There are several reasons people buy an artwork. It could be an investment. Maybe they see it as a type of decor to complement a room interior. Maybe they “think” they need to have it or get caught up in a FOMO situation.
The clients I value most are the ones that buy art because they love it. That sounds cliché, but underneath that reason is something else. It gives them a “feeling.” Somehow they are connecting to it as a reflection of something very personal to them. It may touch upon an experience that they’ve had, or it may mark an occasion that will forever bring up strong, positive feelings.
Making work for you should spring from this same foundation. Your work should somehow be a reflection of a feeling that you have or want to express. Sure, there are different degrees of this); some work runs deeper, more personal than others. Like, a street photograph vs. a self-portrait. Some may be observed from the outside, and some are generated from the inside.
When I look at work, especially student’s work, I want that “what the f*ck feeling.” Now, this is related, but a different type of feeling from the one I mentioned above. It comes closest to a feeling of astonishment, confusion, and alarm. It’s an image that’s not immediately consumable or figuroutable. It need not be sensational or dramatic. In fact, it can be quiet and lowkey. But it needs to startle in some way.
Several years ago, I lost my wedding ring. My wife noticed it missing on my finger when we were riding the F Train. The night before, we had hosted her family at our apartment. Nieces were strewn on an inflatable mattress, a big meal was made, and many dishes were washed. I surmised that my ring had fallen down the drain after so much soap on my fingers.
When we got back home, I took apart the drain.
No ring.
Maybe it fell into the trash when I was scraping the plates? Our trash had been emptied the night before. I went to the trash room and dug through endless bags of other people’s trash until I recognized our bag.
No ring.
I went to the Citibike stand where I get my bike in the morning, thinking it may have come off when I removed my riding gloves.
No ring.
That was it. I was resigned to it being gone forever. I went to Canal Street and bought a “replica” for $7. I was not happy, but my wife seemed to be ok with it, and I put it behind me.
A year later, my nieces were coming over again, and I went to set up the inflatable mattress that we had used on their last visit. I take the mattress from the box, and at the bottom of the box was my ring.
Stop.
Hold it.
Don’t let that feeling go.
That feeling that you just had when reading this, the feeling you imagined I might have had when I saw it…that’s the WTF feeling.
It’s the unexpected in an otherwise normal situation. That moment or two when it just doesn’t register what you are seeing. When things don’t make sense. It’s a short state of shock tied to an incident with an intense feeling.
My feeling was jubilation. I literally fell to my knees and cried with happiness.
You may have experienced a feeling like this, and you may also have experienced the counter where the moment of shock led to tears of sadness or deep regret.
But, it’s that moment…and if you can have that in your work, wow, you have me.
Opportunities to Check Out
If you have been working on a COVID-related project, this opportunity might be for you. With a cash prize and exposure in the IMA Magazine, this contest judged (curated) by the ever clever Martin Parr may be just the thing to get your COVID project in front of more eyes.
Mr. Parr has a particular sensibility, so keep that in mind…but don’t overthink it.
This is a great opportunity for photographers identifying as female to get their project funded while providing top SONY gear to continue doing what you do best.
Look at the former grant winners and see how your work may fit in with other projects. There is a great range and diversity here and an award worthy of your resume. My former student Shravya Kag is a past recipient.
Michael Foley opened his gallery in the fall of 2004 after fourteen years of working with notable photography galleries, including Fraenkel Gallery, Howard Greenberg Gallery, and Yancey Richardson Gallery.
In 2002, Foley continued his interest in educating and working with artists by serving on the School of Visual Arts and International Center of Photography faculty. He currently teaches and lectures on contemporary photography issues at the undergraduate and graduate levels.
In 2020, he founded The Photo Community, which offers classes and commentary on contemporary photography.
Foley lives and works on the Lower East Side of Manhattan.