movie or theater lobbies. In the 1950s, the FNAC
started in France. The FNAC is a department store
devoted principally to music, books, and audio-
visual equipment. From its beginning in 1954, the
FNAC built retail stores with exhibition spaces
devoted to photography. With over 50 stores in
France and Europe, these galleries, where work is
not for sale, are visited by thousands of people on a
daily basis, an impressive volume of public passage
that few other gallery structures can achieve. The
success of these photography galleries has grown
over the decades; the FNAC now hosts regular
competitions for new talent and has a growing col-
lection of photography.
In 1954, Helen Gee opened Limelight Gallery in
New York City and showed over 60 photography
exhibitions until 1961, the gallery income supported
by an adjoining coffeehouse. The Limelight Gallery
at that time was a major art institution in NYC and
their decision to show photography was the begin-
ning of a growth spurt in the art photography mar-
ket that persisted through the end of the century.
By the late 1960s and through the end of the
century, photography galleries found more finan-
cial success in the dynamics of the expanding art
market in general. An increasing number of uni-
versities added photography to their curriculum,
public and private grants to photographers peaked
during these decades, and major auctions started to
include photography. In New York City, the Witkin
gallery opened in 1969; the Light Gallery in 1971.
Galleries worked at promoting both the sale of
photographs and the advancement of the photogra-
pher’s reputation. In 1968, Harry Lunn opened his
gallery in Washington, D.C. and specialized in the
sale of limited edition photography portfolios, a
format used through the end of the century. In the
1980s, legendary New York dealer Leo Castelli sup-
ported photography in his Castelli Graphics site,
and Pace/Magill and Robert Miller galleries specia-
lized in the medium, showing numerous contem-
porary American and European photographers.
San Francisco’s Fraenkel Gallery. established in
1979, is one of the leading west coast photographic
galleries. More recent editions include Chicago’s
Stephen Daiter Gallery and New York’s Janet Bor-
den, Robert Mann, and Edwynn Houk.
In Canada, Jane Corkin founded an influential
Toronto-based gallery in the late 1970s. In Paris, Gal-
erie Michelle Chomette exhibited cutting-edge con-
temporary photography from the 1970s through the
end of the century. Also in Paris, Jean-Pierre Lam-
bert’s tiny Galerie Lambert off the Place du Marche ́
Ste. Catherine in the Marais exhibited contempor-
ary photography from 1981 to 1998. One critic
described the photography exhibited at Galerie
Lambert, a space sometimes compared to Stieglitz’s
291, as ‘‘UFOs,’’ unidentified fotographic objects.
In Washington, D.C., the Kathleen Ewing Gallery
has promoted fine art photography since 1976, exhi-
biting contemporary local artists and historical as well
as internationally known artists. Ewing described
photography as the one art medium that has not
suffered a decline in activity since the growth spurt
in the art market in the 1970s. Since 1979, Ewing has
been Executive Director of the Association of Inde-
pendent Photographic Art Dealers (AIPAD), an
organization of 130 members. Robert Klein, director
of the Robert Klein Gallery in Boston, is President of
AIPAD. AIPAD is the only organization specifically
for photography dealers. All members of AIPAD
have significant, quality inventories of photography
that the public can access either through exhibitions
or by appointment. AIPAD has a regularly updated
publication calledOn Collecting Photographs,which
includes a photography timeline, common questions
and answers, a glossary of terms, and a bibliography.
They also publish a yearly catalogue to accompany
their annual exhibition in New York. This catalogue
and exhibition describe nearly 100 participants, each
representing several photographers. These exhibitions
began in 1980 and include a large group show as well
as individual booths for each participating gallery.
They also post alerts regarding stolen photographs.
In the late 1990s, Paris Photo in France estab-
lished a yearly event at the Carrousel du Louvre
called Paris Photo. Using the underground galleries
created in recent renovations of the Louvre, every
fall nearly 100 participants and over 30,000 visitors
convene for several days to view, buy, and sell
photographs. A catalogue accompanies this inter-
national event and participants are selected by com-
mittees of professionals in photography. Like the
annual AIPAD exhibition in New York, Paris
Photo usually defines a theme for each year’s event.
BruceMcKaig
Seealso: Abbott, Berenice; An American Place;
Atget, Euge`ne; Cartier-Bresson, Henri; Group f/64;
Ka ̈sebier, Gertrude; Levy, Julien; Man Ray; Outer-
bridge, Paul; Photo Secession; Photo Secessionists;
Steichen, Edward; Stieglitz, Alfred; Strand, Paul;
White, ClarenceFurther Reading
The Association of International Photography Art Dealers
(AIPAD),www.photoshow.com/(accessedMay11,2005).
International Center of Photography.Encyclopedia of Pho-
tography. New York: Pound Press/Crown Publishers,
Inc., 1984.GALLERIES