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Supporting Photographers and the Business of Photography
April 2018 â€˘ Vol. 2, No. 4 Cover photo by Jessica de Vreeze Jonathan Atkin Wonders of Round
James Lattanzio Desert Landscapes
Ann Giordano In My Courtyard
Monica Stevenson Horses
Jessica de Vreeze Bringing the invisible, visible
APA|NY Member Gallery
Snapshots versus Fine Art
By Jessica de Vreeze
The APA|NY Proof Sheet is published by the New York Chapter of the American Photographic Artists. Copyright 2018 APA|NY; all rights reserved, collectively and individually. Content, either images or text, may not be copied or reproduced in any form, in whole or in part, without prior written consent from the photographer, writer and APA|NY.
Supporting Photographers and the Business of Photography
About APA|New York APA|NY is the Northeast regional chapter of American Photographic Artists (APA), covering the entire area from Pennsylvania and Ohio through Maine. As part of the country’s leading nonprofit organization for professional photographers, we organize events, negotiate benefits for our members, hold seminars, promote our members’ work, organize photo contests and much more. Our mission is to support successful photographers; our goal is to establish, endorse and promote professional practices, standards and ethics in the photographic community, as well as provide valuable information on business and operational resources needed by all photographers. We seek to motivate, mentor, educate and inspire in the pursuit of excellence and to speak as one common voice for the rights of creators. APA|NY is a 501(c)6 not-for-profit organization run by and for professional photographers. Our all-volunteer Board works hard to promote, within our creative community, the spirit of mutual cooperation, encouragement, sharing and support. APA and APA|NY continue to expand benefits for its members and work to champion the rights of photographers and image-makers worldwide. APA Members include professional photographers, photo assistants, educators, and students. We also welcome professionals engaged in fields associated with photography, advertising, or visual arts but who themselves are not professional photographers. Membership categories can be found at http://apanational.org/join. We welcome you to join and get involved.
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April 2018 3
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contributing photographers Ann Giordano, James Lattanzio, Jessica de Vreeze, Jonathan Atkin, Monica Stevenson, Rengim Mutevellioglu, Richard Schultz, Eric Garcia, Danielle Moir, Ron Jautz, Tony Falcone, Michel Leroy, Tom Sperduto, Xi Wenzhu, Glenn Batkin, Bruce Byers, Jason Evans, Liam Sharp, Robert Ripps, Diana Haskell, Tazzio Paris contributing writers Deborah Patton, Jessica de Vreeze, Sandee Brawarsky advertising | email or call for a media kit Bruce Byers
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APA|NY EDITOR Welcome to the Fine Art issue of “proof sheet” magazine, produced and edited by Pro member Jessica de Vreeze and myself. This issue includes live video interviews along with the images of our contributors. The power and creativity of Fine Art is in our DNA. I have often said, “if I won the lottery I would travel the world creating images for the wall. As photographers, we always have the urge to create for others and don’t take the time to create for ourselves.” I started creating images at the age of eight and hearing the sound of the shutter click has been the greatest thing in my life from that moment on. My parents always had cameras with them so they encouraged me to shoot. Over the past five decades, I saved all my negatives so I have the great fortune of a wealth of wonderful images spanning my life, including the time when my photography had no limits. “proof sheet” is a digital magazine (www.issuu.com/apany), but we have the wonderful opportunity to make this issue come alive on the walls of The Old Print Shop (150 Lexington Avenue in New York). This venerable gallery has invited APA|NY to mount the magazine’s images on their walls. I have known the owner of The Old Print Shop, Robert Newman, and his family my whole life. Full disclosure, he is my cousin! Over the years I have gotten to know the art at the gallery and have learned a great deal about how to present my own work. The Newmans have given a unique gift to APA|NY members to show their work as part of this edition of “proof sheet.” It’s one thing to have loyal family members, and quite another for them to offer this unprecedented opportunity to our community. Please visit The Old Print Shop to enjoy our interviews from around the world. It’s not only inspiring, it’s a great way to up your game. Enjoy the work of our members and I hope the experience opens your eyes to what the world of Fine Art has to offer. Bruce Byers
www.streetmoments.com www.instagram.com/brucebyers Editor • Fine Art issue proof sheet, April 2018
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HOST GALLERY INTERVIEW Old Print Shop: Leadership and Legacy Robert Newman, Owner of The Old Print Shop, is keeping the gallery’s venerable legacy alive with leadership that bridges the past to the future. The gallery was founded in 1898, and has been run by Robert’s family since the 20s. He says, “We specialize in American art from about 1700 to contemporary art – plus antiquarian maps. We buy and sell everything from prints, drawings, maps, photographs, maps and watercolors. Printmaking in Western culture is a 600-year-old process starting with woodcuts, engraving and lithography. For me, photography is a subdivision of printmaking. Printmakers feel that printmaking is more important because it delves into drawing; photography is drawing with light. For me, I see them as similar and it’s really about creativity. Anyone can draw, anyone can take a photograph. The question is, do you do a good job at it?” According to Robert, “Photography became a fine art in the early part of the 20th century, prior to that in the 19th century, it was documentarian work. It continues to expand today redefining what is a photograph and how it relates to the various art worlds. The most important thing for creativity is that artists are honest to themselves doing what they like, because if you’re not expressing yourself, you’re not reaching out. Rembrandt painted on commission. His etchings, on the other hand, were done for himself. He didn’t have a way to sell them, so a lot of his etchings became his personal artwork. Photographers need to find that same balance, because so many of them are working in the commercial world.” When making selections for the gallery, Robert says he is “more picky about photography than he is in printmaking. I tend to stop and look at photography that makes a statement to me. When the individual finds his or her voice in the camera, that’s what I want. Black and white sells better than color, although in general, color is more in demand – including printmaking. I personally respond better to black and white photographs. The digital revolution has changed everything in the last decade. And digital is almost universally in color.”
