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Laurie Simmons, How We See/Tatiana (Pink), 2015
Pigment print, 70 x 48 inches (177.8 x 121.9 cm), Edition of 5, 2 APs
Courtesy of the artist and Salon 94, New York.


Dawoud Bey » Carina Brandes » Anne Collier » Natalie Czech » Moyra Davey » William Eggleston » Hervé Guibert » Zoe Leonard » Robert Mapplethorpe » Sigmar Polke » Barbara Probst » Timm Rautert » Cindy Sherman » Laurie Simmons » & others

Exhibition: – 11 Nov 2018

Paris Photo - Grand Palais

Avenue Winston Churchill
75008 Paris

Paris Photo

Avenue Winston Churchill
75008 Paris



Barbara Probst, Exposure #124, Brooklyn, Industria Studios, 39 South 5th St, 04.13.17, 10:39 pm, 2017
Ultrachrome ink on cotton paper, 2 parts: 168 x 112 cm | 66 x 44 inches each, edition of 5
Courtesy of the artist and Galerie Kuckei + Kuckei, Berlin

There is something about a private collection that forces the collector to think about who he or she is—both as a collector and, indeed, as a person. The result can yield something like comprehensiveness: a constellation of themes—for example, music, literature, fashion, politics, cosmology, and photography itself— that approximate the personality of the individual who brought them together. shego/hego/ego, a minimalist poem by Emmett Williams, repurposed as an artwork by Natalie Czech, is a handy solution to the quest for consistency between such realms. But who among us, if we were collectors, would not reveal an inner complexion at once methodological yet prone to exceptions? We all suffer from the dual impulses to categorize primly and then to venture out of bounds, to break our own rules. The McEvoy Family Collection has been guided by certain acknowledged interests (Nion McEvoy has been a poet, a publisher, a drummer, a meditation teacher, and a lawyer) yet has also been susceptible to poetic leaps and sheer mischief. So if you take a certain set of rational themes and rename them according to certain artworks that embody those themes, you get something closer to what the lifeblood of any collection is all about. Instead of music, literature, etc., you get “music today”, “Moyra reading”, “how we see”, “I am a man”, “fourth dimension” and, ultimately, “pictures pictures” because this is (mostly) a photography collection, after all.

Kevin Moore Independent Curator, New York

Carina Brandes, Untitled (CB191), 2016
Black and white photograph on baryta, 34.25 x 29.5 inches (87 x 75 cm)
Courtesy of the Artist and Team Gallery, New York