I received the above correspondence with a tiny sampling of artwork inside. I won’t respond, but I admired the effort.
I keep a folder for letters like this. Although recent additions have been few, I have a historical collection worthy of a Smithsonian Institution donation.
The question for me is, “How do you find your artists?” The question for you is, “How can I get in a better position to be found?”
As an artist, you have more ways than ever to be noticed, discovered, and otherwise, “found.”
Fame and wealth are not why we signed up. This would be nice, but we embark on our journey because we must.
We want to be acknowledged, respected, seen, and heard. We want to be a part of a community but also have time alone with our artist selves, exploring and exposing deeper parts. We want to meet kindred spirits and talk about things that we might find hard to explain to even our dearest friends or intimates.
On Tuesday, we had a book signing for Waves, a collaboration between Alex Webb and Rebecca Norris Webb. Darius Himes moderated the conversation.
Before the event, we talked about what it’s like to be a young or lesser-known photographer and how photography is seen in the marketplace. Darius is the head of Christie’s Photography and has a great sensibility on this subject.
Darius surmised that photography has a strong standing in the art world, pointing out the merger of the Pace/MacGill program with the much larger Pace Gallery and the support of Zwirner Gallery for iconic figures in the medium. He cited the former gallery, saying that the announcement included the (para)phrase that Pace was proud to be taking on:
“Artists who are using Photography.”
I agreed that this might be true in the Major Leagues of Photography…artists like Arbus, Eggleston, and Frank, but that the middle market had fallen off like a bridge between cliffs in a Wile E. Coyote cartoon.
I’m in the middle market. The bridge has washed out.
And what about the emerging market? I also felt that gallery options were shrinking.
To prove this, just look at new galleries that are opening. My generation of gallerists went through a similar process as the older generation; work for several photo galleries, then open your own. Robert Mann, Peter MacGill, Tom Gitterman, Tracey Norman, etc., all worked for galleries before they opened their own photo galleries (including me - Fraenkel, Greenberg & Richardson - sounds like a law firm!).
But who is doing that now?
A new generation of photography galleries is sprouting up like new hair growth on a balding man.
Translation: It’s not happening.
There was also the theory that photographers would be joining galleries that showed more than photography…painting, drawing sculpture.
But, would those “Art” galleries be interested in showing photography? Our medium is generally the lowest priced of the group, and could/would these dealers really offer the historical knowledge and context to speak about our medium?
I think the prospects for photographers in the art market are contracting.
I have advocated many times that artists (photographers) must take matters into their own hands and not wait for galleries to find them. This comes from making yourself more discoverable for galleries, but it ALSO means you have to be your own gallery until that time.
I recently taught several workshops on this topic and will offer two more in the fall.
Stay tuned.
In Part 2 of this post, I will talk more about ways you can reach out to galleries and the ways not to.
Classes & Notes
Applications for the Arnold Newman Prize for new directions in photographic portraiture are now open. A $20,000 prize is awarded annually to a photographer whose work demonstrates a compelling new vision in photographic portraiture.
Deadline: July 18th, 2022
Open for Submissions for the 2022 Paris Photo—Aperture PhotoBook Awards
This year, Paris Photo and Aperture are delighted to celebrate the tenth anniversary of the PhotoBook Awards.
Initiated in November 2012 by Aperture and Paris Photo, the Paris Photo–Aperture PhotoBook Awards celebrate the photobook’s contribution to the evolving narrative of photography with three major categories: First PhotoBook, PhotoBook of the Year, and Photography Catalogue of the Year.Deadline: September 9th, 2022
Did you know that you can comment directly below?! Have something to say or a question that needs answering? Type it below, and let’s start a conversation.
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 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 with his wife, Maya.
Finding a Home
You are so welcome, Wendi! I started in galleries in 1989 and the climate has gone through a lot of transitions along the way. The tools for both artists and gallerists have changed, but not the need to create and support those that do.
You are most welcome. I have been gifted some great experiences and insights and I am thrilled that there is an audience to receive them. My interests are aligned with artists advancing their careers in all shades of progress and love doing it!