He says that photography is unique in the world because it creates more images than any other media. “What the most important thing that photographers can do is edit their work.” His advice
is that “When you come into a gallery to show your work, get it down to 10 to 15 of your best photographs. Don’t bring in 100, because it’s overwhelming and I won’t be able to look at it all. Allow me to judge what you think is your finest work. Sometimes a seasoned photographer is the most troublesome. They bring in too much work. They can’t edit it down. Often it’s easier for younger photographers because they don’t feel comfortable yet with a lot of the images they have. What you need to show is a sound bite to get us hooked by the quality of what you do. What separates photographers is an eye for composition.”
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Over the years, Robert has seen photography as a growing market in terms of collectability. He believes “Contemporary photographs are underappreciated today so there’s great potential for collectors to move into that market. Photographs from the 20s, 30s and 40s have almost gotten too expensive. Most For the full interview, click here of the collectors are backing away from that market. It’s the same with printmaking, which has been underappreciated and not always highly valued. Many people don’t understand that they are art. Photography has experienced a blossoming over the last 25 years bringing it in from the fringes of the art world to center stage. Printmaking is going the opposite direction, moving from center stage to the edges. Not everyone understands that an etching or lithograph is a work of art. And that’s where the gallery comes in to educate people.”
Wonders of Round From childhood, I’ve sought vantage points to see how the world looks from above. Climbing our family’s roof and farm silo and sneaking onto the roof tops of large apartment buildings soon became old and boring. In high school, a classmate’s father, flew me in a “M.A.S.H.” style helicopter. I was hooked. From then on, I experimented with industrial kites, flew hot air balloons in college, and as a summer intern Washington Post photographer, I snared my first assignment in a helicopter. Today, my commercial maritime aerial photography requires manned helicopters. But extremely low-level vantage points, impossible heretofore without drones, has catapulted me into owning six hi-res camera drones permitting vantage points that no monopod, crane or cherry picker could easily provide. Certainly not a manned helicopter. For three years, I’ve been flying these camera drones. It soon became apparent that circular roof tops and other land forms had become common images. My flying eye was onto something new. Armed with three Inspire hi-res drones, a Phantom 4 Pro and a Mavic, I seek “Wonders of Round.” Circular or round images are universal. They mirror round structures from antiquity such as the patterns of Stonehenge and Roman amphitheaters as well as modern day horse corrals, and two-dimensional mandalas and Moorish drawings. I seek out hundreds of circular images to shoot from above, including cupolas, gazebos, grain silos, mosques, domes and merrygo-rounds. The fun is that many of these structures are simply not viewable from the ground up. The visual surprise can be exciting, with details carved by Italian masons or other architectural processes, long forgotten or never seen. Some structures disappoint, with trash or air conditioning units interrupting classic shapes. Not everything looks grand from above. My drone assisted photographs lend themselves as strong decorative images in offices, apartment buildings, hospitals, and private homes. They are available in inkjet prints as well as large aluminum dye sublimation knockyour-eyes-out media.
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THE COLLECTORS PERSPECTIVE proof sheet sat down with several collectors to get their insights on collecting and how to build a fine art collection.
Maureen, NYC Maureen started collecting art and photography when she was 25 years old. Her first investment was an old photograph of Lauren Bacall, found at a tag sale. She also collects Ken Solomon, Berenice Abbott, Harry Benson, Joan Miro lithographs, Cecile Beaton and, of course, Jessica de Vreeze fine art photography. Her budget is around $25,000 for a piece of art. What is her filter for investing in art? â€œMy husband and I look for pieces that provoke us or have a special meaning for us.â€?
Valentine, Paris Valentine is a collector based in Paris. As with most passionate collectors, Valentine started at an early age collecting vintage phones. She was 24 when she bought two photographs by Katrin Thomas from her “Fashion Victim” series at the Affordable Art Fair in Paris. From that point on, Valentine became a collector. She explains, “I like and collect different kinds of art, from photography to paintings and drawings, with a certain penchant for collages. I don’t own any sculptures but I cherish certain objects. such as shoes, my biggest collection so far, and wonderful works of art!” She says she would be an unlimited collector if “my wallet weren’t the limit. The highest amount I paid for a piece, a photograph, was 5.000€ ($6,171 US).” She explains that the most important criteria for purchasing photography is “the emotion and the pleasure I take from looking at the work. It’s also the attraction of the piece that makes me want to look at it for hours. I don’t think in terms of investment because I’m not an investor, I’m a collector. Being happy having photography on my wall is more important than being happy selling it.” Exclusivity is also important. Valentine finds that having original art as part of a series matters. She says, “paintings and drawings are valuable because I know they’re unique. Photography can feel less special when you know hundreds of prints will surface.”
