Association of International Photography Dealers (AIPAD) started staging art fairs before art fairs were a thing, before digital processes necessitated the term "photo-based art," and before "curated Insta feed" was lingua franca. Consider a visit to its annual fair, now in its 36th year, a kind of anthropological study of what passes for a photograph. This year you'll see old-school efforts from the likes of Carleton Watkins, whose expansive 1867 albumen print, The Garrison, Columbia River, surveys the rugged Oregon landscape. But there's also plenty of post-photography: Alison Rossiter mines the tools of the wet darkroom to objectify the print; she drips and pools developer on expired photo paper, which she treats like painting or sculpture. And Pipo Nguyen-duy brings Monet into the mix by documenting the flora of the artist's Giverny garden, introducing us to the later-generation botanicals seen in his Impressionist canvases.
Photo Credit: The Family Acid, Joan Didion in Berkeley, 1972. Chromogenic print, 20 x 24 inches. Courtesy Benrubi Gallery, New York.