I'm envious, Randy. Jimi died a month before I turned 9 years old so I was too young to see him. I've got DVD's of him playing though. It's the best I can do but I would have loved to have seen him live.
Printable View
Most welcome, Jim. Gallery promotion can be important to future success. I was recently looking at the catalogue from a 1961 exhibition in Boston. The selection jury included Minor White and Walter Chappell. Twenty-five photographers were chosen. Of interest were the print prices at that time: Paul Caponigro and Carl Chiarenza set the upper limit at $75 and $80 respectively. Jerry Uelsmann and mine were at $15, and Ralph Meatyard at $25. Paul and Carl had gallery representation at Siembab Gallery, the other three had none. This is where it sometimes starts for those few who go on to fame and fortune in the art world; gallery representation. Of course, not always.
Contrast these prices to those of seven years later (1968); an Ansel Adams 11x14 print for $100, or a Brett Weston print of Garrapata Beach for $40. Neither had gallery affiliation at the time.
This is a bit of history, and only offered as such. However, it is fascinating to observe the photography market as it has progressed. Edward Weston, who died in 1958 with three-hundred dollars in the bank, has had prints selling for hundreds of thousands of dollars at auction.
Merg, you have been there and know what it takes. I'm searching for the right path and your experience and the stories in your wonderful book are very helpful and inspirational. Thanks for what you give to the photographic community.
I firmly believe in, 'Artists’ Residual Rights for Sale of Artwork: California’s Resale Royalties Act'.
Artists lose and speculators win way too often.
http://cypressllp.com/insight/artist...royalties-act/
OTOH, while it takes an artist to consistently create fine art, it often takes a speculator or competent gallery to make him famous.