Issue link: https://www.balharbourdigital.com/i/56249
A photograph by Philip-Lorca diCorcia that first appeared in the November, 2003 issue of W magazine. ing fellow fine artists Robert Polidori, Nan Goldin and Robert Longo). And Sherman's current retrospective at the Museum of Modern Art in New York (running February 26 through June 11) features examples of her past fashion forays including a recent collaboration with Chanel for Pop magazine in which a disgruntled-looking Sherman poses awkwardly in front of Icelandic land- scapes, donning couture. Among those taking the runway-to-gallery route, Terry Richardson has his first solo exhibition in Los Angeles at OHWOW, with a series of new photo- graphs dedicated to life in Hollywood (February 24 through March 31). And the fashion world is still buzzing about Steven Klein's surreal showing at New York's fashion week last Fall: the notoriously edgy shutterbug screened Time Capsule, a series of short, slow-moving, black-and-white films in which an ex- quisitely styled Amber Valletta ages from 20 to 100-plus. The piece was on view in a multi-channel installation at Dasha Zhukova's Garage Center for Con- temporary Culture in Moscow late last year, as well. As for the market, the auction houses have had substantial success as of late selling works by the aforementioned titans. A November 2011 sale at Christie's Paris dedicated solely to Penn and his oeuvre yielded some $2.9 mil- lion in total; his high-fashion-inflected Woman In Moroccan Palace (Lisa Fon- ssagrives-Penn), from 1951, earned more than $490,000, the second highest price ever paid for the photographer's work at auction. D emand remains steady on the more contemporary side of things as well, confirms Chelsea gallerist James Danziger, who has long dealt in such work. Yet it still has a ways to go. "Fashion photography is well recognized in the marketplace with the most significant fashion photographs going for hundreds of thousands of dollars," Danziger says. "That's been established. It's just that the next generation hasn't quite sorted it out yet. It's a generation in waiting. Fashion itself has had such explosive growth. They're so busy that they haven't focused quite as much on exhibiting and selling their prints." But that, he's certain, will come. (In other words, buy now before it's out of reach.) However, there is one artist in Danziger's stable who's managed to marry commercial and critical success right out of the gate: Scott Schuman, better known as the Sartorialist, the hyper-influential blogger whose street- side snapshots of well-dressed locals have inspired legions of followers and copycats. Schuman hadn't even considered printing and selling his work before Danziger approached him. But since their collaboration began five years ago, the images have been acquired by the Victoria and Albert Museum in London and the Tokyo Metropolitan Museum of Photography, not to mention a bevy of eager collectors, proving that it's not just fashion in print that's getting a fresh look. BAL HARBOUR 127 COURTESY THE ARTIST AND DAVID ZWIRNER, NEW YORK