“Others argue that the culture of art-dealing is moving, inexorably, out of “meatspace” into the chilly confines of the World Wide Web. “Collectors are more comfortable purchasing from JPEGs,” Mr. Winkleman said. “There’s going to be lot less brick and mortar. You get the sense that everyone is waiting for the revolution.”—From White Cubes to Ice Cubes | The New York Observer
“Fashion magazines are always about some element of fantasy,” said Cindi Leive, the editor of Glamour, “but what I’m hearing from readers lately is that in fashion, as in every other part of our lives right now, there is a hunger for authenticity. Artifice, in general, feels very five years ago.”—Smile and Say ‘No Photoshop’
“It reminds me of an occasion in London a couple of years ago when I came across a couple dancing the tango against the grey backdrop of the South Bank. I think it was an outdoor lesson, and it seemed like something you don’t see every day. Just after that I came across a group of trendy young photography students photographing rubbish bins. When I described to them the potential photo opportunity up the stairs, they thanked me but said they were doing a project on “waste”. I found it vaguely depressing that none of them could step outside their “brief” for even a few seconds to investigate. Also my own photo of the dancers wasn’t very good… - Paul Russell”—B: Shoot first, ask questions later
“I hope that ambition and the photographic lifestyle are not mutually exclusive, I do have fine art ambitions but I am not willing to compromise on my work. I think the key might be to realize that “The Art World” is not a monolithic thing, and there are ways to find a space in the world of fine art that fits what you want to do. It just might be more difficult if you aren’t into doing whatever is in fashion at a particular time. I have been meeting more and more young artists that are sick of the emphasis on ideas over feelings, theory over production, academics over experience that so pervades the art school and critical cultures, and that gives me hope. (italics, bold mine) - Matthew Crowther”—Follow up to “The photography-integrated-into-life method” | la pura vida
“I think photographs should come first. Arrange them in projects later if you must or else leave them as is in a big loose stack. Either way, photography that is integral to life seems to me to be the strongest because it comes from purest motivation: the very simple need to translate the world into photographs. Of course I am biased because this how I approach my own work, but it’s what I like to see in others too.” - Blake Andrews”—Thoughts on “The photography-integrated-into-life method” | la pura vida
This is the proposition: $50 (fifty US dollars) for a print from the box, selected at random, right now, and one further print, of your own selection, at the end of the journey around the provinces; $100 (one hundred US dollars) gets you a print now, selected at random, and then, at the end of the journey, a choice of either a single, large (lets say 12 by 8) print, a print of a photograph you select from the those taken during the journey, or a set of 6 prints (lets say 7 by 5), also selected from those taken during the journey.
* $50 for a print, now, from the box; * $100 for a print, now, from the box, and then either another print (12 by 8), or a set of six prints (7 by 5), later, once I’ve been inside, and travelled, photographed, and written inside, each of the 22 provinces.
“But did you know that in Europe, during the 1930s, the Leitz family, designer and manufacturer of one of the world’s most famous cameras—the Leica—was responsible for helping thousands of Jews escape Nazi Germany?”—mental_floss Blog » The Leica Freedom Train
“As the critic moves closer to the collector, though, his or her work moves closer to cataloging. This is a useful activity for historians, but when asked to double as criticism it appears uncurious, if not dogmatic.”—About Conscientious | Street Level Japan
However, I absolutely agree that there’s too much fragmentation these days. Why can’t passionate writers, curators, editors and photographers collaborate on a bigger project? Why does it need to be an aggregator?
This is what is kind of frustrating with photography on the web. There are so many small bands of people doing interesting things but there seems to be a reluctance to work together on a larger scale to make what we produce more accessible to a larger audience. Why? have we all become so selfish that we can’t work together? It can’t be that difficult given the communication tools that are available on the web.
But at the end of the day, you have to ask, how large is the market for fine art photography? and what will they pay for self-published books and mags? subscriptions?
I’m not optimistic. Rather, what I think you’re going to see is a group of forward thinking photographers, writers, editors, models, actors, filmmakers, etc., band together under one brand and not only produce the content, but also market and distribute it as well. I could be wrong, or naive, but I think we are in a period of time where artists and creatives can take full ownership of their creations. Why do we need the overhead of huge publishing houses? why do artists and creatives need to be slaves to greedy corporate moguls who don’t really care about their art, unless it can make them money?