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“Staff” Picks at AIPAD 2018

April 5, 2018 Kat Kiernan

This week photography professionals and lovers from around the globe descend on New York City for the AIPAD (Association of International Photography Art Dealers) Photography Show. Now in its 38th year, the fair is the longest-running and foremost exhibition dedicated to the photographic medium. While the fair may attract some of the biggest collectors, galleries, organizations, and influencers in the industry,  Don’t Take Pictures believes that photography is the people's medium. All selections were made by those who spend the most time looking at the show—the security guards, catering staff, lighting techs, ticket takers, and the other unsung heroes of the fair. Here are the staff picks for 2018.

Massimo Listri, Venaria Reale VII, Torino, 2016, archival lambda color photograph, 70 7/8 x 88 5/8 inches. On view at Holden Luntz Gallery (Booth 100).

Massimo Listri selected by Cleevan, security guard

Cleevan, a security guard at Pier 94 selected “Venaria Reale VII” by Massimo Listri as his favorite piece in the show. On view at Holden Luntz Gallery, the large-scale piece is hung on the booth’s outside wall at the end of a corridor. About the piece, Cleevan said, “Have you ever seen a cartoon where they step through a picture and into another world? It’s like that. It sucks you right in and you can be somewhere else.”

Trine Søndergaard, Guldnakke #10, 2012, archival pigment print, 43 ½ x 43 ½ inches. On view at Bruce Silverstein Gallery (Booth 500).

Trine Søndergaard selected by Richard, security guard

Richard, a security guard at Pier 94 selected “Guldnakke #10” by Trine Søndergaard as his favorite piece in the show. On view at Bruce Silverstein Gallery, Søndergaard is known for her formal depictions of contemporary women. About the piece, Richard said, “I like art. I like looking at what other people have to say. I like this piece because it’s punchy—got some color. But it’s a mystery, you know? Like you like her but you don’t know about her. It’s like you’re popular…but from the back.”

Corey Arnold, Searching for Buoy Three, 2017, archival pigment print, 39 x 56 inches. On view at Charles A. Hartman Fine Art (Booth 509).

Corey Arnold selected by Hector, catering staff

Hector is part of the catering staff. He excitedly dragged me across the fair to show me his favorite works in the show by Corey Arnold. “I don’t know too much about art.” He said, “but this is what I would say life is. I don’t do these things, I don’t go on boats. But it’s someone’s life, and I like it.” On view at Charles A. Hartman Fine Art, Corey Arnold is both a photographer and a commercial fisherman in Alaska. He photographs his life at sea working as a Bering Sea Crab fisherman.

Jungjin Lee, Opening #13, 2016, inkjet print on mulberry paper, 50 x 25 inches. On view at Howard Greenberg Gallery (Booth 501).

Jungjin Lee selected by Frank, door security

Frank works door security checking people’s bags at the fair. “I like a lot of stuff here.” He said, “I like the pictures of mountains and rivers the best.” When pressed to choose a favorite he selected Jungjin Lee’s “Opening #13” at Howard Greenberg Gallery. The large vertical piece is subdued in tonality but strategically placed on the outside wall its unusual orientation and unique paper commands attention.

Mickalene Thomas, Remember Me, 2006, c-print, 39 ½ x 49 ½ inches. On view as part of All Powers: Visual Legacies of the Black Panther Party.

All Power: Visual Legacies of the Black Panther Party selected by Ronnnie, ticket taker

Ronnie, a ticket taker during the VIP reception selected the special exhibition All Power: Visual Legacies of the Black Panther Party as his favorite part of the show. Curated by Photographic Center Northwest, the exhibition features works influenced by the Black Panther party. “It’s a service to the people,” Ronnie said, “to come in here and see something like that. Especially now.”

The Photography Show presented by AIPAD is held at Pier 94, 711 12th Avenue, New York. The show is on view through April 8.

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