Curators Jeff Rosenheim of the Metropolitan Museum of Art and Brian Wallis of the International Center of Photography joined Howard Greenberg, one of the preeminent photography dealers sat down this week and spoke about the world of fine art photography. Thanks to moderator Susan May Tell, and photographer Aaron Lee Fineman for his photographs (just as you preferred, they're in B&W).

Here's my account for all of you who couldn't attend.

Each panelist gave a brief history of how they came to photography, and I found the most surprising thing to be Jeff Rosenheim's early interest in Plains Indian beadwork, which led him to the Missouri Historical Society and all their collections, photography being one of them. Not the expected route to become passionate about photography.

When he opened his first gallery, Howard Greenberg said he never thought about who his audience was, he just wanted to show work he was interested in. He wanted to show traditional work and work by artists no one had ever heard of. For Jeff Rosenheim it was not what was on the walls of Greenberg's gallery, it was the photography in the gallery art bins that fascinated him. In fact, he said the Met had never bought anything from Greenberg's walls, it was from the art bins in the gallery.

Each panelist spoke of about how they make decisions about what to show, Brian Wallis spoke about showing work that was known in order to be able to then slip in something unknown to teach people. But he admitted it took guesswork and intuition to decide what to show.

One of the most interesting things Susan asked the panelists was about how long it took from conception to hanging a show. Brian said that it depended, but for historical exhibits it took about 3 years Howard said his gallery did 7 or 8 shows a year and were planned pretty far in advance. It was interesting to learn that he "rode the coattails" of the museums, because he couldn't put up a show of the same photographer at the same time, but after it could be valuable.

Jeff said they do four shows a year of contemporary photography and it took about a year to plan each one. When he hangs shows in other galleries in the museum it can take from three to six years to plan, depending on which gallery he wants to use, since some are shared with other disciplines (prints, paintings, etc.). He said the fastest show they ever did was the Robert Polidori show of his Katrina photographs that they rushed to hang a year after the hurricane. Jeff brought a big laugh to the room when he said photography was "only slightly above musical instruments" in importance at the Met. That helped to explain how shows may be harder to hang there, since money is allocated at the museum by the seeming importance of each collection.

The roles of collectors and auction houses to the curators was discussed and all felt collectors had a very important role in exposing photography. They were the "front line of ideas," according to Brian. And by the way they present different types of work together, auction houses can generate new ways of looking at art. "When a collector contacts you, it's usually an extraordinary experience," said Jeff. For Howard, collectors are fascinating. "They're really curators."

Jeff spoke about the joy of visiting artists and seeing what they collect, "I've learned so much by seeing what artists collect."

The most valuable and probably useful information began when Susan asked about the importance of photographer's prints being editioned. Brian said he was much more interested in something that was one-of-a-kind, and that editions are a multiple medium, and somewhat less interesting. But that is the world we live in. Jeff doesn't care about editions, for him it's up to the individual photographer. But he referenced Lee Friedlander and thought his work was priced lower for someone of his stature due to his printing many editions of his work. Howard pointed out that from his perspective, buyers wanted limited versions of the work they bought. "It's a sad state, but we have to deal with it."

Jeff
spoke about the desire for the unique object, saying "If there is an edition of three or three hundred, they're not the same anymore. My job as a collector for a museum is to get the best one. You know as photographers that there is a better and a not as good print. My job is to get the right one in my collection."

None of the panelists cared about signing prints, but Howard warned, "don't be visually offensive. Henri Cartier-Bresson is the only signature people care about seeing."

When the topic of digital photography and digital prints was broached, the expected outrage never came. "I'm getting used to digital," said Howard. "What does it mean? More important, it's becoming more and more acceptable. It'll become a non-issue as we become more sensitized to it."

"Digital applications of photography extend the democratic promise of photography," said Brian. "More exciting about digital is the reach of photography and the information-sharing possibilities of digital."

"The Met collects the work artists make. We never tell an artist what it should be. We have to accept it," said Jeff. "Stephen Shore made contact prints and was never able to use the potential of film to make the prints he wanted to. Now he scans them and makes new prints, digital allows them to 'bubble forth'--it's one of the great things. It's what they always wanted."

