The Price of Your Work

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Photographer Andrew Moore featured in ArtNews

Any number of things might go through an artist’s mind in deciding what to charge for work. Give it away or charge a lot? Will a substantial price assert the significance of the work or drive buyers away?

Last week in New York I was reading ArtNews. On page 4 there is an advertisement for Heritage Auction Gallery showing an Annie Leibovitz 14″ x 14″ Cibachrome photographs of Robert Redford. The estimated price is $4,000 to $6.000. It’s number 4 of an edition of 50. The price seems about right for a not great photograph by Annie Leibovitz – and it is Robert Redford after all.

More interesting though is the article in the same issue about the photographer Andrew Moore who takes photographs mostly of urban scenes and collapsed buildings. His prints sell for between $7,000 and $25,000 at the Yancy Richardson Gallery, a terrific gallery in New York. Thats a nice price. An artist could live and breathe with those prices and even have an occasional meal out. Moore is a fine photographer and BAPC member work is as good or better.

New York itself lends a certain weight to work shown. Its in the air. I know that and it allows galleries to charge more. But, that said, we don’t charge enough for our work.

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Internet Rip Offs

The Internet world does not respect copy protection, to say the least. Images can be dragged off the page by anyone and posted elsewhere, typically uncredited. BAPC members are concerned about this issue as recent emails have shown, but most seem to think it’s still worthwhile to post their images to the net anyway.

Here is why:
1. The Internet is the greatest communication tool going and a great way to get an image out into the world.
2. A web image is typically a reduced version of the original. Printing from this image will result in an inferior print compared to the original and not even close to the artist’s intention.  Watermarking an image can further discourage printing.  Stock Photography houses like Getty Images do just fine posting vast numbers of images to the web, but they post small versions only.  If you want the larger version, you pay a fee.
3. Copying an image to another site or including it in another work of art, as annoying as that is, exposes the work to a greater audience. Worst case, the image is claimed by another artist as their own or is used without credit.

It’s still important to copyright and protect images particularly for print publication use.  Professional photographers depend on being paid for each use unless they have sold that right to someone else.  But the Internet seems to be a different kind of place.  At some point image software may contain an expiration code that disassembles an image after a certain date.  Until that happens anything you put on the web can wind up anywhere else.

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Another review of our Mina Dresden Gallery Exhibition

This is another review of our current exhibition. Read the full review.

Events: April 10, 2010
This listing includes reviews of: Catharine Clark, Mina Dresden, Michael Rosenthal, Root Division, Eleanor Harwood, Guerrero, Parisoma, Warehouse Gallery (Oakland).

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Adrienne Defendi @RayKo Photo Center

Adrienne Defendi participates in RayKo’s 3rd Annual Juried Pinhole Camera Show, 428 Third Street, San Francisco. Opening Reception: Sunday, April 25, 4-6pm.

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Adrienne Defendi @Castell Photo Gallery

Adrienne Defendi exhibits three images in The Lensless Image: A Juried Exhibition of Lensless Photography, at Castell Photography, Asheville, NC. Opening reception: April 29th, 5-8pm.

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Prevalence of Photography

Making a print is physical and requires making difficult choices
Read more

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Synthetic Environments: Bay Area Photographers Collective at the Mina Dresden Gallery

This is a review of our current exhibition. Read the full review at SF Examiner.com.

The exhibit is titled Synthetic Environments. If nature is the thesis and culture its antithesis, the work here approaches post-millennial landscape photography as synthesis.

Bulldozers, garbage, graffiti, murals, shopping carts, and other urban detritus share photographic space with greenery and sky. The latter barely peek through. These traditional signifiers of landscape genre disappear under the manufactured gloss of environment.

Most of the artists in this exhibit tackle aspects of urban and suburban environments. Alan George’s placid shoppers casually enter the jaws of the consuming beast. Jonah, meet Jaws. It is really nothing more than the gaping front entrance of an outlet called “Souvenir City” inexplicably configured to resemble the open mouth of  a man-eating shark. The pastel off-the-rack outfits of the bait-like customers matches the hues of the bizarre building making them look even more like sugary snacks for the plaster monster. The stars and stripes wave in the breeze atop the fishy building…as does the jolly roger. Heave Ho!

via Synthetic Environments: Bay Area Photographers Collective at the Mina Dresden Gallery.

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Erin Malone @Minneapolis Photo Center

Erin Malone will participate in the juried exhibition, Landscape Unfeigned or Illusory at the Minneapolis Photo Center, 2400 North Second Street, Minneapolis, MN. Opening Reception: 23 April 2010 7:00-10:00pm.

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BAPC Members Peer Review

BAPC Members Peer Review at Rayko. Members Only.

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BAPC Members Peer Review

BAPC Members Peer Review at Rayko. Members Only.

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Adrienne Defendi and Angelika Schilli @Vermont Photography Workplace

Adrienne Defendi and Angelika Schilli will be participating in the Nostalgia show at the Vermont Photo Place Gallery, 3 Park Street in Middlebury, Vermont. Artists Reception is April 9th, 5-7 pm

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Eric Larson @SOMA Open Studios

Eric Larson is participating in the SOMA Open Studios at the ARC Studios and Gallery, 1246 Folsom at 9th St. The artist’s reception is 7-10pm April 16th.

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