Be Seen: Expert Tips for Emerging Photographers

I n celebration of their annual Labs New Artists III show, Red Hook Labs presented a discussion covering ‘The New Future: Opportunity and the Market for Emerging Photography.’ Speaking on the panel was our own Aimee Pflieger (Specialist, Head of Sale Sotheby’s Photographs Department), joined by Mike Tan (Founder and Director, Rubber Factory) and Sophie Olympia (Collector, Curator, Founder, The Olympia Project).

Moderator Efrem Zelony-Mindell (Writer, Curator) led the room in an engaging dialogue about the modern photography market, and what resulted was a wealth of knowledge worth taking note of, whether you’re an emerging photographer yourself or are interested in a career in the arts. Below, you can read their advice and musings transcribed directly from the discussion.

As a curator, I look for something that really tells a story with a clear voice. I understand that with emerging artists, the work will shift and grow over time; but there should be a thread of commonality. The first work you make will be different from what you make in ten years, but I should be able to tell it’s yours and that it's your voice, your story. I increasingly want to work with artists who can articulate their stories with words and with the work itself. I’m looking for people exploring new ways to express their outlook, their backgrounds.

There’s so much visibility these days, so many platforms and ways for work to be found. I find some aspects of this notion of visibility problematic because it takes up so much time and mind space. It’s not productive to worry so much about how you are going to put yourself in front of as many eyeballs as possible; people begin to ask themselves “how do I succeed at this level very quickly?” That encourages certain kinds of trends, behaviors, aesthetics. But art takes time – time to build communities and authentic relationships. Ultimately, the work is front and center in any practice, and good work will get the attention.

Having a clear voice and presence on the media you choose to utilize is important – because if somebody tells me to look you up, I want to be able to find you and have a clear vision of what I’m looking at without having to dive too deeply.

A lot of emerging artists are not well informed about, for example, the importance of ensuring that work is placed in the hands of the right collectors/collections. It’s primarily the role of the dealer or the gallerist to properly inform the artist about these structures and why certain decisions are being made, but I do think the artist herself needs to be relatively informed about the industry norms and best practices.

It is difficult for artists to be making money purely off their art alone, so it’s important for artists to find other ways to pay the bills. There is an opportunity for photography – uniquely – to be a way to make money; you just have to shift the lens between your commercial and art works. Some photographers do a good job of blending the two, and some photographers work extremely hard to make sure that their commercial and fine art is absolutely distinct. There is no right or wrong way.

You see the market difference in practice when someone dedicates the right amount of time to their work. When you spend less time on your work, there’s a change in quality.

There’s the tendency of curators and writers to shy away from investing in something that is really similar to what’s already in the market. If you’re creating work that looks like everyone else’s work, people are less likely to take a risk on you. The conversation for emerging artists is potentially more interesting because you are pushed to find a way to make yourself stand out and create something that isn’t exactly the same as what’s being seen institutionally or in the secondary market.

The best way to meet artists and curators is through other artists and curators. None of us exist in a vacuum. I rely on the networks of people I work with and whose work I respect – I trust that they will introduce me to artists who are younger, newer, not receiving a ton of attention. We are all a shared resource for each other. Certainly the internet and Instagram help, but I don’t think I’ve ever discovered an artist on Instagram.

The artists I enjoy working with the most give me recommendations – things to read, watch – the material that helps them make connections, develop concepts and ideas. It enables me as a curator to understand the artist and to better inform myself about the things an artist cares about.

Don’t make a million copies of your photographs. Editions are very important. It’s different for every photographer, and that’s your decision; some photographers will make an edition of 100, and some will make one. “How do I know the photographer won’t make 80 more of these?” I get this question all the time from photo collectors. They're paying attention.

Do not show the special person coming to see your work everything you’ve ever made. Do not even show your gallerist/curator/dealer all the images you make. It is not necessarily your job as an artist to do the final paring down, but you should have a perspective about what it is you’re trying to say and how you want to say it. If your show is going to eventually have only twelve images, I don’t want to see one hundred before the show; I want to see twenty.

If you're a fashion photographer, don't syndicate your fashion work. The output of a fashion photographer is a vested team effort – with a stylist, hair/makeup artist, editor. The photographer is the captain of the ship, but it takes all of those pieces to put it together… you cannot then pick up that work and give it commercial value. If you’re trying to sell the photograph in more than one market, you will cannibalize the value of the work.

Contemporary art has taken up a larger and larger portion of the art market. Globally, people are more affluent and have the desire to find meaning in art, and thus artists are better positioned. This trend will help drive more emerging artists from different backgrounds to be successful in the future. Art will be untouched by AI and machine learning.

Push yourself to be uncomfortable and uncertain; make a mess and clean it up later.

If you're doing commercial work, make sure you align only with brands that share your personal values.

The images in this piece are selected works from eight of the twenty-five international photographers, unrepresented by a gallery or an agency, selected to partake in the Labs New Artists III show from open call by a jury of industry leaders. You can view their work, as well as the rest of the exhibit at Red Hook Labs until July 28.

Information here.

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