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	<title>Jill Krementz &#8211; artcritical</title>
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		<title>The Art Show: Gala at the Park Avenue Armory, March 1, 2016</title>
		<link>https://artcritical.com/2016/03/02/jill-krementz-at-the-art-show/</link>
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		<dc:creator><![CDATA[Jill Krementz]]></dc:creator>
		<pubDate>Wed, 02 Mar 2016 16:58:06 +0000</pubDate>
				<category><![CDATA[Art Fairs]]></category>
		<category><![CDATA[Out and About]]></category>
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					<description><![CDATA[<p>The great and the good gather for the ADAA fair</p>
<p>The post <a rel="nofollow" href="https://artcritical.com/2016/03/02/jill-krementz-at-the-art-show/">The Art Show: Gala at the Park Avenue Armory, March 1, 2016</a> appeared first on <a rel="nofollow" href="https://artcritical.com">artcritical</a>.</p>
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										<content:encoded><![CDATA[<p>Jill Krementz is a legend among New York press photographers, not to mention charmed partygoers and museum exhibition previewers. The subject of over 33 monographs, she is perhaps best known for her canonical images of countless stars of the cultural firmament.  John Updike described one collection, <em>The Writer&#8217;s Desk, </em>in his preface, as &#8220;A dangerous book&#8211;deadly to keep on your desk as her compelling photos of authors at work will lure you back again and again, leaving your own writing untended.&#8221; But her scope extends well beyond portraiture. She spent a year in Vietnam during the Vietnam War while her images of the March on the Pentagon made the covers of the New York Times magazine and Time in the same week. Covering a less tumultuous scene, she has for several years now filed her column, &#8220;Jill Krementz Photo Journal&#8221; at New York Social Diary.  artcritical is humbled that Krementz should turn her lens for us to the gala opening last night of the Art Show, organized by the Art Dealers Association of America at the Park Avenue Armory. DAVID COHEN</p>
<p>&nbsp;</p>
<figure id="attachment_55537" aria-describedby="caption-attachment-55537" style="width: 550px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55537 size-full" src="https://www.artcritical.com/wp-content/uploads/2016/03/Monir-FarmanFarmaian-.jpg" alt="Cheryl Haines (Haines Gallery, San Francisco) has a solo show of Iranian artist Monir Farmanfarmaian (b.1924), spotlighting the artist's kaleidoscopic mirrored sculptures. © by Jill Krementz; all rights reserved." width="550" height="413" srcset="https://artcritical.com/app/uploads/2016/03/Monir-FarmanFarmaian-.jpg 550w, https://artcritical.com/app/uploads/2016/03/Monir-FarmanFarmaian--275x207.jpg 275w" sizes="(max-width: 550px) 100vw, 550px" /><figcaption id="caption-attachment-55537" class="wp-caption-text">Cheryl Haines (Haines Gallery, San Francisco) has a solo show of Iranian artist Monir Farmanfarmaian (b.1924), spotlighting the artist&#8217;s kaleidoscopic mirrored sculptures. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55531" aria-describedby="caption-attachment-55531" style="width: 550px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55531 size-full" src="https://www.artcritical.com/wp-content/uploads/2016/03/Jerry-Saltz.jpg" alt="Jerry Saltz, art critic for New York Magazine. © by Jill Krementz; all rights reserved." width="550" height="413" srcset="https://artcritical.com/app/uploads/2016/03/Jerry-Saltz.jpg 550w, https://artcritical.com/app/uploads/2016/03/Jerry-Saltz-275x207.jpg 275w" sizes="(max-width: 550px) 100vw, 550px" /><figcaption id="caption-attachment-55531" class="wp-caption-text">Jerry Saltz, art critic for New York Magazine. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55541" aria-describedby="caption-attachment-55541" style="width: 500px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55541 size-full" src="https://www.artcritical.com/wp-content/uploads/2016/03/Paul-Kasmin.jpg" alt="Paul Kasmin, with a painting by Jules Olitski, the focus of his booth. © by Jill Krementz; all rights reserved." width="500" height="375" srcset="https://artcritical.com/app/uploads/2016/03/Paul-Kasmin.jpg 500w, https://artcritical.com/app/uploads/2016/03/Paul-Kasmin-275x205.jpg 275w" sizes="(max-width: 500px) 100vw, 500px" /><figcaption id="caption-attachment-55541" class="wp-caption-text">Paul Kasmin, with a painting by Jules Olitski, the focus of his booth. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55524" aria-describedby="caption-attachment-55524" style="width: 500px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55524 size-full" src="https://www.artcritical.com/wp-content/uploads/2016/03/Aneta-Bartos.jpg" alt="Aneta Bartos with &quot;Mirror&quot;, an editioned Polaroid print of herself with her father, a professional body builder. © by Jill Krementz; all rights reserved." width="500" height="500" srcset="https://artcritical.com/app/uploads/2016/03/Aneta-Bartos.jpg 500w, https://artcritical.com/app/uploads/2016/03/Aneta-Bartos-71x71.jpg 71w, https://artcritical.com/app/uploads/2016/03/Aneta-Bartos-275x275.jpg 275w, https://artcritical.com/app/uploads/2016/03/Aneta-Bartos-32x32.jpg 32w, https://artcritical.com/app/uploads/2016/03/Aneta-Bartos-64x64.jpg 64w, https://artcritical.com/app/uploads/2016/03/Aneta-Bartos-96x96.jpg 96w, https://artcritical.com/app/uploads/2016/03/Aneta-Bartos-128x128.jpg 128w, https://artcritical.com/app/uploads/2016/03/Aneta-Bartos-150x150.jpg 150w" sizes="(max-width: 500px) 100vw, 500px" /><figcaption id="caption-attachment-55524" class="wp-caption-text">Aneta Bartos with &#8220;Mirror&#8221;, an editioned Polaroid print of herself with her father, a professional body builder. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55540" aria-describedby="caption-attachment-55540" style="width: 550px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55540 size-full" src="https://www.artcritical.com/wp-content/uploads/2016/03/Peter-Blum.jpg" alt="Peter Blum, with &quot;Tarajia&quot; by Alex Katz. © by Jill Krementz; all rights reserved." width="550" height="432" srcset="https://artcritical.com/app/uploads/2016/03/Peter-Blum.jpg 550w, https://artcritical.com/app/uploads/2016/03/Peter-Blum-275x216.jpg 275w" sizes="(max-width: 550px) 100vw, 550px" /><figcaption id="caption-attachment-55540" class="wp-caption-text">Peter Blum, with &#8220;Tarajia&#8221; by Alex Katz. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55527" aria-describedby="caption-attachment-55527" style="width: 550px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55527 size-full" src="https://www.artcritical.com/wp-content/uploads/2016/03/Jeanne-Greenberg-Rohatyn.jpg" alt="Jeanne Greenberg Rohatyn of Salon 94, with a work by Marilyn Minter. © by Jill Krementz; all rights reserved." width="550" height="413" srcset="https://artcritical.com/app/uploads/2016/03/Jeanne-Greenberg-Rohatyn.jpg 550w, https://artcritical.com/app/uploads/2016/03/Jeanne-Greenberg-Rohatyn-275x207.jpg 275w" sizes="(max-width: 550px) 100vw, 550px" /><figcaption id="caption-attachment-55527" class="wp-caption-text">Jeanne Greenberg Rohatyn of Salon 94, with a work by Marilyn Minter. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55542" aria-describedby="caption-attachment-55542" style="width: 550px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55542 size-full" src="https://www.artcritical.com/wp-content/uploads/2016/03/Roland-Augustine.jpg" alt="Roland Augustine, of Luhring Augustine Gallery, with a work by David Musgrave. © by Jill Krementz; all rights reserved." width="550" height="413" srcset="https://artcritical.com/app/uploads/2016/03/Roland-Augustine.jpg 550w, https://artcritical.com/app/uploads/2016/03/Roland-Augustine-275x207.jpg 275w" sizes="(max-width: 550px) 100vw, 550px" /><figcaption id="caption-attachment-55542" class="wp-caption-text">Roland Augustine, of Luhring Augustine Gallery, with a work by David Musgrave. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55533" aria-describedby="caption-attachment-55533" style="width: 550px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55533 size-full" src="https://www.artcritical.com/wp-content/uploads/2016/03/Trenton-Doyle-Hancock.jpg" alt="Artist Trenton Doyle Hancock showing his work at James Conan. © by Jill Krementz; all rights reserved." width="550" height="413" srcset="https://artcritical.com/app/uploads/2016/03/Trenton-Doyle-Hancock.jpg 550w, https://artcritical.com/app/uploads/2016/03/Trenton-Doyle-Hancock-275x207.jpg 275w" sizes="(max-width: 550px) 100vw, 550px" /><figcaption id="caption-attachment-55533" class="wp-caption-text">Artist Trenton Doyle Hancock showing his work at James Conan. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55539" aria-describedby="caption-attachment-55539" style="width: 550px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55539 size-full" src="https://www.artcritical.com/wp-content/uploads/2016/03/Tom-Parker.jpg" alt="Tom Parker, of Hirschl &amp; Adler Modern, &quot;playing&quot; an artwork by Maria Elena González. © by Jill Krementz; all rights reserved." width="550" height="413" srcset="https://artcritical.com/app/uploads/2016/03/Tom-Parker.jpg 550w, https://artcritical.com/app/uploads/2016/03/Tom-Parker-275x207.jpg 275w" sizes="(max-width: 550px) 100vw, 550px" /><figcaption id="caption-attachment-55539" class="wp-caption-text">Tom Parker, of Hirschl &amp; Adler Modern, &#8220;playing&#8221; an artwork by Maria Elena González. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55538" aria-describedby="caption-attachment-55538" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55538 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/PaceMcGill-275x381.jpg" alt="Peter MacGill, of Pace/MacGill, in front of &quot;Phie on Plinth,&quot; by Richard Learoyd, Black and white silver gelatin print. © by Jill Krementz; all rights reserved." width="275" height="381" srcset="https://artcritical.com/app/uploads/2016/03/PaceMcGill-275x381.jpg 275w, https://artcritical.com/app/uploads/2016/03/PaceMcGill.jpg 361w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55538" class="wp-caption-text">Peter MacGill, of Pace/MacGill, in front of &#8220;Phie on Plinth,&#8221; by Richard Learoyd, Black and white silver gelatin print. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55535" aria-describedby="caption-attachment-55535" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55535 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/Adrienne-bonHaes--275x367.jpg" alt="Adrienne bonHaes, in a dress she designed for herself, with a Deborah Butterfield sculpture. © by Jill Krementz; all rights reserved." width="275" height="367" srcset="https://artcritical.com/app/uploads/2016/03/Adrienne-bonHaes--275x367.jpg 275w, https://artcritical.com/app/uploads/2016/03/Adrienne-bonHaes-.jpg 375w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55535" class="wp-caption-text">Adrienne bonHaes, in a dress she designed for herself, with a Deborah Butterfield sculpture. © by Jill Krementz; all rights reserved.</figcaption></figure>
<p>&nbsp;</p>
<figure id="attachment_55534" aria-describedby="caption-attachment-55534" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55534 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/Assouline-275x415.jpg" alt="Martine and Prosper Assouline, publishers of Assouline Books. © by Jill Krementz; all rights reserved." width="275" height="415" srcset="https://artcritical.com/app/uploads/2016/03/Assouline-275x415.jpg 275w, https://artcritical.com/app/uploads/2016/03/Assouline.jpg 331w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55534" class="wp-caption-text">Martine and Prosper Assouline, publishers of Assouline Books. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55532" aria-describedby="caption-attachment-55532" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55532 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/EricBrown-275x367.jpg" alt="Gallerist Eric Brown of Tibor de Nagy with a solo show of artist Andrew Masullo. © by Jill Krementz; all rights reserved." width="275" height="367" srcset="https://artcritical.com/app/uploads/2016/03/EricBrown-275x367.jpg 275w, https://artcritical.com/app/uploads/2016/03/EricBrown.jpg 375w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55532" class="wp-caption-text">Gallerist Eric Brown of Tibor de Nagy with a solo show of artist Andrew Masullo. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55530" aria-describedby="caption-attachment-55530" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55530 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/Julie-Saul-275x367.jpg" alt="Julie Saul, Chelsea Gallerist, with pieces by Bill Jacobson and Richard Artschwager. © by Jill Krementz; all rights reserved." width="275" height="367" srcset="https://artcritical.com/app/uploads/2016/03/Julie-Saul-275x367.jpg 275w, https://artcritical.com/app/uploads/2016/03/Julie-Saul.jpg 375w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55530" class="wp-caption-text">Julie Saul, Chelsea Gallerist, with pieces by Bill Jacobson and Richard Artschwager. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55529" aria-describedby="caption-attachment-55529" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55529 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/Eric-Kandel-with-Amanda-Burden-275x207.jpg" alt="Nobelaureate Eric Kandel with Amanda Burden. © by Jill Krementz; all rights reserved." width="275" height="207" /><figcaption id="caption-attachment-55529" class="wp-caption-text">Nobelaureate Eric Kandel with Amanda Burden. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55528" aria-describedby="caption-attachment-55528" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55528 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/Richard-Soloman--275x367.jpg" alt="Richard Soloman, of Pace Master Prints, with a Sol LeWitt screen. © by Jill Krementz; all rights reserved." width="275" height="367" srcset="https://artcritical.com/app/uploads/2016/03/Richard-Soloman--275x367.jpg 275w, https://artcritical.com/app/uploads/2016/03/Richard-Soloman-.jpg 375w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55528" class="wp-caption-text">Richard Soloman, of Pace Master Prints, with a Sol LeWitt screen. