Ashtray on Table, Morley's Cafe, Markham Moor, Nottinghamshire by Paul Graham

Paris Photo

Past
Nov 11 – Nov 14, 2021
Paris

Art Fair Details:

Paris Photo
Grand Palais Ephémère
Booth C10
Nov 11 – 14, 2021

Connect:

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Above: Paul Graham, Ashtray on Table, Morley's Cafe, Markham Moor, Nottinghamshire, February 1981, vintage color coupler print, 7-5/8" × 9-7/16" (19.4 cm × 24 cm), image 10-7/8" × 13-11/16" (27.6 cm × 34.8 cm), paper © Paul Graham

Bringing together work by both twentieth century and contemporary artists, our booth at Paris Photo offers a snapshot of upcoming exhibitions across several Pace locations.

This presentation also marks the first time Pace has participated in Paris Photo since Pace/MacGill was integrated into the gallery in 2020, underscoring Pace’s commitment to a robust global photography program.

Pace’s booth will showcase several artists who are slated to have exhibitions at the gallery in the coming year. Artists who have recently joined Pace, including Robert Longo, Rafael Lozano-Hemmer and Glenn Kaino, will form a central component of the booth ahead of their exhibitions at Pace’s New York galleries in 2021 and 2022. This presentation coincides with Lazarus Manifold, an exhibition of recent work by Longo that will continue through December 2021. A solo exhibition of Kaino’s work will open in Spring 2022, marking the artist’s first show since joining the gallery’s roster. Likewise, Lozano-Hemmer will also have his first solo exhibition with the gallery in Fall 2022.

Further, in Spring 2022 an exhibition of Emmet Gowin will open to coincide with a new monograph titled The One Hundred Circle Farm published by Princeton University Press in early 2022. Remarkable vintage gelatin silver prints by Richard Misrach will be on view in Paris ahead of three forthcoming 2022 exhibitions of the artist’s work at Pace’s Palm Beach, New York and Geneva galleries. The booth will also feature a suite of intimate 1977 photographs by Peter Hujar capturing activist Robert Leviathan. Hujar’s work will be exhibited at Pace’s recently opened London gallery at 5 Hanover Square in 2022.

Additional highlights include works by Yto Barrada, Harry Callahan, Robert Frank, Richard Learoyd, Irving Penn, Paolo Roversi, and JoAnn Verburg. Pace will show work from the Gypsies series by Josef Koudelka, who recently made an unprecedented donation of over 4000 photographs to four major Czechoslovakian museums. Further, photographs from Paul Graham’s landmark series A1: The Great North Road from 1981 will be exhibited, marking the 40th anniversary of this seminal body of work.

Featured Works

William Christenberry

b. 1936
d. 2016

David Goldblatt

b. 1930, Randfontein, South Africa
d. 2018, Johannesburg, South Africa

Emmet Gowin

b. 1941, Danville, Virginia

For six decades, Emmet Gowin has contemplated humanity’s relationship to the natural world with wonderment. His photographs have ranged from intimate portraits of his wife and extended family in Virginia to aerial vistas of nuclear test sites and scientific surveys of tropical ecosystems. In this suite of works, Gowin nurtured his interest in aerial photography, documenting the abstract footprints of center-pivot irrigation systems in the United States. Created over the course of a decade, these striking black-and-white images, which Gowin captured as he flew over the country’s terrain, attest to the ways in which humankind has overtly disfigured and continues to transform the landscape. These works are included in the artist’s forthcoming monograph, The One Hundred Circle Farm (2022), and will be the subject of a Pace exhibition in 2022.