Sonya, Los Angeles Sonya started collecting few pieces on her own in the late 80s when she was living in New York. She continued growing the collection with her husband. She says, “The first piece of art I bought was an original Leonor Fini, a painter who is known for her paintings and charcoals. Later with my husband we turned our collection to oil paintings, mainly old master drawings originals -especially Italian old masters – from the 16th and 17th centuries. Our collections featured mainly original drawings, and paintings. We own only one photograph called l’Unisson by Jessica de Vreeze. We decided to acquire it because it has so much energy and we love the message it communicates. We think it is outstanding. We also have one sculpture in the art deco style by Erté. “When we buy an art piece, we look at both the emotional response the art piece gives us and also its value as an investment. We are willing to spend accordingly. In addition to the love we feel for an art piece, we research it before making a purchase and decide on the amount to spend depending on its worth on the market. “Our first photograph was bought out of love. We also think it is outstanding in its composition and message. Love is the first condition to buy. The emotional aspect supersedes the investment aspect, and it must fit into our place that is decorated in an art deco and transitional style.”
“One of the first things we bought was a painting of the beach and sea in Deauville France done by an excellent artist from the 20th century. Our collection also includes some original work from a sculptor from Texas and some paintings from an artist in Saint Tropez. We do not necessarily make a budget for art, and we have often been given paintings by friends.”
“We started collecting art in 1980 and have continued until today. We will always appreciate collecting excellent art! We look for originality and exceptional moments in time that are captured in art. We like art that reflects mankind and humanity in the society we live in, the society that could be, and the society of the past.
Why a Strong Artist Statement Matters By Sandee Brawarsky I’m always interested in stories, the back stories and the stories behind the back stories. When I see art, I’m interested to know about the artist’s background, career and intent. I enjoy hearing from the artist directly in his or her own words. Of course, I realize that artists approach their work in so many different ways and I honor how much or little they want to talk about the work. Some prefer that the work stand on its own and that viewers view the work unfiltered by the artist. Some artists do not title their work. I feel my appreciation of their work is enhanced by knowing more about the artist and the artist’s thinking. Words draw me to the visual, and the visual draws me back to the words. I always wonder, what question might this piece of work be an answer to?
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Desert Landscapes While traveling on assignment, I always plan on taking side trips to explore and work on my fine art landscape photography. Once when I was in Los Angeles, I decided to go to Death Valley, about four hours away. It easily became one of my favorite destinations to photograph with its diverse and peculiar landscape. The Mesquite Flat Sand Dunes, when you first enter the national park, have been a landscape photographerâ€™s inspiration for 100 years. Although itâ€™s an extremely challenging environment, in the late afternoon light, the shapes, textures and ripples caused by the blowing winds and continuously shifting sands provide you with infinite variations of topography, and with it, endless photographic possibilities. Working with a digital camera and an extreme wide-angle lens allows to me capture and exaggerate the graphic details of this vast and otherworldly landscape. Working on personal projects lets me express myself as a photographer and reminds me why I love photography. It allows me to showcase my talents beyond how my clients view me, giving them new ideas and providing me with other opportunities outside my specialty of commercial interiors and architecture. This passion has provided me with additional income over the years but more than that, personal fulfillment as an artist.
Contact James: James Lattanzio Photography email@example.com www.instagram.com/jameslattanziophotography tel: 973.655.8820 mobile: 973.896.6500 www.jameslattanzio.com
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GALLERY INTERVIEW Vroom & Varossieau: Amsterdam In 2010 Isabelle Vroom and Olivier Varossieau founded Vroom &Varossieau Urban Contemporary Art. Their focus is on urban contemporary and street art movements. Vroom &Varossieau is not afraid to question the status quo and stir things up. They work with internationally diverse artists ranging from emerging young talent to big and bold names in the field. They organize exhibitions in their gallery space in Amsterdam, establish mural commissions and play a forward thinking and leading role in a host of other international urban art related projects and museum exhibitions. They also specialize in private art sales. We caught up with co-founder Olivier Varossieau to learn more about his philosophy and work. He says they have a wish list of artists they want to give a platform in their gallery in Amsterdam and in fairs and museum shows. Olivier explains, “In the gallery we want to show the biggest names in the field, but also young talent. For example, Jaune (Belgium) and Cranio (Brazil) had their first European solo exhibitions in our gallery and sold out in a minute. This year we have a big solo with another Brazilian talent Rafael Sliks. On the other hand, we also show the best Grafitti and Street Artists in Amsterdam. One important criterium for me is that the artists don’t have other shows in Europe in the same period, because Europe is too small for that. “We work directly with most of our artists. Sometimes we really want an artist, but we need to be prepared so we build a client base for it first and then prepare the exhibition really well. Our aim is to give the artists a good podium and we prefer to sell out all the shows, so we need to deliver customers. Sometimes that doesn’t happen which can be very disappointing for us as gallerists and for the artists who put so much effort in all the works they make. We also have a lot of artists who reach out to us, but most of the time we refer them to other galleries if it’s a better match or because our agenda is so full or we feel we don’t have the right clients for their works. “I think photography is as much of an art form as any other, although It’s very hard to get a really strong signature style in photography. I think there will always be good photographers and ones that stand out from the rest with new visions. The only thing I hate in photography is the fact that a
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lot of photographers are not honest with their editions and will make more editions if a series is successful. To me, that photography becomes interior decoration. So, I always advise them to make an edition of 1/1. “My advice to artists is to first check out our website and the gallery profile to see if their works really fit our profile. Because otherwise we’re wasting each other’s time. Then contact the gallerist to see how they feel about new artists and ask them if you can give a presentation.
