Two centuries of photography are presented at the Fair thanks to 190 galleries and art book dealers, selected for the pertinence of their projects and their artistic diversity. For the 3rd consecutive year, the prestigious Salon d’Honneur provides a monumental backdrop for the PRISMES sector, where renowned international galleries offer large-format, series, and installation works in a curated space, works that explore the medium from new angles.

This year, we proudly welcome Karl Lagerfeld as Paris Photo’s Guest of Honour and the private collection of Helga de Alvear, renowned gallerist and passionate collector, for an exhibition curated by Marta Gili.

The Galleries:

ACB Budapest*

AKIO NAGASAWA Tokyo

ALINE VIDAL Paris*

ANITA BECKERS Frankfurt-am-Main

ANNET GELINK Amsterdam*

ASYMETRIA Warsaw

ATLAS London

AUGUSTA EDWARDS London

BAUDOIN LEBON Paris

BENDANA | PINEL Paris

BENE TASCHEN Cologne

BENRUBI New York

BERNHEIMER Lucerne BERTRAND GRIMONT Paris*

BEYOND Taipei

BINOME Paris

BLINDSPOT Hong-Kong

BO BJERGGAARD Copenhagen

BRUCE SILVERSTEIN New York

BRYCE WOLKOWITZ New York

CAMERA OBSCURA Paris

CAMERA WORK Berlin

CARLIER | GEBAUER Berlin*

CARLOS CARVALHO Lisbon

CAROLINE SMULDERS Paris

CATHARINE CLARK San Francisco

CHARLES ISAACS New York

CHELOUCHE Tel Aviv

CHRISTOPHE GAILLARD Paris

CHRISTOPHE GUYE Zurich

CLAIREFONTAINE Luxembourg*

CONTINUA San Gimignano

DANIEL BLAU Munich

DANIEL TEMPLON Paris

DANZIGER New York

DIEHL Berlin*

DIX9 – HÉLÈNE LACHARMOISE Paris

DU JOUR AGNÈS B. Paris

EAST WING Doha

EDWYNN HOUK New York EMMA MOLINA Monterrey

ERIC DUPONT Paris

ESTHER WOERDEHOFF Paris

ETHERTON Tucson

FIFTY ONE Antwerp

FILOMENA SOARES Lisbon

FLOWERS London

FRAENKEL San Francisco

FRANÇOISE PAVIOT Paris

GAGOSIAN Paris

GILLES PEYROULET Paris

GITTERMAN New York

GRÉGORY LEROY Paris*

GRIMM Amsterdam*

HAMILTONS London

HANS P. KRAUS JR. New York

HENRIQUE FARIA New York

HOWARD GREENBERG New York

IN CAMERA Paris

INGLEBY Edinburgh

JAMES HYMAN London

JEAN-KENTA GAUTHIER Paris

JOAN PRATS Barcelona*

JOHANNES FABER Vienna

JORGE MARA – LA RUCHE Buenos Aires*

JUANA DE AIZPURU Madrid

JULIAN SANDER Cologne

KALFAYAN Athens

KARSTEN GREVE Paris

KICKEN Berlin

EMM’S Berlin KOW Berlin*

LE RÉVERBÈRE Lyon

LELONG Paris

LES DOUCHES Paris

LES FILLES DU CALVAIRE Paris

LIA RUMMA Milan*

LOOCK Berlin

LOUISE ALEXANDER Porto Cervo*

LUISOTTI Santa Monica LUMIÈRE DES ROSES Montreuil M97 Shanghai

BOCHUM Bochum

MAGNIN-A Paris

MAGNUM Paris

MARTIN ASBÆK Copenhagen

MAUBERT Paris*

MELANIE RIO Nantes

MEM Tokyo

MICHAEL HOPPEN London

MITTERRAND Paris*

MIYAKO YOSHINAGA New York*

NAILYA ALEXANDER New York*

NAP Tokyo*

NATHALIE OBADIA Paris

NEXTLEVEL Paris

NORDENHAKE Berlin

ODILE OUIZEMAN Paris

PACE/MACGILL New York

PACI Brescia

PARIS-BEIJING Paris

PARROTTA Stuttgart

PARTICULIÈRE – FOUCHER-BIOUSSE Paris

PETER FETTERMAN Santa Monica*

PHOTO&CONTEMPORARY Torino

POLARIS Paris

POLKA Paris

PROJECT 2.0 The Hague*

PURDY HICKS London

RICHARD SALTOUN London

ROBERT HERSHKOWITZ Lindfield

ROBERT KLEIN Boston

ROBERT KOCH San Francisco

ROBERT MANN New York

ROBERT MORAT Berlin

ROCIOSANTACRUZ Barcelona*

ROLF ART Buenos Aires

RX Paris

SAGE Paris

SCHOOL OLIVIER CASTAING Paris

SEE+ Beijing*

SHOSHANA WAYNE Santa Monica

SIES + HÖKE Dusseldorf*

SILK ROAD Tehran*

SIT DOWN Paris*

SOPHIE SCHEIDECKER Paris

SPRINGER Berlin*

STALEY-WISE New York

STEPHEN BULGER Toronto*

STEPHEN DAITER Chicago

STEVEN KASHER New York*

STEVENSON Cape Town

SUZANNE TARASIEVE Paris

