On million dollar images, galleries and the masses

Brainard Reflection #7. Brainard Lake, Colorado, 2012

I have no illusions that today’s example image of mine that I have posted above will one day sell for $4.3 million. But last year, an image titled Rhein II by the German artist Andreas Gursky did just that. You can see this surprising…well, some might even say, boring…image here.

Why did it sell for so much? Why would a private collector or a gallery pay such a high price for something that many folks would likely not consider for a wall in their own home?

Well, there are many factors to consider–the artist’s reputation or fame and the latest gossip circulating throughout the art collecting world being, arguably, primary. Then there is the image itself. It is apparently quite exceptional when viewed in person, measuring about six feet by twelve feet and meticulously captured, processed, printed and displayed as a chromogenic color print resulting in exceptional vibrance (or so I am told).

This begs another question? Why is there such a difference between what is exhibited and admired in galleries versus what the masses tend to want to purchase for the walls at home? This was the theme of an excellent talk I recently heard by a talented local photographer, David Bahr. Here, I’ll quickly try to summarize some of the issues he brought up.

If I were to walk into a gallery with this 13×19 print, for example…

Crystal Mill. Crystal, Colorado, 2012

…I would be out on the sidewalk in two seconds. “What kind of crap are you trying to foist on us!” they might exclaim. If, however, I were to post it to Facebook I’d get a pile of “Likes” and perhaps even some friends would want a print for their wall.

On the other hand, if I presented something like this…

Beach Mood #7. St. Pete Beach, Florida, 2012

…the gallery may actually look at more images in my portfolio. (Well, for five minutes, anyway!)

So, why the difference and what do we do about it as photographers and artists? The difference is because the galleries and collectors are interested in the cutting edge of photographic art…the next new paradigm. They want work created from a vision that is new and fresh. They don’t want the “pretty pictures” you see all the time on the postcard stands (like the Crystal Mill, above!)

And what do we do about it? David lists three options:

1) We try to push our artistic vision into new frontiers, we struggle to get into galleries, and no one buys our prints, or

2) We take snapshots at all the tourist spots (Crystal Mill, again) and we sell to one and all, or

3) We divide our personality…one day we make images true to our artistic vision…the next day we take snapshots that will sell.

David Bahr seems to have settled for Option #3–after all, he puts the bread on the table (as he puts it) with his photography and he has to cater to what sells in quantity if his family is to eat. In his extra time, he pursues his artistic vision into some pretty wild abstracts (prints I would certainly purchase!).

Me? Well, since I have yet to market my images and I don’t rely on selling them for my livelihood, I’ll go with Option #1. Now, the question of whether or not my artistic vision interests anyone at all–galleries or the masses–is yet to be seen. I’m not quite there yet.