“If street artists are photographed as part of an ad, for example in the case with H&M and artist Revok, then the company simply needs to reach out to the artists and make an agreement for the use of their work in their commercial advertisement. If it is for non-commercial purposes then you should always credit the artists for their work. It’s basically the same as a magazine that wants to print your photo. You want to be paid or at least be credited.”
Maybe it’s good to start in a group show and build up towards a solo. Also ask what a gallerist can do for you to get you in museums etc.
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In my courtyard there is a profusion of flora of various plants and weeds. My favorites are the occasional visiting specimens that sometimes take root. The random dandelions share the same earth as Dianthus, Nicotiana, Ivy, Azalea and Moonflowers. I became interested in what landed in my courtyard and observed the resulting botanical fight to grow and survive. The determination of each one to survive, either after being uprooted or placed in competition with another plant, became my inspiration to make images. This natural process closely resonated with my life with its frequent uprooted moves, death of close friends, struggles with disease and witnessing the natural decay and death of both my parents. Since 2006 I have explored the concepts of survival, change, decay and death using plant imagery and the photographic contact print process in an ongoing series, In My Courtyard. Works shown are pigment prints of unique light-sensitive or unique stabilized Lumen prints. Additional added processes include Cyanotype, Chemigram and digital alteration. All of the images from the series In My Courtyard are contact prints and are accurate to the size of the specimen. Each is an original Lumen print with the exception of images from “Beyond Lumen Prints,” which are enlarged from the original 7x5-inch contact prints to 22x17 inches for impact. Although I have not yet shown this group in any galleries, the response during my recent open studio was positive. There are mixed responses when I show my work to galleries. Many appreciate the images, however they don’t see the work as the right fit for their gallery. Actively pursuing galleries is difficult and sometimes not encouraging. It’s a process, a journey and an adventure. But there are many other venues to exhibit. Presenting work to curators may provide an opportunity to be included a group show. It’s important not to get discouraged -- the work is out there. Sales of prints to collectors and private individuals have been consistent and I sold a third of my “2013 Tokyo” exhibit. It’s about finding your audience and marketing to them. My work appears in “A Book About Death, Time Capsule and Blind Spot.” Collections include NYPL, MoMA and the LA County Museum.
Contact Ann: www.anngiordano.com firstname.lastname@example.org
Facebook: Ann Giordano Photographs @theanngiordano
Instagram: @theanngiordano + @inmycourtyard
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GALLERY INTERVIEW Magda Danysz Gallery: Paris, London, Shanghai Magda Danysz started her gallery in 1991 and still represents many artists of her generation. She says, “I didn’t know anything about the art market when I started. It was more of a personal project. I had a tiny place and a lot of fun. We grew over time, and now we’re on the in Le Marais in Paris with a beautiful three-story building.” With more than 20 years of experience, Magda combines her original expertise around street art with other art forms including painting, Chinese contemporary art, photography, video, sculpture and others. Magda explains, “I work with artists working in a variety of media. It has been important to me to mix the practices. So, we don’t show a line, we show artists. I know artists hate to be put in boxes. As a gallery owner, you can go super specialized and become the world expert in that niche, or do we what we do, which is to show a mix. We show a lot of photographers and digital art representative of my street art generation of the 70s. We try to identify emerging trends and after two decades, we are living the pages from an art history book as we show the evolution of photography. For example, we’ve seen artists exploring and discovering Photoshop in the 90s to staged photography and now branching out into fine art. It’s been an adventure!” She says that digital art is changing the art scene, but should be seen as a tool. She believes that digital tools don’t change an artist’s vision. And with every tool, it has to be used carefully. Magda chooses artists that she can have a relationship with. She explains, “It’s teamwork and is never easy. You find an artist that you feel you can work well together with no certainty how long the relationship may last. It’s a friendship. It’s not as simple as having a business plan. I find artists, follow them and see them growing. I must believe in these artists and support them by bringing something to them – my relationship with institutions, marketing, my galleries and however can help them find matches.” She says each artist has a different expectation from a gallery, depending on their dreams and mission. She works with photographers of all ages. She admires artists in the 70s, and says, “If there’s one job you never stop doing, it’s being an artist. You never retire. You always grow and improve.”
