I have great admiration for Baxter Street (Camera Club of New York) and love to support the programming of this age-old (Est. 1884) but incredibly progressive non-profit. I hosted their annual auction benefit and was happy to exhibit the winners of their juried competition the following year.
Meghann Riepenhoff was one of the winners. She was a new name for me. Hailing from the west coast, she was friends with another friend, photographer Richard Misrach.
Meghann has accomplished a lot in the nearly six years since the exhibition. Radius Books is releasing her second monograph this year; she’s been exhibited at the High Museum of Art, Portland Museum of Art, and achieved solo exhibitions at Jackson Fine Art in Atlanta and Yossi Milo Gallery in New York.
Did winning the Baxter Street Award and exhibiting at my gallery launch her career and make her a big star? Maybe not, but it was one more step forward, one more rung on the ladder, propelling her career forward.
There is something to be said about momentum and inertia in your practice. There are certainly times for rest, contemplation, and figuring things out when you are not as active. When you are ready, putting your work out in the world can have substantial returns. Most people will not discover the excellent work you’re doing if you keep it to yourself or fail to participate in the opportunities out there, including residencies and competitions.
Entering competitions can be draining, both emotionally and financially. Rejection is something that most artists will have more of in their lifetime than they will succeed.
You can read just about any artist or writer’s biography and note how often they failed or were rejected. I am reading the current biography on Francis Bacon, and it’s a wonder how he ever made it through to the career he did, plowing through early rejections and ill health. It wasn’t until his late 30’s that his work achieved any hint of an accolade outside of close friends, artists, and lovers.
If you are going to enter the competitions (call for entries, grants, et al.), please consider a few things:
How Many People Will See Your Work?
Who are Those People?
What are the Rewards?
Single Image or Series?
Is the venue prestigious?
$$$
Who has the potential to see your work? How many jurors are there? If you win, will the work be published, exhibited in person, or online?
What audience will see your work? Are they the ones you want to get your work out in front of?
What will you win? What opportunities will you be given?
Should you enter single images or a series? (hint: series)
What is the venue or publication like? What value do you give it?
How much is this going to cost you? Do you feel good about giving them your money? (example: for the Aperture Portfolio Prize, the cost is having to subscribe to their magazine - everyone wins with this one).
There are a lot of little stars out there in the sky just waiting to shine a little brighter.
It’s time to shine.
Classes & Notes
My Difficult Viewing class is open for enrolment at ICP
Lucie Foundation Open Call: Carte Blanche
Enrollment deadline: Sunday, January 30th for Perfect Match with me, Elinor Carucci, and Alan Rapp
Coming Soon: Community Crit at The Photo Community and an expanded version of The Photographers Report
Complete Guide to Artist’s Opportunities in 2022
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 with his wife, Maya.
Little Stars in the Sky
Super article, Michael. Another consideration is the impetus to produce or refine work, it's a great boost.
Michael, after returning to fine art photography and spending the last three years making three series of work, I had been applying to contests ever so gingerly on account I only knew a few. I did get one mention on a lensculture online editor's gallery; out of about 5-6 contests I've submitted work to over the last year, all rejections. A rejection gets me down immediately, but I taught myself a long time ago to allow that feeling to last only 24 hours. Afterward, it's back to the drawing board. But more importantly, attempting to evaluate the rejection is very helpful, especially if one can secure feedback. Why I like contests that offer an opportunity for reviews. I find feedback helps me polish the work, how I present it, and how I speak about it.
Anyhoo. Thank you so much for pointing me to a couple of these contests. I've submitted to two so far following your recommendations. So happy to get your weekly report and your always inspiring stories and words.
Best,
Marco Aurelio
ma9.co