TAIK PERSONS Berlin

TAKA ISHII Tokyo

TANIT Beirut*

TASVEER Bangalore

TEMNIKOVA & KASELA Tallinn*

THESSA HEROLD Paris

THOMAS ZANDER Cologne

TOLUCA Paris

TOM CHRISTOFFERSEN Copenhagen*

TRAPÉZ Budapest*

V1 Copenhagen

VAN DER GRINTEN Cologne*

VINTAGE Budapest

VU’ Paris

XIPPAS Paris

YANCEY RICHARDSON New York

YOSSI MILO New York

YUMIKO CHIBA Tokyo

After a strong debut presentation in 2016, Catharine Clark Gallery is pleased to announce its participation in the 21st edition of Paris Photo. The gallerys presentation at Booth A25

features new works by Stacey Steers and Deborah Oropallo, as well as an encore presentation of Stephanie Syjuco s acclaimed series, Cargo Cults , and photo sculptures from RAIDERS.

Stacey Steerss gelatin silver photographs are stills from Edge of Alchemy (2017), her most recent film funded by Creative Capital and the John S. Guggenheim Foundation. Assembled from thousands of handworked photo collages, Edge of Alchemy re-imagines

American silent film actors Mary Pickford and Jan et Gaynor in a phantasmagoric narrative of creation and monstrous hybridity.

Catharine Clark Gallery is especially pleased to announce that two of Steersphotographs have been selected by Paris Photo 2017s Guest of Honor, Karl Lagerfeld of Chanel,

and will be featured in a limited edition book published by Steidl. Steersphotographs are accompanied by an in-booth presentation of the artists complete Vital Signs trilogy of films: Phantom Canyon (2008), Night Hunter (2011) and Edge of Alchemy (2017).

Deborah Oropallos photomontages juxtapose studio photography with found images from costume catalogues and military figures from historical paintings, a process in which seemingly disparate sources are layered into intricate compositions that explore

tensions between gender, power and representation. Three new video works complement Oropallos photography by translating photomontage into animation. Going Ballistic (2017), for example, features more than 100 found images of nuclear missile test launches from around the world, set against a soundtrack that splices Jimi Hendrixs cover of The Star Spangled Banner with audio footage from missile launch countdowns. Through dense layering of wartime photographs, Oropallo critiques our collective acculturation to violence through repeated exposure to these images.

Catharine Clark Gallery is also proud to present an encore presentation of Stephanie Syjucos acclaimed series, Cargo Cults. Syjucos photographs interrograte historical tensions between race and photography by restyling ethnicpatterned mass-produced goods purchased from American shopping malls as costumes that mimic and critique ethnographic portraiture. Following Syjucos standout presentation at Paris Photo 2016, the complete suite of Cargo Cults photographs was acquired by the Pennsylvania Academy of the Fine Arts as part of their campaign to collect work by women artists.

In 2018, Cargo Cults will be featured in Being: New Photography 2018 at the Museum of Modern Art (MoMA) and the Renwick Invitational at the Smithsonian American Art Museum. Also in 2018, Syjuco will be featured in PBSacclaimed television series, Art:21 Art in the 21st Century as one of three featured photographers from San Francisco (alongside Katy Grannan and Lynn Hershman Leeson). Syjucos Cargo Cults photographs

are accompanied by the Paris Photo debut of RAIDERS, a series of sculptural works that combine open source photographs of decorative Asian vases from museum collections mounted to backings made from laser cut wood.