With galleries in different parts of the world, Magda says that art is quite universal. The cultural references vary. In China, they ask a lot of questions about the western art she shows. She says “they are curious in China, whereas in Paris, they try to pretend they know it all. But art is shared mainly the same way all over the planet.” Her advice for would-be gallery owners, “What’s at stake these days is being a master of the art market, maybe less so about the art. The mega-galleries take up so much space. I was lucky to start at the worst time in the market when everything was down and the world was crumbling. I had no one to rely on, and I built it all on my own and feel stronger for it. Today I’m not sure you can start with zero funding. My advice is no matter what, follow your dreams but don’t be naïve about it. Be super organized and have the right people around you. No matter what, keep going. It’s a tough job. When I was a teenager, Leo Castelli told me it was a 24/7 job and he was right! You have to love it a lot and be passionate about it.”
For the full interview, click here
www.magdagallery.com facebook: www.facebook.com/Galerie-Magda-Danysz-53143263006/ instagram: www.instagram.com/magdadanysz/
I started photographing horses as an adult when a long-suppressed childhood passion for them, and all things equine, was rekindled during a summer spent in the rural areas of East Hampton, Long Island. I focused my creative and physical energies towards this newfound project, which resulted in a body of distinctive artwork that resonates with devotion, understanding and acumen. When not shooting commercially, I spend much of my time in an equestrian milieu. My horse photographs were recognized by this group as being something a little different than the typical horse art they were used to seeing. My images were viewed as somewhat nontraditional and the abstract, dissected nature of some, and the formal, graphic nature of others, struck a chord. I travel internationally on self-funded junkets to photogenic horse events. Exhibitions in galleries, hotels and venues related to the equestrian world soon followed. The work is deeply rooted in the history of photographic tradition and I have found there is an appeal with a non-horsey audience as well. Both cold calls to prospective galleries and (being the inveterate networker) referrals from colleagues, have led to exhibitions in fine art venues that have nothing to do with the equine. I craft my prints extremely carefully and my presentation box is impressive. These, together with meticulous framing and obvious passion for my subjects, appeal to a broad photographic audience.
Contact Monica: Photography | Motion 917-754-7204 email@example.com www.Monicastevensonphotography.com instagram: @monicastevensoneq
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NG Art Gallery: Panama City NG Gallery is located in Panama City representing works by Cuban artists based in Cuba. Rigoberto Ontano from the gallery says, “We think the photograph is one of the major voices of contemporary art. If you look at it in relationship to painting and drawing, the works we show are images that the artist has manipulated and each one is unique.” One major Cuban photographer at NG is Adrian Fernandez who is “interested in the world of images and how, through them, reality is shaped and understood.” His photographic images of saints express the relationship between people and their faith. Some images are simply faces or parts of the saint sculptures, inviting the viewer to explore their personal For the full interview, click here faith. Another photographer is Jorge Otero, who does “woven” photographs reflecting the same pattern Cuban peasants have used since the 18th century to make their baskets and hats. For Otero, “the human body is raw material and a photographic landscape. The male torso is suspended almost always on a pure white background that isolates it from all foreign contamination, creating an abstracted view of the fusion of weaving and physical form.” www.ngartgallery.com/sobre-ng-art-gallery instagram: www.instagram.com/ngartgallery
Art Affects We caught up with Manuela Fisher, Founder and Executive Director of Art Affects Inc. to learn more about her nonprofit organization that uses art as a tool to transform the world. Their mission is to “Unite, Inspire and Impact the World Through Artistic Collaborations.” According to Manuela, “Art and nonprofit make a perfect marriage that works and functions together beautifully. The beauty and advantage of living in New York City is that art and artists are present everywhere. I almost always meet someone who is in the arts in some capacity. Art has the ability of evoking many feelings: pain, anger, love… and most nonprofits are working toward finding solutions for how these feelings manifest in life. “I chose art as the tool because it has no prejudices or boundaries. There are no socio-economic limitations. Art is a universal language. It is strictly driven by passion and ability. It is the perfect tool to unite people and organizations all over the globe regardless of means. That can be pretty impactful.” Manuela says, “any type of art medium can help the cause. It all depends on the scope of the project we are working on, the people and organizations we are connecting with and the changes we are seeking. Different mediums of art evoke different feelings.” “Photography is fine art. It requires a lot of discipline and expertise to capture a perfect image. There are a lot of complexities involved: the right lighting, the colors, the subject… similar details as in a painting. Photography captures and frames a moment in eternity – it is a forever suspended reality. “I try to attend as many art shows and fairs as possible. For example, we are currently shopping for artists that will be a good fit for one of our projects in development called Bridge the Gap, which will help unite the very segregated New York City Public Schools. We are seeking artists who are comfortable working with kids and are compassionate about equality and children and education. Artists whose work fits with the theme and creatives who want to give back to the community.” http://artaffectsinc.org
