This year’s sculptures were installed in April, and will stick around until March of next year.
Baytown has a new sculpture trail to bring people back to town square
Indigenous artists and the art market
From the June 2024 issue of Apollo. Preview and subscribe here.
Does the Venice Biennale affect the art market? The consensus on this non-commercial festival, which opened last month, is usually yes. In the va-va-voom 2000s it was common to see collectors snapping up works by Venice stars as soon as they could at Art Basel (for years the Venice preview ended two days before the opening of the fair). ‘See in Venice, buy in Basel’ became an often-repeated phrase.
If the conventional wisdom holds true, this year should be a good one for Indigenous artists – those who trace their ancestries to the first inhabitants of countries such as Canada, Australia, Brazil and Norway. The winner of the Golden Lion for the best national pavilion, Archie Moore, is of Kamilaroi/Bigambul heritage. His stark, black and white installation in the Australian pavilion is a memorial to the 60,000-year history of his Aboriginal ancestors. Indigenous artists Jeffrey Gibson, Inuuteq Storch and Glicéria Tupinambá also represented the United States, Denmark and Brazil respectively.
The main International Art Exhibition, curated by Adriano Pedrosa, was similarly filled with work by Indigenous artists, including father and son Colombian/Nonuya painters Abel Rodríguez and Aycoobo, and the Native American artists Kay WalkingStick and Emmi Whitehorse. The Golden Lion for best work went to four Maori women artists, the Mataaho Collective, for a minimalist installation made from polyester hi-vis cargo straps.
This is not a new phenomenon. Some Indigenous artists achieved worldwide fame decades ago, particularly Australians such as Clifford Possum Tjapaltjarri and Emily Kame Kngwarreye, who will have a retrospective at Tate Modern next year. Tjapaltjarri holds the auction record for a work by an Australian Aboriginal artist for Warlugulong (1977), which sold in 2007 at Sotheby’s to the National Gallery of Australia for A$2.4m. The record for a female Australian artist was achieved by Kngwarreye’s work Earth’s Creation (1994), which sold in 2017 for A$2.1m at Sydney auction house Cooee Art Leven. Her work was also included in Gagosian’s ‘Desert Painters of Australia’ exhibitions in New York and Los Angeles in 2019.
Installation view of ‘kith and kin’ (2024) by Archie Moore in Australia’s pavilion at the Venice Biennale, 2024. Photo: Andrea Rossetti; courtesy the artist/The Commercial; © the artist
Most Indigenous artists are much less well known. But they were a focus of curator Adam Szymczyk’s edition of Documenta 14 in 2017, which included work by Canadian/Kwakwaka’wakw artist Beau Dick and the Sami Artist Group. More recently, the huge international survey ‘Indigenous Histories’ opened last year at the Museum of Art of São Paulo Assis Chateaubriand (MASP), of which Pedrosa is artistic director. It is now at KODE in Bergen (until 25 August).
Jaune Quick-to-See Smith, a member of the Confederated Salish and Kootenai Tribes based in Montana, had the first solo retrospective of a Native American artist in the 93-year history of the Whitney Museum in New York last year (see May 2023 issue of Apollo). She mounted her own exhibition of contemporary Native American artists at the National Gallery of Art in Washington, D.C., ‘The Land Carries our Ancestors’, the first at the museum in 70 years. It is now at the New Britain Museum of American Art in Connecticut (until 15 September).
‘There’s definitely momentum at the moment,’ says Candice Hopkins, a Canadian-born curator and citizen of the Carcross/Tagish First Nation. She directs the Forge Project in upstate New York, which supports Native American arts and artists by buying work and lending them out. Hopkins credits exhibitions such as the Venice Biennale and Documenta 14 for driving change. ‘Documenta was the biggest, most sustained platform that a lot of Indigenous artists had ever had,’ she says. ‘Venice is also introducing a lot of artists and voices that aren’t broadly known.’
The Tate began collecting the work of Indigenous artists around a decade ago, but Hopkins says that New York has only begun to catch up in the past five years. ‘We usually understand the art world as an ecosystem of curators, critics, art historians, collectors and galleries,’ she says. ‘But most Native artists I have worked with have had marginal [commercial] representation or none at all.’