While Brian and Jeff use the Internet to look at new work, and find photography they didn't know existed, Howard, "can't look at works on the screen. It lessens the experience of looking at photos for me. But for museums, catalogs of museums online, it's fantastic."

I think most of the photographers were wondering how they can get their work in front of these three big wheels in the industry. Brian spoke of how he sees work at the open portfolio reviews the ICP has. "Send it in, or walk in and a curator will review it." He also said websites were a source of information for them. However Howard is not looking for new artists to represent. Jeff says they look at portfolios as they come in. So get on it photographers!

When the panel was asked about how they feel about artists taking their own paths to put their work out, especially since it's so difficult to get a gallery or museum show, Howard said," It's great for any artist to put their work out in their own way."

"The important thing to consider is that the means of presentation becomes part of the message," said Brian.

"If an artist can convince me they've done something great in their own home--I want to see that!" said Jeff. "Yes we look at online magazines and curated sites. Paper ephemera is where we are rivals. It's so valuable and germane to photography. We have teams of people looking for this."

The Met will buy print on demand books from artists if that is the way the work is collected. He stressed that the artist determines how their work is presented, and the museum responds accordingly. They have a large collection of artist books, especially if this is the only form the work exists in.

Howard
stressed that raising the price on each multiple edition wasn't something he was a fan of. "Keep the price the same throughout the edition. Rather, increase the price on the first edition."
All of the panelists were open with information, informative about what they do and
why, and had a sense of humor. I think this was a wonderful panel and everyone left with information they didn't have before. Just another wonderful panel from ASMPNY.
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ASMP New York has relaunched SHARPEN, the online magazine of ASMP New York.

Today begins a new feature, a weekly “spotlight” of our fellow ASMP NY members.  I'll introduce inspiring men and women that are world renowned, at the beginning of their careers, and somewhere in between.  Here we'll celebrate each others accomplishments and how their work moves the world forward.

Huge thank you to Elizabeth Avedon, Holly Stuart Hughes, Jody Quon, Marc Sobier and Hosanna Marshall for taking time to delve deep in all the wonderful imagery everyone submitted. Tough decisions but lots of fun! Enjoy the pics by Alex Geana.

ASMP New York has Relaunched SHARPEN, the online magazine of ASMP New York. We have daily news, features, advice and over 20 columnists.

I admit, it has taken me a long time to get used to the notion that a photo taken with a cell phone is totally acceptable. I was a student of old school photography and I wanted to remain that way for a long time.

(A wonderful perspective and advice for our community.)

PRESIDENT’S LETTER

It’s Just Business

Several recent threads on ASMP’s on-line forums have dealt with photographers’ frustration with client negotiations.

Photo by Ruben Natal-San Miguel, from the Nocturnal/Activo series, Bronx, 2012.

THIS SATURDAY!!!

Bronx Masquerade brings together ten emerging Bronx artists who uncover the true stories of the young people in the Bronx.

We would like to ask you help us support a former ASMPNY President in this election. As many of you know, Thomas Werner was central to the rebuilding the of New York Chapter, helping to create the strong and vital chapter that you know today.

As a reviewer for the 3rd year in a row I remembered how fast-paced the reviews can be. How stressful it is for the person getting reviewed. It reminds me of what speed-dating must be like.

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Tuesday, Feb 7th is the annual Fine Art Portfolio Reviews, are you ready to show your stuff?

6:45-9pm

***Only prints will be reviewed (no iPads or laptops) unless the work is meant to be exhibited in a museum or gallery hooked up to a computer.

Wednesday, February 1, 2012

7-9pm

How do you stand out in a crowded market? Not by spending the most and yelling the loudest — that’s a sucker’s game (and boy, do those suckers get annoying, fast.) The secret to gaining attention in a noisy world lies in making yourself irresistible at all turns:

Here is a wonderful interview with Anna Skladmann who has been photographing the children of Russia's nouveau riche. Her shots of these kids haunt me.

Last week was the 10th anniversary of the biggest art fair in the country. I had been to Miami before but not for ABMB. I was an Art Basel virgin...

You could tell who was from New York because every other person was wearing black even in the 77 degrees weather. Yeah, I saw art.