For the full interview, click here
email: firstname.lastname@example.org www.instagram.com/artaffectsinc https://twitter.com/ArtAffectsInc proof sheet April 2018 39
Jessica de Vreeze
Jessica de Vreeze is a French-American visual artist, born in Paris and now based in New York. Her life has always revolved around art but it’s only later in life that she pursued art as a career. Self-taught in photography, Jessica’s compositions reflect her raw emotions. For Jessica, “life is art and art is an essential part of life.” “I like to tell stories about everyday heroes to build bridges and break barriers. I capture people in empty scenes and spaces (Portrait d’Atmosphere Volume I, II, III, shown in New York City between 2016-2018) and uncover the soul of people by photographing their actions. “My new body of work is about women in their daily lives. I am fortunate to be part of a generation of women that has choice and individual rights; we can decide to have a career and support our families. In all cultures, women share the struggle to find the balance between needs, dreams, ambitions, reality, family, work and volunteering. Three years ago, it struck me; I needed to tell our story. I finally understood how to give a voice to many women in preceding generations and us to come. I could reveal their lives and remove the cloak of invisibility soviet places on us. I wish to use my art to showcase great stories and inspire others. “For the project, I decided to profile 12 women. To magnify the impact of these women, I decided to show them out of context, contrasting them with singers, boxers, artists, dancers, celebrities, business leaders and politicians. As sharing is a key part of my work, I collaborated with other talented artists to show their work alongside mine to enhance the contrasts. “My first three profiles are American women born in Israel, Brazil, Cape verde Islands and the project explores what they have in common. All three are educated, generous and hard working. They paused their careers to step up for their families and at the same time, gave back to their communities and the causes they embrace. And while many people benefit from the fruits of their work, not many people realize the amount of work they have been doing - silently behind the scenes. They bridge gaps and unite people. They never stop or think about how much they are doing; they just do it because it makes a difference.
“I chose to match Viki Galchen’s everyday strength with photographer Bruce Byers’s boxer. Viki paused her career as a computer programmer to volunteer as a “Copy Cat” in the copy room of her children’s elementary school and running a team of 25 parent volunteers, which enables teachers to better concentrate on the students. Jenifer Ting Chen has rejoined the workforce at a top real estate brokerage company in New York City and still continues to volunteer in her children’s school and as the co-president of the middle school PTA. Her voice is contrasted with
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Elias Dris, an up-and-coming French singer captured by Paris-based photographer “Tazzio Paris”. Manuela Fisher bridges gaps with art, using art to give back to others. Among others, she helped a village of HIV moms to live, work and educate their children in Kenya. I chose to portray her using the work of the artists who made the quilt she is wrapped in, materializing her contributions. The Artists are the students of two schools in two villages: Kibera and New York City helped by their mothers.” Contact Jessica: www.jessdv.com email : email@example.com Instagram : www.instagram.com/hopeje www.instagram.com/jessicadevreeze
GALLERY INTERVIEW Jack Shainman Gallery: New York and Kinderhook The Jack Shainman Gallery was founded in 1984 in Washington, DC, by Jack Shainman and Claude Simard. Today, it is located at 513 West 20th Street and 524 West 24th Street in Chelsea, New York. Jack says another exhibition space is in an historic building in Kinderhook, New York, that was inaugurated by FDR in the 30s. it was his life dream to have a 35,000 square-foot space. The focus of the gallery since its inception has been to exhibit, represent and champion artists from around the world, in particular artists from Africa, East Asia and North America. Jack explains, “We love bringing things to the public that are lesser known or unknown. There are so many omissions in the art world, so it is really important to us to bring new things into this art arena.” Jack says, “I see the gallery as a platform for artists to express ideas. For example, two summers ago we had a group exhibition called For Freedoms co-founded by Hank Willis Thomas and Eric Gottesman. For Freedoms raised awareness of the impact of money on our political system and used art to inspire deeper political engagement in the 2016 American Presidential election. Jack says, “It was an amazing political action platform for ideas. It was before the election and the idea was to bring attention to what a super PAC is as well as talk about the ideas and issues that weren’t being presented in the campaign. We ended up being denounced by Fox News, although they got the story all wrong. In any case, it brought out all lot of issues, like gun violence, into the public discourse. The collateral damage was I was really concerned about the safety of my gallery, clients, my staff and even the passersby outside our door. It was eye-opening with the hate mail and calls. But it was rewarding to know that artists have great power.” Jack also had a dual exhibition of work by Gordon Parks. The 24th Street gallery brought some of his lesser known works to public attention. Jack explains, “He did amazing things including fashion photography in the 50s and 60s in Life magazine that broke so many boundaries. His more iconic works were shown in the main gallery on 20th Street. It’s amazing with an artist like Gordon, who passed away in 2006, that his work is still so relevant today and he is shaping popular culture from his grave. The true test of an artist and a genius is to influence contemporary artists.”
