RE: can I comment

  Witho,
  
  My suspicions are that these prints will not be sought after or known
because they are carbon prints, but rather thought of as a better buy due to
their longevity. My museum trustee friend is appalled at the lack many that
were on the acquisitions committee paid to archival concerns. They only see
it as a Starn Twins print and little attention is paid to the fact that it
is taped up with Scotch tape. See:
  http://www.mocp.org/collections/permanent/starn_doug_and_mike.php
  
  I've been around major collectors at times in my life. I once served on
the Board of the Photography Council of the Museum of Contemporary Art
(MOCA) in Los Angeles and I can attest that many -- but not all --
collectors of photography are oblivious to technical and archival issues.
(Photographic Historians are often technical illiterates as well!) Those
that collect Talbots and 19th century photography are almost always much
more astute about these issues. The fact that I was elected to the Board is
sign of possible coming change; though this was fifteen years ago and I
suspect little has really changed. The may have just had me around for
amusement.
  
  The Photo Council Board was made up of mostly major collectors. M O N E Y!
Gay Block who is a photographer, but is also moneyed and a major collector,
was on the board as well, but otherwise the Board did not reflect the views
of working artists. Sometimes, they would forget who I was and the comments
that were made about working photographers made me feel like Richard Pryor
at a KKK meeting. It seemed that museums' sole purpose in life was to serve
collectors. We're drifting a bit OT but it is interesting to note that
dealers are usually not allowed to be trustees but collectors are. A
collector can buy up a horde of prints by William H. Shutterbug, donate some
to the museum, and then lobby for a major show. Voila! The remaining prints
in his or her collection just tentupled in value. It is as if there is a
deep divide between a dealer and a collector. A dealer is usually defined as
one with a brick and mortar gallery.
  
  Back to the point in hand: my hope is that subtle pressure from the
conservation community will make collectors and museums see the value in a
color carbon print. Not to be overlooked is the fact that it is handmade.
I've discussed this aspect at various times so we'll let that one lie fallow
for a while.
  
  I had similar ideas about platinum prints back in 1980 and to a degree
that has come true.
  
  Also not to be overlooked is the beauty of a well crafted color carbon
print! Maybe that has some value as well.
  
  --Dick
  
  
  
  
  
  -----Original Message-----
From: owner-carbon@spitbite.org [mailto:owner-carbon@spitbite.org] On Behalf
Of Witho Worms
Sent: Thursday, December 28, 2006 6:00 AM
To: carbon@spitbite.org
Subject: [carbon] can I comment
  
  I am hoping that the atelier printers will pick up on this eventually. I
  discussed this issue with a friend who I a photographer, museum trustee,
and
  one who has sat on acquisition committees. We're now seeing Struth and
  others getting hammered down in the $100,000+ range at auction for C41
  prints!!!!! I asked my friend if his committee would be more willing to
pay
  $101,500.00 for a print in 4 color carbon than $100,000.00 for a C41.
  
  "Absolutely" he said this would be especially so if he conservators get a
  say in the matter. Much work is bought and donated by unknowing patrons
and
  that is a problem. Some of the Starn Twins work was put together with
Scotch
  tap and is a conservationist nightmare now.
  
   
  
  The point is at there prices for a percent or two extra in cost one can
have
  a 4 color carbon made. I am sure there are plenty of people around who
would
  make an edition of 24 x 30 prints at $1500 per.
  
   
  
  Comments?
  
   
  
   
  
  Hello Dick,
  
   
  
  So you see in the world of high and fashionable art it is primarily not
  about money or about archival qualities. It is about uniqueness in the
  combination of concepts and materials. Carbon will be a niche. Historical
  techniques in photography will find their place, like painting still
exist,
  but life goes on. Internet, wireless, we are about to change are
  relationship to the material world and that will be reflected in art. We
are
  still of a generation that wants to keep things in our hands. In 10 years
  photography will not be as popular anymore as it is now, I guess.
  
  So we depend heavily on those few people who develop materials, techniques
  en interest among and for others like you, Sandy, Todd, Vaughn, Loris and
  many others. (Maybe C-Prints will be worth much more than 4 colour carbons
  because there are so little left).
  
   
  
  Cheers mates.
  
   
  
  Witho
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Received on Thu Dec 28 09:40:46 2006