Even artists who have found success in the biggest and most competitive art market – the United States – say they have faced tough times. Jeffrey Gibson, a Mississippi Choctaw-Cherokee painter, sculptor and film-maker, is the first Native American to represent his country in Venice. He studied at two of the world’s best art schools, the School of the Art Institute of Chicago and the Royal College of Art in London, but by 2011 was considering quitting. ‘It all had to do with homophobia, racism and classism, specifically in the art world, and how challenging it was for me to engage in it,’ he says. At the same time, he was meeting traditional makers in states such as Oklahoma, Oregon and South Dakota. This led to a breakthrough phase of work, including a series of patterned, beaded boxing punchbags. ‘I realised all these people making their own clothes, music and quilts was a way of removing themselves from the mass culture,’ he says.
Gibson is now represented by three commercial galleries, including Stephen Friedman. The gallery declined to comment, but there is little doubt that Gibson’s market has grown since the dark days of 2011. At Frieze London in 2022 the gallery reportedly sold his works for between $135,000 and $300,000.
My Heart Belongs to Daddy (1998), Jaune Quick-to-See Smith. Courtesy Phillips; © the artist
‘The sky’s the limit for Gibson,’ says Los Angeles-based Native American art expert James Trotta-Bono. Earlier this year, Trotta-Bono was one of the advisors for ‘New Terrains’, a selling exhibition by auction house Phillips in New York. It included work by almost 70 artists from the 20th and 21st centuries, with prices ranging from $5,000 to close to $1m.
Trotta-Bono says the market for modern and contemporary work revolves around overlapping groups of artists. The earliest are those associated with the ‘studio school’ style of painting, founded in 1932 at the Sante Fe Indian School and with Bacone College in Muskogee, Oklahoma. Artists from this period painted in a flat, colourful style, drawing from Indigenous traditions and include Awa Tsireh and Narciso Abeyta (or Ha So De) from the south-west and Woody Crumbo and Solomon McCombs from Oklahoma.
Transitional post-war artists such as Oscar Howe and George Morrison fused their Native heritage with modernism, and paved the way for the founding of the Institute of American Indian Arts (IAIA) in Santa Fe. It fostered a new generation of contemporary Native artists such as Fritz Scholder and T.C. Cannon. Then there are more recent artists, such as Quick-to-See Smith, WalkingStick and Whitehorse, and younger artists such as Nicholas Galanin, Cannupa Hanska Luger, Melissa Cody and Rose B. Simpson.
Trotta-Bono says the markets for all three groups are rising, driven in part by large US institutions. ‘There is a rethinking of the American art story through a more inclusive lens, and many institutions are either doing their part or starting to catch up,’ he says.
Garth Greenan founded his New York contemporary art gallery in New York just over a decade ago, and has developed a reputation for championing under-recognised artists, including Native Americans. ‘It was only a matter of time – you can’t expand the canon of American art history without including all Americans,’ he says.
African American artists have seen a huge surge in curatorial interest in the past decade, but it is only recently that similar attention is being paid to Native artists. Why this should be the case is unclear. It may reflect the relative size of the populations: according to the US Census Bureau, around seven million people identify as having Native American heritage, one-sixth the size of the Black population.
Historically, many were forcibly relocated from eastern states: half the population lives in Oklahoma, Arizona, California, New Mexico and Texas. ‘There’s certainly been a degree of invisibility on the East Coast,’ Greenan says. ‘It was shocking how difficult it was to get people to pay attention when I started. But fortunately I had a core group of regular clients who believed in what I was doing.’
Quick-to-See-Smith, who Greenan represents, has seen her prices rise steadily, he says. A decade ago, large paintings were priced between $80,000 and $200,000. Now they range from $350,000 to more than $1m. The best works by Scholder and Morrison are also believed to sell privately for close to $1m and over $2m respectively, according to other experts. ‘Ironically, now I have people asking me if this is a bubble,’ Greenan says. ‘Well, you can have bubbles around anything, but the artists that are important will stay.’
Irene Snarby is an external curator on ‘Indigenous Histories’, specialising in the art of the Sami people. She says that their work was often dismissed as craft and while that has changed, artists still face many challenges. ‘In Norway, those that speak Norwegian can go to Oslo – but many don’t want to: they are deeply connected to their communities.’ Even fewer speak English, so reaching international curators is difficult. She adds: ‘Most live in remote areas and it is very expensive to send work unless it is film or photography.’
Horse and Rider (1977), Fritz Scholder. Courtesy Phillips
Some critics are tiring of the curatorial focus on identity politics. The Economist’s culture editor wrote of Venice that ‘you get the sense that the reason certain paintings are grouped together seems to be that the artists identify as indigenous or queer, rather than the work sharing any visual characteristics’. Having spoken to art advisers and a museum director, she added ‘the secret of this Biennale is that a lot of people found it unsatisfying’.