An exhibition of portraiture spanning the history of photography from 1845 to 2012 will be exhibited by Hans P. Kraus Jr. Fine Photographs at Paris Photo from 9-12 November 2017. The exhibition, Portraits, will feature the work of Lewis Carroll, Julia Margaret Cameron, Hill & Adamson, Charles Nègre, Gertrude Käsebier, Vera Lutter, and Adam Fuss, among others.
A young girl, Alexandra “Xie” Kitchin, fixes the viewer with her direct stare in an 1873 albumen print by Lewis Carroll, best known as the author of
Alice in Wonderland. Xie’s father, a mathematician and classicist, was a close friend of Carroll’s at Oxford, but it is to her mother that the roots of this image can be traced. Maud Alice Taylor, the daughter of the British consul to Denmark, was a childhood friend of Princess Alexandra of Denmark who was to become the Princess of Wales. Xie was named after the Princess. Carroll (1832-1898) once declared the key to obtaining excellence in a photograph was simply to “take a lens and put Xie before it.” This is the only known untrimmed print from the negative.
One of the great portraitists in the history of photography, Julia Margaret Cameron (1815-1879) is represented by her signature profile,
Julia Jackson (Mrs. Herbert Duckworth) from 1867. Julia Jackson was Cameron’s niece and goddaughter, and she was a frequent sitter for her aunt throughout her life. Julia Jackson was the mother of Virginia Woolf and Vanessa Bell. This albumen print, from the collection of the Fauvist André Derain, was the inspiration for his 1920 painting Portrait of an Englishwoman, now in the Carnegie Museum of Art in Pittsburgh.
Among the earliest photographers to exploit both the artistic and documentary potential of the portrait, D. O. Hill & Robert Adamson (1802-1870 & 1821-1848) made a survey of contemporary life in the picturesque fishing village of Newhaven, just outside Edinburgh. In
Jeanie Wilson and Annie Linton, an 1845 salt print from a calotype negative in the series, the photographers saw that the true character and beauty of the fishwives was intimately connected to their way of life and the precarious nature of their ties to the hard-working fishermen, often absent at sea and from this photograph, with whom their lives were closely aligned. The traditional dress of the fisherwomen lends itself particularly well to the calotype medium. Hill & Adamson’s skillful deployment of light and shade and their positioning of the sitters just short of self-consciousness is a fine example of early portraiture and a sought after example of their work.
Also on display is
The children of actress Rachel with a young girl and dog, Auteuil by Charles Nègre (1820-1880). The most famous actress in mid-19th century France was Élisabeth Rachel Felix, known simply as “Rachel.” In autumn 1853, she hired Nègre to take her portrait. He took several photographs of Rachel and of her immediate family. Nègre’s hand-colored salt print portrays the sons of Rachel accompanied by an unidentified young girl and dog on the grounds of an Auteuil mansion in Paris. Dressed in a comic costume reminiscent of the famous mime Pierrot, the young man standing on the right is Alexandre Antoine Colonna-Walewski. Alexandre was the son of Rachel and the Count Colonna-Walewski, the Polish and French politician and the first Napoleon’s illegitimate son. Embracing the dog is his half-brother Gabriel Victor Félix, Rachel’s son by the socialite Arthur Bertrand. Nègre used a modified combination lens to make the wet collodion on glass negative. His skill in retouching is evident in this hand-colored print, where subtle greens, pinks, tans, and grays are burnished into the print’s fibrous structure. The only known example of hand-coloring in Nègre’s oeuvre, this salt print exhibits the painter’s sense of natural color alongside the photographer’s experimentation with technique and knowledge of classical composition.
In 1905, the opening exhibition of Alfred Stieglitz’s Little Galleries of the Photo-Secession, or 291 (so named for its Fifth Avenue address), included a print of
Happy Days, 1903. A playful composition by Gertrude Käsebier (1852-1934) exemplifying her artistry in portraying childhood in a naturalistic and informal manner, this rare platinum print shows the hand-crafted quality most sought after by the Photo-Secessionists.
The exhibition also includes work by other 19
th century masters such as Giacomo Caneva, Nadar, Vallou de Villeneuve, William Henry Fox Talbot, and 20th century luminaries such as Eugène Atget, Edward Steichen, Ansel Adams, and Weegee, and the acclaimed contemporary photographers, Adam Fuss and Vera Lutter.