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55526" aria-describedby="caption-attachment-55526" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55526 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/waiter-275x367.jpg" alt="A delicate balancing act. © by Jill Krementz; all rights reserved." width="275" height="367" srcset="https://artcritical.com/app/uploads/2016/03/waiter-275x367.jpg 275w, https://artcritical.com/app/uploads/2016/03/waiter.jpg 375w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55526" class="wp-caption-text">A delicate balancing act. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55525" aria-describedby="caption-attachment-55525" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55525 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/Audrey-Flack-275x367.jpg" alt="Audrey Flack, artist. © by Jill Krementz; all rights reserved." width="275" height="367" srcset="https://artcritical.com/app/uploads/2016/03/Audrey-Flack-275x367.jpg 275w, https://artcritical.com/app/uploads/2016/03/Audrey-Flack.jpg 375w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55525" class="wp-caption-text">Audrey Flack, artist. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55522" aria-describedby="caption-attachment-55522" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55522 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/Andrew-Masullo-275x367.jpg" alt="Andrew Masullo, artist. © by Jill Krementz; all rights reserved." width="275" height="367" srcset="https://artcritical.com/app/uploads/2016/03/Andrew-Masullo-275x367.jpg 275w, https://artcritical.com/app/uploads/2016/03/Andrew-Masullo.jpg 375w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55522" class="wp-caption-text">Andrew Masullo, artist. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55520" aria-describedby="caption-attachment-55520" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55520 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/thelma-golden-275x430.jpg" alt="Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem,. © by Jill Krementz; all rights reserved." width="275" height="430" srcset="https://artcritical.com/app/uploads/2016/03/thelma-golden-275x430.jpg 275w, https://artcritical.com/app/uploads/2016/03/thelma-golden.jpg 320w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55520" class="wp-caption-text">Thelma Golden, Director and Chief Curator of The Studio Museum in Harlem,. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55521" aria-describedby="caption-attachment-55521" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55521 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/Christiane-Fischer-and-Chiu-Tu-Jansen-275x419.jpg" alt="Christiane Fischer, President and CEO of AXA Art Insurance, with Chiu-Ti Jansen, an art collector who is an AXA client. © by Jill Krementz; all rights reserved." width="275" height="419" srcset="https://artcritical.com/app/uploads/2016/03/Christiane-Fischer-and-Chiu-Tu-Jansen-275x419.jpg 275w, https://artcritical.com/app/uploads/2016/03/Christiane-Fischer-and-Chiu-Tu-Jansen.jpg 328w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55521" class="wp-caption-text">Christiane Fischer, President and CEO of AXA Art Insurance, with Chiu-Ti Jansen, an art collector who is an AXA client. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55523" aria-describedby="caption-attachment-55523" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55523 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/Richard-Armstrong-275x386.jpg" alt="Guggenheim's Director Richard Armstrong retrieving coat at end of a long evening. © by Jill Krementz; all rights reserved." width="275" height="386" srcset="https://artcritical.com/app/uploads/2016/03/Richard-Armstrong-275x386.jpg 275w, https://artcritical.com/app/uploads/2016/03/Richard-Armstrong.jpg 356w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55523" class="wp-caption-text">Guggenheim&#8217;s Director Richard Armstrong retrieving coat at end of a long evening. © by Jill Krementz; all rights reserved.</figcaption></figure>
<figure id="attachment_55536" aria-describedby="caption-attachment-55536" style="width: 275px" class="wp-caption alignnone"><img loading="lazy" class="wp-image-55536 size-medium" src="https://www.artcritical.com/wp-content/uploads/2016/03/Eli-Broad-275x367.jpg" alt="Collector Eli Broad, looking up at a Calder mobile. © by Jill Krementz; all rights reserved." width="275" height="367" srcset="https://artcritical.com/app/uploads/2016/03/Eli-Broad-275x367.jpg 275w, https://artcritical.com/app/uploads/2016/03/Eli-Broad.jpg 375w" sizes="(max-width: 275px) 100vw, 275px" /><figcaption id="caption-attachment-55536" class="wp-caption-text">Collector Eli Broad, looking up at a Calder mobile. © by Jill Krementz; all rights reserved.</figcaption></figure>
<p>The post <a rel="nofollow" href="https://artcritical.com/2016/03/02/jill-krementz-at-the-art-show/">The Art Show: Gala at the Park Avenue Armory, March 1, 2016</a> appeared first on <a rel="nofollow" href="https://artcritical.com">artcritical</a>.</p>
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