Others doubt the power of biennials to affect the broader market. As long ago as 2017, one of New York’s leading art advisers, Allan Schwartzman, wrote that ‘over time, with a few notable exceptions these sweeping Herculean shows have started to lose their prescience, their clarity and deep insight’.
Yet this Venice Biennale is filled with a rarely seen quantity of exciting and unfamiliar work, from the textiles of Argentinian/Wichi artist Claudia Alarcón to the jungle paintings of Peruvian/Aimeni artist Santiago Yahuarcani. It is a worthy successor to Cecilia Alemani’s 2022 edition, which foregrounded the work of women. That exhibition had an almost immediate effect on the market for female Surrealists, especially the work of the lesser known.
Of course, what is perhaps most appealing about Indigenous artists is the fact that the themes many embrace – the need to protect the environment, the sacred nature of land and animals, the importance of history, tradition and community – is antithetical to Western individualistic, industrial, consumer culture. A reckoning is sweeping parts of the art world. But it may not be a message that all of it wants to hear.
From the June 2024 issue of Apollo. Preview and subscribe here.
How AP covered the D-Day landings and lost photographer Bede Irvin in the battle for Normandy
NEW YORK (AP) — When Associated Press correspondent Don Whitehead arrived with other journalists in southern England to cover the Allies’ imminent D-Day invasion of Normandy, a U.S. commander offered them a no-nonsense welcome.
Isa Aydin Photography Announces Exclusive Discounted Week for Skincare Photography Services
Clients looking to benefit from a 30% discount on skincare photography services must schedule their shoots during this discounted week.
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Wedding Photography Market Is Booming So Rapidly | WeddingWire, ARJ Photography, Emot Wedding Photography
Global Wedding Photography Market, Outlook and Forecast 2024-2030 is latest research study released by HTF MI evaluating the market risk side analysis, highlighting opportunities and leveraged with strategic and tactical decision-making support. The report provides information on market trends and development, growth drivers, technologies, and the changing investment structure of the Keywords Market. Some of the key players profiled in the study are WeddingWire (United States), ARJ Photography (United Kingdom), WedMeGood (India), Emot Wedding Photography (Australia), Xo Group (United States), ShaadiGraPher (India), Christian Oth Studio (United States), ALLAN ZEPEDA PHOTOGRAPHY (United States), Elizabeth Messina (United States).
Get free access to sample report @ https://www.htfmarketreport.com/sample-report/4150743-global-wedding-photography-market-5?utm_source=Akash_OpenPR&utm_id=Akash
Wedding Photography Market Overview:
Wedding photography is the nuanced art of capturing one of the most important days in a person’s life. It includes portrait photography, concept, documentary, and candid photography, concept, documentary, and candid photography. Wedding photography is also one of the most financially rewarding artistic professions because it is indispensable to the newlyweds’ grander theme of romance.
The segments and sub-section of Wedding Photography market is shown below:
by Type (Traditional Wedding Photo Shoot, Candid Wedding Photography, Drone Wedding Shoot, Cinematography/Videography, Others), Application (Indoor, Outdoor), Coverage (Pre-Wedding, Ceremony, Portraits, Reception)
Market Drivers
• The popularity of Wedding Photography
Market Trend:
• Growing Trend of the Wedding Photography among People
Opportunities:
• Growing Demand for Photography in Wedding
Challenges:
• Number of Photographers in the Industry
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Important years considered in the Wedding Photography study:
Historical year – 2019-2023; Base year – 2023; Forecast period** – 2024 to 2030 [** unless otherwise stated]If opting for the Global version of Wedding Photography Market; then below country analysis would be included:
• North America (USA, Canada and Mexico)
• Europe (Germany, France, the United Kingdom, Netherlands, Italy, Nordic Nations, Spain, Switzerland and Rest of Europe)
• Asia-Pacific (China, Japan, Australia, New Zealand, South Korea, India, Southeast Asia and Rest of APAC)
• South America (Brazil, Argentina, Chile, Colombia, Rest of countries etc.)
• Middle East and Africa (Saudi Arabia, United Arab Emirates, Israel, Egypt, Turkey, Nigeria, South Africa, Rest of MEA)
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Key Questions Answered with this Study
1) What makes Wedding Photography Market feasible for long term investment?