Jack recalls, “Our core group of artists weren’t so well known in the beginning. For all new artists, we review their work online when they email us their portfolios. We are more interested in the images, not the supporting statements or bios. I choose artists from my heart, mind, soul and every experience I’ve ever encountered. I always try to be very open when I look at work to see if it moves me. Young photographers have to come up with their own original ideas and what they want to express. There’s a lot of For the full interview, click here repetition today; there is too much dress-up, set-up photography. Young talent has to find their own voice.” His advice is to “keep working, stick with it, be persistent and believe in it. And don’t look at too much other stuff! Sometimes artists look at too much other work and it figures into their work. Stay fresh and stay with the heart.” Jack explains that when he started in the mid-80s, he remembers clients asking him if photography was really art. Fast forward to now, no matter if you are a conceptual photographer or a street photographer, he believes it is a viable medium and on an equal footing with other art forms. www.jackshainman.com/about/ www.instagram.com/jackshainman/
ASSISTANTS Alessandro Casagli 5 years, 1st-3rd Assistant 646.881.4793 • firstname.lastname@example.org www.casagli.com Specialities: Lifestyle, Editorial, Fashion, Still Life, Product, Portraits, Location
Adam Coppola 203.415.9851 • email@example.com www.coppolaphotography.com Specialities: Lifestyle, Editorial, Fashion, Still Life, Product, Portraits, Location, Video
Dhrumil Desai 213.255.5145 • firstname.lastname@example.org www.dhrumildesai.me Specialities: Lifestyle, Editorial, Fashion, Portraits, Location
Tony Falcone 1 year, 1st Assistant 718.702.5563 • email@example.com http://tonyfalconephoto.com Specialities: Portraiture, Location, Event, Lifestyle, Architecture & Interiors
Rebecca Grant 2 year, 1st-3rd Assistant 917.710.2570 • firstname.lastname@example.org www.rebeccagrantphoto.com Specialites: Editorial, Fashion, Portraits, Beauty
Giovanna Grueiro 2nd Assistant 917.226.3733 • email@example.com www.giovannagrueiro.com
Specialities: Editorial, Fashion, Portraits, Location
Dan Lidon 6 years, 1st Assistant 610.905.0208 • firstname.lastname@example.org www.danlidon.com Specialities: Lifestyle, Portraits, Location, Video
All assistants are APA Members in good standing and have the work experiences listed. If you are an assistant and would like to be listed, join APA and request our assistant form by emailing email@example.com
Alley Maher 5 years, 1st-3rd Assistant 203.733.7981 • firstname.lastname@example.org www.alleymaher.com Specialities: Lifestyle, Fashion, Portraits, Location
Jeffrey Morgan 1 year, 1st-3rd Assistant 404.333.2941 • email@example.com www.jeffwmorgan.com Specialities: Lifestyle, Editorial, Still Life, Product, Portraits, Food
Sharlene Morris 1 year assisting 949.929.9509 • firstname.lastname@example.org www.facebook.com/smorrisphoto Specialities: Lifestyle, Editorial, Portraits, Location
Danielle Maczynski 1st Assistant 908.268.6142 • email@example.com www.daniellemaczynski.com Specialities: Lifestyle, Editorial, Portraits, Location
Alyssa Meadows 1st Assistant 484.788.5534 • firstname.lastname@example.org www.ameadowsphoto.com Specialities: Lifestyle, Editorial, Fashion, Portraits, Location
Dan Orlow 19 years, 1st-3rd Assistant 617.460.5773 • dan@danoassists www.danoassists.com Specialities: Lifestyle, Editorial, Fashion, Still Life, Product, Portraits, Location, Video, PA
8 years, 1st-2nd Assistant 206.914.7406 www.darrenjsabino.com
Specialities: Lifestyle, Editorial, Fashion, Portraits, Location, Video
Specialities: Editorial, Fashion, Still Life, Portraits, Location
Rocio Segura 1st Assistant 917.993.1021 • email@example.com www.rociosegura.es
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GALLERY INTERVIEW Van Rensburg Gallery: Hong Kong Beulah van Rensburg, founder of the Van Rensburg Gallery in Hong Kong represents 22 artists mainly from New Zealand and her home country, Australia. She is an artist and started her gallery because she was “sick of being refused by galleries telling her ‘You aren’t ready.’” She moved to Hong Kong just as the art market was taking off. She says being an artist, she understands how artists work, and translating that into running a gallery gives her an insider’s knowledge. She believes it’s important to have a relationship with the artist to make sure the work looks fantastic, is presented well and to help people understand the story behind the work instead of “just throwing it up on the wall.” She explains, “Having a relationship with the artist is essential so you can communicate their work to the world.” “I really need to find artists I love. We’re not the gallery that gives it a go, I want commitment not do a show and then have an artist go off to another gallery. I have to love it and believe in it. Buying art and living with art is the process of falling in love. And if I’m not in love with it, I’m not going to help my clients fall in love with it. Do you need to take it home? Do you want it on your wall for the rest of your life? I’d have every single work in my stable on my wall if I could. The relationship between the artist and the gallery isn’t celebrated enough.” She says it’s important in working with new photographers to think about pricing and editions. She explains, “The key about photography is to be prepared to be guided by the gallery and stay open. It’s important not outprice your work. There are a lot of hidden costs: shipping, commissions, printing. We want the profits to go to the artists. Also keep editions as small as you can, not more than 25. You want to sell out of your edition so you can do the next thing. The smaller the edition the more precious it is. If you did an edition of one, it could be priced as highly as a painting.” She says you have to offer the same price in every country, which means some prices will be more profitable than others based on currency exchange. Her advice is to not be intimated by galleries that tell you no. “There is someone out there for you. Enter competitions, look at grant programs, don’t give up. Follow people on Instagram. Talk to people and go to the fairs. Don’t outprice yourself too early and don’t undersell. Also don’t let your friends buy your work too cheaply; I want to know how many prints are floating around out there with your friends. Don’t let too many in circulation because it depresses the price. “I think photography is more and more accepted as fine art, especially in China. Also, the moving image/video is becoming more and more popular as art. What defines art is the medium, so we need to start calling photographers artists. The real challenge is to be a connoisseur of your medium and master it.”
