Andy Freeberg was born in New York City where he learned at an early age to be a critical observer of the world and the people in it.
Freeberg has recently emerged on the contemporary art scene as a wry commentator on the art industry itself. Long fascinated with the gallery and museum worlds, he often turns his camera on the dealers, gallery patrons, artists, museum guards, and their interplay with the works
of art around them.
His previous project Guardians, about the women that guard the art in Russian museums, won Photolucida’s Critical Mass book award and was published in 2010.
Freeberg’s work is in many public and private collections including the Museum of Fine Arts Boston, SFMOMA, the Portland Art Museum, the George Eastman House, Pier 24, and the Museum of Fine Arts Houston.
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About ‘Art fare’:
Gallery owners and their staff are usually hidden behind large entry desks and closed office doors.
But at the major art fairs I’ve visited, like New York’s Armory Show and Art Basel in Miami and Switzerland, they’re in plain view in their booths.
As if on stage, you can see art dealers meeting with collectors, selling and negotiating, talking on cell phones, working on laptops, and manipulating touch screens in 21st century postures newly adapted for the latest electronic devices.
I found the lighting, costumes, and set design excellent for photographing these living dioramas, where the art world plays itself.