2) Know value chain areas where players can create value?
3) Territory that may see steep rise in CAGR & Y-O-Y growth?
4) What geographic region would have better demand for product/services?
5) What opportunity emerging territory would offer to established and new entrants in Keywords market?
6) Risk side analysis connected with service providers?
7) How influencing factors driving the demand of Wedding Photography in next few years?
8) What is the impact analysis of various factors in the Wedding Photography market growth?
9) What strategies of big players help them acquire share in mature market?
10) How Technology and Customer-Centric Innovation is bringing big Change in Wedding Photography Market?
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There are 15 Chapters to display the Wedding Photography Market
Chapter 1, Overview to describe Definition, Specifications and Classification of Wedding Photography market, by Type (Traditional Wedding Photo Shoot, Candid Wedding Photography, Drone Wedding Shoot, Cinematography/Videography, Others), Application (Indoor, Outdoor), Coverage (Pre-Wedding, Ceremony, Portraits, Reception)
Chapter 2, objective of the study.
Chapter 3, Research methodology, measures, assumptions and analytical tools
Chapter 4 and 5, Wedding Photography Market Trend Analysis, Drivers, Challenges by consumer behaviour, Marketing Channels, Value Chain Analysis
Chapter 6 and 7, to show the Wedding Photography Market Analysis, segmentation analysis, characteristics;
Chapter 8 and 9, to show Five forces (bargaining Power of buyers/suppliers), Threats to new entrants and market condition;
Chapter 10 and 11, to show analysis by regional segmentation, comparison, leading countries and opportunities; Customer Behaviour
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Nidhi Bhawsar (PR & Marketing Manager)
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HTF Market Intelligence consulting is uniquely positioned empower and inspire with research and consulting services to empower businesses with growth strategies, by offering services with extraordinary depth and breadth of thought leadership, research, tools, events and experience that assist in decision making.
This release was published on openPR.
‘Then the collision’ – Photographer injured in Sergio Perez’s crash speaks out
Andrea Bruno Diodato, the photographer injured when Sergio Perez and Kevin Magnussen crashed in Monaco, says he won’t “accuse” the Haas driver as that was probably his “only glimmer of opportunity” in Monaco.
Magnussen and Perez, as well as Nico Hulkenberg, saw their Monaco GP hopes obliterated on the very first lap of the Grand Prix when Magnussen tried to power past Perez around the outside only to collide with the Red Bull driver as he took the racing line.
Andrea Bruno Diodato was not seriously injured in the Sergio Perez crash
It was a spectacular crash as Perez lost all four corners of his RB20 and Magnussen the front end of his Haas while a glancing, but hefty blow, also put his team-mate Nico Hulkenberg out of the race.
With debris spewed, never mind strewn, across the track, the race was red-flagged as marshals cleared up the carbon fibre debris.
However, it later emerged that while Perez’s RB20 was shedding bodywork against the barriers it injured one photographer standing on the side of the track by the Beau Rivage corner, but behind fencing.
That photographer, Andrea Bruno Diodato, was taken to the track’s medical centre but soon released.
He told Sky Italia: “I’m fine and there were no serious consequences for anyone. And this also explains that there isn’t a safety problem on that circuit. And I don’t even feel like accusing the Haas driver, as an enthusiast I can understand that.”
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“My job sometimes teaches us to listen even before seeing certain situations,” he added. “And so in those moments, the uniform noise as the cars passed was as if it had stopped for a moment and I understood that something was about to happen. Then the collision.
“There were about ten of us, now I only have a bruise after the impact with a fragment of the ‘ala Red Bull. It went well, those who suffered the most damage may have thrown themselves to the ground to take cover.
“If I put myself in the driver’s shoes, I must say that in a certain sense, I understand Magnussen.
“In a race where it is very difficult to overtake, perhaps in that situation, he saw the only glimmer of opportunity to succeed. I don’t feel like accusing or condemning him.”
But as images of photographers scrambling for their safety did the rounds, he was asked if he was ever afraid at those moments.
“No, no fear,” he said.
“In Monaco there is no safety problem. I know that circuit well and if there were no serious consequences after the impact it is also because the guardrails are very solid, as are the posts in the asphalt.
“I think that track offers many more certainties when compared to others and other situations. I’m thinking for example of the accident involving Zhou (with Albon) at Silverstone in 2022.