In terms of finding new talent, Beulah says, “I’m a small gallery and I get three to four emails a day. I feel badly that I can’t reply to everyone. If you’re an artist and don’t have an Instagram account, you’re crazy. CVs with words are not going to help me see your story through your pictures. Pictures need to grab me in a second; I don’t have time to read. www.vanrensburg-galleries.com Instagram: www.instagram.com/vanrensburggalleries/
For the full interview, click here
APA|NY MEMBER GALLERY
Photo by Member Liam Sharp | www.liamsharp.com/ | New York, NY
Photo by Member Rengim Mutevellioglu | www.rengim.com | New York, NY
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Photo by Member Eric Garcia-March | www.garciamarchstudios.com | New York, NY
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Photo by Member Michel Leroy | www.michelleroyphoto.com | New York, NY
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Photo by Member Bruce Byers | www.streetmoments.com | New York, NY
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ÂŠ IOC/Jason Evans Photo by Member Jason Evans | www.jasonevansimagery.com | New York, NY
proof sheet April 2018
Photo by Member Robert Ripps | www.raripps.com | New York, NY
by Jessica de Vreeze
What is the first thing that comes to mind when you think of photography, cameras, photographers, iPhone, social media, weddings, graduations and events?
Photography is a very young art form evolving quickly with the benefit of constant technical innovation. Photography was once the art for the few and has now become available to so many. In an era when most of us have a camera in our back pockets, we have to ask ourselves, does it makes us all photographers and artists? What is the difference between a snapshot and a photograph, between a hobbyist and an artist? I would say first and foremost it is the intention behind the creation, the vision, the commitment and the journey taken by the photographer that defines it as art. Technique and the unlimited
ways you can create and transmit your vision would come second. It is the artist’s gift to make the viewer feel emotions, not simply to see a visual message. Just go through a photographer’s body of work and you can usually recognize the artist and their personal style as clearly as you can recognize a person with red hair and dark eyes. Being an artist is more than taking photograph. Artists bring their life experience and emotion into the act of releasing the shutter. You can often sense the photographer’s soul in the images. Most might think the photographers work is finished once the shutter is pressed, but it is just the beginning. A long road awaits the artist before arriving to the final print. To quote the collector of these images, Bruce Byers, “The photograph becomes visual art when it is seen.” The viewer plays a role just as important as the creator of the photograph. The act of observing is a dialogue, and the work comes to life through the emotions and interpretations of the observer. Then the collector gives the image a new life in its new environment.
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Fine art photography was born in the 1920s. Artists starting using photography as a medium to create and express their art. From composition and staging to post processing and straight photography, the photographic image slowly raised itself to the ranks of drawing, painting and sculpting. You see with your eyes, then capture with your camera then show the results to the world. Originally, cameras were bulky, hard to work with and expensive. Photography was limited to few people. In the early stage of photography, visiting the photographer was a serious decision and photography was used principally to record milestones. With constant innovations and access to cheaper cameras, including disposable cameras, people started to call themselves photographers. Film is a different process than digital, and it wasn’t possible to have instant visual access to the shot once you took it. As with the old box cameras which was a cumbersome process it often had amusing results when the printed photograph revealed the photographer’s shadow.
Innovations around WWI introduced range finder and then SLR cameras, that gave photographers mobility. We then entered an era of storytelling. From reality to fantasy, anything was possible. Collectors and gallery owners witnessed the blossom of fine art photography. And it did not die when it entered digital age; its simply opened new doors. In the end, for the artist it is not a question of what medium is used, but rather the poetry, passion and emotion that the work expresses. Fine art photography has many faces and just as music, we are all looking forward to seeing what the “light hunters” will bring us. A great way to study the history of photography is through photographic postcards. You can see the panorama of changes in the art and science of photography through this vehicle that actually popularized photography. Postcards helped simplify
correspondence with less written text and expressed the emotions or location of sender. Think of it as the emoji of the past. For decades, postcards served as landmarks of important moments. Many thanks to Bruce Byers who shared his beautiful postcard and image collection that he started in the late 1960s. This rich history of images shows us the role of the photographer and photography and how fine art photography came to life.
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By Professional Member Bruce Byers • firstname.lastname@example.org • www.streetmoments.com
This is the Fine Art issue of "proof sheet" magazine produced by APA|NY. It is our 10th issue. The magazine has been launched with a galle...
Published on Apr 19, 2018
This is the Fine Art issue of "proof sheet" magazine produced by APA|NY. It is our 10th issue. The magazine has been launched with a galle...