Portfolio review events geared toward photographers have proliferated in recent years, and they’re “a great place to meet a peer group, and start a dialogue about your photographs,” says photography consultant Mary Virginia Swanson. But at a cost of several hundred dollars, not including travel expenses, portfolio reviews are an investment. In this video Swanson offers tips about how to get the most out of a review, including information about how to select reviewers, how much work to present, and some of the questions to ask reviewers about opportunities to sell or license your work.
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Two photographers, Richard Mosse and Zanele Muholi, made Foreign Policy (FP) magazine’s list of “The Leading Global Thinkers of 2013.” The list of 100 people Foreign Policy chose to single out in its hefty digital feature includes Edward Snowden, John Kerry, Elon Musk, The Pope, Rand Paul, scientists, innovators, politicians and artists.
FP cited Mosse for “seeing war through a new lens.” His pink-hued images of military and militia in eastern Democratic Republic of Congo, created using now-discontinued Kodak Aerochrome film developed for the U.S. Military, have captivated audiences through their unusually esthetic interpretation of a conflict-ridden landscape and population. FP notes that Mosse’s film, “The Enclave,” “stole the show” at the 2103 Venice Biennale.
Mosse’s works “are allowing viewers to see conflict in a way they never imagined they could,” FP writes.
Zanele Muholi, a South African artist, has documented the black LGBT community in her country through striking black-and-white portraits. FP singles Muholi out “for photographing hidden lives,” and notes that her work has been widely published and exhibited, bringing much-needed awareness to the gulf between the legal rights of LGBT South Africans and their actual treatment in their communities.
FP divided their list of Global Thinkers into groups that included “Artists,” “Advocates,” “Challengers” and “Decision-Makers” among others. Mosse and Muholi are considered “Chroniclers,” people who, FP says, “[show] us novel ways of understanding the world and our place in it.”
Artist Saul Leiter, who spent decades working in relative obscurity before his talents as a pioneering color photographer came to light, died Tuesday in New York City. He was 89 years old.
An unassuming man who shunned attention, Leiter photographed on the streets of New York, mostly within a few blocks of his East Village apartment. Using rich layering and swaths of beautiful color, Leiter induced moments of quietude and reflection amid the bustle and chaos of New York City street life.
The US Supreme Court has declined to review Patrick Cariou’s copyright infringement claim against artist Richard Prince, the Associated Press has reported.
A federal appeals court ruled last spring that artist Richard Prince did not infringe Cariou’s copyrights by reproducing several dozen of Cariou’s images without permission. The appeals court said Prince’s use of Cariou’s images was fair use in most instances, overturning a lower court ruling that had declared Prince liable for infringement.
By refusing to hear the case, the US Supreme Court has effectively let the appeals court decision stand. The high court did not give a reason for its decision.
At issue in the case was a series of paintings and collages that Prince created by appropriating images from Cariou’s book Yes, Rasta. Prince altered the images in various ways for a series of paintings called “Canal Zone,” which he displayed at the Gagosian gallery in New York in 2008. Most of the works eventually sold, fetching a total of $10.4 million.
In its ruling for Prince, The appeals court took a broad view of fair use, finding that Prince’s works qualified as fair use even though they were not intended as commentary on the original works by Cariou. The decision was a victory for appropriation artists, who take elements of works by other artists without permission, and use them in new contexts, often as a form of commentary on society or popular culture.
Lisa Hostetler has been named Curator-in-Charge of the Department of Photography at the George Eastman House in Rochester, New York. She will assume the role at the end of the year. The announcement was made by today by Bruce Barnes, the Ron and Donna Fielding Director at the Eastman House, via a press release.
Hostetler is currently curator at the Smithsonian American Art Museum in Washington, DC. Previously, she was the curator of photographs at the Milwaukee Art Museum for seven years, where she curated exhibitions including “Color Rush: 75 Years of Color Photography in America,” “Taryn Simon: Photographs and Texts,” and “In Living Color: Photographs by Saul Leiter”. In addition to editing or contributing to the catalogues of several shows she curated, Hostetler also contributed to the book Animals are Outside Today by photographer Colleen Plumb.
From 2001 to 2005, Hostetler was a research associate at the Metropolitan Museum’s department of photographs, and before that, she was registrar at the Howard Greenberg Gallery in New York City.
We recently interviewed Nick Brandt about his new book of fine-art photographs from East Africa, and how his photographic work led to the creation of Big Life, his foundation, which protects elephants and other wildlife from poachers across a two million acre swath of land in the Amboseli ecosystem.
Brandt’s photographs and commitment to conservation speak for themselves. In the past week his work has appeared on websites like Huffington Post, ABC News, Grist, Gizmodo, The Verge and several others.
Yet the majority of the coverage of Brandt’s new work hasn’t focused on the animals killed by poachers; instead writers and editors have keyed on the images in his book showing birds and bats that died in—and were calcified by—a caustic lake in Tanzania. While those images of birds that look strangely alive in death have generated fascination and thousands of comments across various sites, Brandt’s conservation message of has gone largely unremarked both by the media outlets and their audiences.