“Well, that’s a dynamic, I certainly wouldn’t want to find myself in Monaco, maybe the show isn’t exciting on the track, but the safety standards are high. And in any case we are all aware that there is a risk in doing this job.”
A trick of the trade for wanna be F1 photographers?
“Making your head and all your senses work at their best. And also trusting your sensations, because it can make the difference.”
Read next: Fred Vasseur quizzed on Carlos Sainz ‘state of mind’ after Charles Leclerc’s Monaco win
Wallace Chan on Art and Alchemy
The multidisciplinary artist Wallace Chan explores the notion of transformation in a new exhibition now on view in Venice.
In pictures: winners of ‘Focus at the Frontline 2023’ photo contest unveiled
NatureScot photography project reveals scale of habitat restoration at Highland nature reserves
A long-term photography study has revealed how woodland is increasing and peatland is being restored at a number of nature reserves in the Scottish Highlands.
NatureScot has carried out repeat photography to illustrate the changes at national nature reserves (NNR) over time.
The Scottish government agency said this involves retaking historical photos at the same location and at the same time of year – in some cases dating back 70 years.
A new “storymap” has been launched that showcases the expansion of the Caledonian pine forests at Invereshie and Inshriach NNR, Beinn Eighe NNR and Dell Woods NNR; the spread of birch woodlands at Creag Meagaidh NNR and Craigellachie NNR; and the changes following peatland restoration at Ben Wyvis NNR.
Use the sliders below to see before and after images at the sites:
The visual record supports recent data from NatureScot NNRs showing that:
• Trees increased by around 25% at Invereshie and Inshriach NNR between 2017 and 2023 through natural regeneration, aided by deer management undertaken by Cairngorms Connect deer stalkers.
• Woodland at Beinn Eighe NNR has increased by 41% since it was designated as the UK’s first NNR in 1951, through a combination of tree planting, natural regeneration and sustainable deer management.
• More than 200 hectares of peatland has been restored on the mountainside at Ben Wyvis NNR as part of landscape-scale habitat restoration stretching from summit to sea.
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There are 43 NNRs across Scotland.
Ian Sargent, NatureScot’s nature reserves manager for central Highland, said: “Our aim over the years has been to restore nature to allow it to function naturally with minimal intervention on our NNRs.
“In turn, these nature-rich areas provide many benefits, including increased biodiversity, carbon storage and resilience to climate change.”
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Mr Sargent said even when “very familiar” with an area, it is sometimes “difficult to appreciate change, especially when it happens slowly”.
He added: “Repeat photography allows us a fascinating look back in time and an insight into the dramatic but sometimes unnoticed changes to the landscape down through the years.
“While of course these images can’t tell us the full story of a place and its people, it is certainly encouraging to see and reflect on the restoration of woodlands and peatlands over the years at some of our most beautiful and special sites for nature.”
7 Days in the Cultural Life of a MoMA Photography Curator
Oluremi Onabanjo fills her week with early morning writing sessions, a live show at the Village Vanguard, time with other Black scholars and art all around New York City.
As a curator in the photography department of the Museum of Modern Art, and a Ph.D. candidate in art history at Columbia, Oluremi C. Onabanjo squeezes as many exhibitions and talks as she can into an already packed schedule.
“I tend to absorb heaps of images, texts and sounds in one day,” she said. A New Yorker for the past 12 years, she previously lived in Kano, Nigeria; Lagos; Johannesburg; Fair Lawn, N.J.; and Dar es Salaam, Tanzania. “Living in New York has given me a political education,” she said, “taught me how to look alongside and think with artists, and made me sensitive to how the forces of history structure the contemporary conditions of social life.”
Onabanjo tracked a few days of her cultural life, noting some of the books, music and conversations that inspired her. These are edited excerpts from phone and email interviews.
Wednesday
At the moment, my days start at 5 a.m. I am currently A.B.D. (All But Dissertation), which means that I’m in the final stretch. With a full-time job, this requires being resourceful with my time: rising early to crank out two hours’ worth of pages every morning before heading to the office, so that I can hopefully finish a full draft of my dissertation by December. At first it was slow going because I’m not naturally a morning person, but the words are coming more easily as the months pass — especially as the sun rises earlier to keep me company.
Reading: “O Defeito de Cor” by Ana Maria Gonçalves, “Slave Rebellion in Brazil” by João José Reis. Listening to: “Don’t Touch My Hair” by Solange, “Green Grasshopper” by Marcia Griffiths.