28 Millimètres, Women Are Heroes, Eyes on bricks, New Dehli, Inde by JR JR — JR JR, *28 Millimètres, Women Are Heroes, Eyes on bricks, New Dehli, Inde*, 2009, color print, mounted on dibond, mat plexiglas, flushed wooden black frame, 49-3/16" × 74" × 2-3/4" (124.9 cm × 188 cm × 7 cm)

JR

b. 1983, Paris

Richard Misrach

b. 1949, Los Angeles, California

With his famed series Telegraph 3 A.M. (1972–74), Richard Misrach set out to document the countercultural movement in Berkeley, California. This body of work, which comprises intimate portraits and eerie streetscapes captured on the city’s Telegraph Avenue, examines the social movements and issues at play during the 1970s. The present portraits, rife with emotional and psychological poignancy, are reflections of life in Berkeley in this period. Works in this series made up Misrach’s first publication, Telegraph 3 A.M.: The Street People of Telegraph Avenue, Berkeley, California. Photographs by Richard Misrach (1974), and a selection of these photographs is currently included in The Museum of Modern Art, New York’s ongoing group exhibition Living for the City.

Yoshitomo Nara

b. 1959, Hirosaki, Aomori, Japan

While Yoshitomo Nara is known for his paintings, sculptures, and drawings, the artist’s longstanding engagement with photography has proven significant throughout his career. Introduced to photography at age 13, when his parents gave him his first camera, Nara has created images documenting post-Mao social culture in China and life on the remote island of Sakhalin, which is located north of Japan. The present set of 15 prints, titled Traveling Yamako (2019), features a painting of the peaceful face of a girl in various locales. These whimsical images serve as a travel log of sorts, tracing the journey of Nara’s character through different spaces and environments. As such, the works serve as syntheses of two significant aspects of the artist’s oeuvre.

Trevor Paglen

b. 1974, Camp Springs, Maryland

Through his expansive practice, Trevor Paglen often explores the social and political implications of new technologies. The present work, which is part of the artist’s Even the Dead Are Not Safe series, meditates on artificial intelligence and surveillance. To create this image, Paglen employed custom-developed software to translate abstract, mathematical data through machine algorithms into a portrait, or “eigenface,” of the noted French writer and activist Simone de Beauvoir, who died in 1986. Here, the artist examines the power of machines in state surveillance and transforms these technologies into artmaking tools. Paglen shows de Beauvoir’s face emerging from a hazy ether, gazing directly at the viewer. The work was featured in the artist’s 2019 exhibition Trevor Paglen: The Shape of Clouds at Pace’s gallery in Geneva.

RaMell Ross

b. 1982

The artist, filmmaker, and writer RaMell Ross is widely known for his 2018 Oscar-nominated documentary Hale County This Morning, This Evening, which focuses on the lives and experiences of Black Americans in Hale County, Alabama. As with his widely acclaimed film, Ross imbues his photographs of the American South with intimacy and lyricism. The present works are part of the artist’s South County, Alabama series. “I’m for an art that tries to erase the horizon,” Ross once wrote of this series. “With my 4×5 camera upright, swinging the three-leg, glass-nosed puppet into position, I daydream about a postmodern South, of melanin liberation and a less profit-centered humanity.” Images from this body of work were featured in the recent group exhibition But Still, It Turns (2021), which was curated by photographer Paul Graham and presented at the International Center of Photography in New York.

Paolo Roversi

b. September 25, 1947

JoAnn Verburg

b. 1950, Summit, New Jersey

JoAnn Verburg’s DOUBLE DIP (2018), THREE TO ONE (for Joel Shapiro) (2020), and BETWEEN (2021) are from a series of works depicting olive trees on three continents. These contemplative, experiential artworks exemplify the renowned American photographer’s multidisciplinary practice, which for over four decades has engaged with a range of art-historical traditions, including still life and portraiture. While others from this series were photographed in California and Israel, the present works invite viewers to pause and enter a world of self-reflection while diving into Italian landscapes. Generating what the artist has called an “imagined reality,” her images become vehicles for orchestrating a performative and existential encounter between the viewer and the world. Verburg’s complex compositions depend entirely on the presence of the viewer. “In that sense,” Verburg has explained, “they are like portraits. It’s as though the person in the gallery has just stepped out of the frame and turned around to see the trees and sky behind.” A photograph, for her, “only exists when someone is looking at it,” so that “the air in the image seems to be the same air that’s in the gallery...there is no difference.”