“Media only wanted to cover the calcifieds, not anything related to conservation.” Brandt told PDN via email. “I tried to persuade some to expand their coverage from just the calcifieds, but in all but two instances failed—the calcifieds were the story du jour. Elephants and lions being annihilated across Africa seemed to be met with a cyber-‘whatever’ on the whole.” (more…)
Part Art and Book Fair, Part Photo Fest, Unseen Delivers Energy, Mixed Reviews From Sellers in Second Year
In its second year, Unseen Art Fair drew an international audience to Amsterdam to view previously un-exhibited work from established artists and emerging talents. Set against the industrial backdrop of a repurposed nineteenth century coal gas power plant, the “art fair with a festival flair,” as organizers dubbed it, featured plenty of energy and excitement, but drew mixed reactions from gallerists, with some noting that combining an art fair, book fair and photo festival, with artist talks and other programming, distracted from the business of print sales. (more…)
Earlier this year Jennifer Schwartz, a gallerist and the founder of the non-profit arts organization Crusade for Art, traveled to cities around the country in an effort to create demand for the work of emerging photographers by encouraging people she met on the street to consider collecting art. Working with five photographers in each of the cities she visited, Schwartz organized street-side exhibitions, asking the photographers to talk with passersby about their work, and to give away signed, non-editioned prints to those who wanted them. The project drew both criticism and skepticism, but it also, Schwartz says, created positive dialogue between artists and would-be collectors. PDN invited Schwartz to explain the motivation behind the trip and recap her experiences.
Nearly five years ago I began a journey to cultivate audiences for art, specifically the work of emerging photographers. By creating innovative programs that make art immediately and affordably accessible to new audiences, both online and through special events, my goals have been: to promote and develop the careers of talented, emerging, contemporary photographers and to educate and cultivate a new crop of collectors.
Working with emerging photographers, I recognized from the beginning that the challenge is to find an audience for these artists. Too often as gallery owners, we hang the art and then wait for an audience to come. With that in mind, I created Crusade for Art, a non-profit organization dedicated to cultivating demand for art by creating opportunities to introduce new collectors to artists and their work.
In my Atlanta gallery, I have discovered that the most successful programs to get new people interested in art involve meeting the artist and making a personal connection. They give people who have had only a limited relationship with art a unique, fun experience where they engage with photography and the artists in a thoughtful way. These programs also give photographers an opportunity to interact directly with an audience and advocate for themselves and their work.
In April 2013 I took this concept on the road with a special project, the Crusade for Collecting Tour. Traveling to ten cities over the course of three months in a 1977 VW bus (affectionately named Lady Blue and purchased through funds raised on Kickstarter), I staged spontaneous pop-up events to give away original, signed photographs and bring grassroots art appreciation to the streets, moving outside the traditional boundaries of the art world. (more…)
Zwelethu Mthethwa, the South African fine-art photographer, will go on trial on Monday, charged with murdering a woman on a street in a suburb of Cape Town, according to South Africa’s Mail & Guardian. Mthethwa was arrested May 5, accused of beating and kicking Nokuphila Kumalo to death. Die Burger, an Afrikaans-language newspaper, reported in June that a man identified as Mthethwa had been caught on closed circuit television on April 13 getting out of his car and repeatedly hitting Kumalo, then kicking her after she fell to the ground.
Mthethwa has denied the charge. He was released on bail following his arrest.
When contacted by PDN, Mthethwa’s US dealer, Jack Shainman Gallery in New York, would not comment on the case.
In an interview with a South African paper in June, Mark Read, director of the Everard Read Gallery in Johannesburg, which represents Mthethwa, said that when he spoke to the artist, he “was keen to say that it will all be sorted out.”
A graduate of the Rochester Institute of Technology and the recipient of a Fulbright Scholarship, Mthethwa has widely exhibited his portraits of black residents of South Africa, including migrant workers, miners and cane farmers. His work was included in the 2005 Venice Biennale, and his first monograph was published by Aperture in 2010, the year a solo exhibition of his work was shown at the Studio Museum in Harlem, New York. In a 2010 interview with PDN, Mthethwa said that in photographing marginalized South Africans in their homes, “I really wanted to empower the people.”
Zwelethu Mthethwa: Color and Commonality
Photographers who have had books published by Gerhard Steidl tell PDN that the process is an unforgettable creative journey with a master printer who spares almost no expense to realize their visions. “Being there in Steidlville is almost a religious experience,” says photographer Christopher Morris, who had a second book published by Steidl last year. “You don’t want it to end.” No wonder Steidl gets 1,200 unsolicited book proposals every year. Gerhard Steidl reviews every one of them, and publishes only the rare few that challenge him politically or intellectually, or that surprise him in some way, as he explains in a profile that is now available at PDNOnline. For those interested in submitting book proposals, one option is to send e-mail directly to firstname.lastname@example.org with the word “Submission” in the subject line. Steidl says it doesn’t matter whether he receives submissions in analog or digital format, but Morris advises, “Definitely do not send anything in digital format. He’s a man who likes to touch things, and look at paper. Scotch tape and photographs on paper is what you need to send him.” For hard copy submissions, the address is: Gerhard Steidl – Druckerei & Verlag GmbH & Co. OHG, Düstere Straße 4 – D-37073 Göttingen, Germany.