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Wednesday, November 30th at 11th Street Bar

510 East 11th Street (Between A&B) beginning at 6:30

Congratulations to all the winners of Image 11!

Professional: 1st Place: Peter Dazeley

Student: 1st Place: Brad Curran

November 22nd, 2011

It was packed! And rightfully so, with an incredible line-up of reviewers from The New York Times, DDB, PDN, Magnum and tons more. The energy in the room was filled with excitement and maybe even a little nervousness.

October 4th, 2011

One should really use the camera as though tomorrow you'd be stricken blind.

Please join me for this online only exhibition of Kim Keever and Bruce Checefsky's work. From October 4-November 1

While peering into an alternate universe, such as Kim Keever has created using a 200 gallon glass tank filled with water, it's easy to get lost in the hidden chasms of his landscapes.

ASMP NY: CALLING ALL PHOTOGRAPHERS

NEW YORK, NY - September 2011 - Now in its 6th consecutive year, ASMP NY will host its annual Commercial Portfolio Review for all ASMP NY members on October 11, 2011.

Why should you take this course?

· Do you want to learn how to uncover a prospect's budget?

· Do you ever hear, "I'm interested, call me after the holidays?" or "This is great, I just need to run it by my boss/editor/wife/business partner?" but you never hear back from the prospect?

· Do you feel

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Tomorrow night September 12th is the very special curated photography show by Ruben Natal-San Miguel about the 10 years since 9/11. This exhibition is supported by Finch & Ada.

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Ahhh, the very important issue of stealing imagery from photographers to make a buck. In this case, Michael Dweck is $100,000 richer via Malibu Denim Co. thanks to the courts and rightfully so. Justice prevails! Click here for more on this story.

Longtime photojournalist Michael Kamber is the force behind the Bronx Documentary Center, a venue for photography, film, and new media that opens in September with an exhibition on the work of the late photojournalist Tim Hetherington, who was killed in Libya in April.

Focus on Sales: Sandler Sales Training Level One

Tuesdays, this fall! Sandler Sales Training is back ! Why should you take this course?

Do you want to learn how to uncover a prospect's budget? Did you ever hear, "I'm interested, but call me back after the holidays"? Then you never heard back from

Must give a major shout out to Stella Kramer who edited and published this blog for the past few years- keeping it chocked full of information and writings based on the contemporary photography world, commercially and in fine art. It must be noted that she posted everything before August 2011.

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This hurricane will surely be a phot-op so if you are brave and want to take the risk, please take necessary precautions. And if you want to send them to the blog to post, please do at asmpsharpen@gmail.com.

For the rest of us, we'll opt to stay dry.

Most of us miss the smell of a darkroom and the potent chemicals that seep through our hands and clothes back in the day when the darkroom was king.

Attention All Photographers!- 2001-2011- A Decade of Insanity : Still Searching for Healing- Exhibition

Attention all Photographers!- I am back to curating, As a survivor of Sept 11 attacks, will like to celebrate life, commemorate the 10 year anniversary and how photography has changed the face of

Resource is putting together a Summer inspired film series (with the curation help of our friends at Vimeo) and we want you to be there. The event is at Factory Studios. factorybrooklyn​.com

We're taking over 2 floors of Factory!

Today at 7:00pm

@Factory Studios

79 Lorimer St.

Saturday, August 13, 2011, 12pm

ASMPNY's Summer Party on the Hudson

ASMPNY's Summer Party is THIS SATURDAY! Photogs will appreciate the beautiful view (and breeze) along the Hudson River at the PIER i CAFÉ. You might want to bring your camera, or ride your bike to get there.

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I've been in the art and photography industry for 15 years as a photographer, curator and art consultant. I've been fortunate to work with ASMPNY as a portfolio reviewer as well as a panelist for photography events here in the city. Earlier this year my exhibition, "Hotter Than July" was reviewed by senior art critic of New York Magazine, Jerry Saltz. In the past I founded veaux.org, a site for emerging creatives with a gallery space in Chelsea as well as curator/consultant of exhibitions for the Hipstamatic iphone app. Currently I'm working on a project documenting the New York art world while curating exhibitions around the city.
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