and Spanish, as well as large typeface editions. A 104-page fully illustrated catalogue, which includes essays by curator Karin Higa, writer Timothy Martin and writer Ian Buruma is also available for purchase. For the first time ever, the Yonemotos’ entire collection of films and single-channel videos will be available on VHS format for viewing in the National Resource Center, located on the first floor of the Japanese American National Museum’s Pavilion.

Sponsorship: The exhibition has received key support from the AT+T Foundation, The Andy Warhol Foundation for the Visual Arts, the Peter Norton Family Foundation, the National Endowment for the Arts, The California Arts Council and the Japanese American National Museum.

Japanese American National Museum
www.janm.org