We thank the SVA MPS Digital Photography program, under the direction of Katrin Eismann, for sponsoring the discussion panel.
View a video of the discussion at:
What was your first reaction to the concept of Fugitivart? Did your thinking shift as you lived with the idea? When you went to the exhibition and viewed the work, did the act of looking feel different because the prints are ephemeral? How about if you took one home? Would you spend more time actually looking at it than if you knew it was
forever? Do you think
knowing that the images
will self-destruct brings new
meaning to the work?
Can you imagine how artists
might exploit this to create
new works? Now that is
finally technically possible to
make unlimited numbers of
identical 'original' fine art prints, does limiting production to smaller and smaller editions seem either logical, or in the end, even
possible? Will Fugitivart spur experimentation among artists,
galleries, and others? Are
there new promotion, sales,
and distribution models that
might arise because of
Fugitivart? Isn't limiting
viewing time as valid
a way to modulate value as
scarcity? Would you consider 'renting' work if you could be assured that the prints were
fugitive? Can the lower costs associated with fugitive inks and non-archival papers
open new avenues of experimentation and risk-taking? What if artists
made Fugitivart images
designed to take
advantage of the fading
process? Would you rather
have a single image from a
photographer or get a new
image every four months for
10 years? Would there be an
purpose in making Fugitivart prints that last
only weeks or days? Are you concerned about any consequences of
this idea?What emotions do
Fugitivart prints evoke? What
are other examples of
art that has been made to
be ephemeral? Is ephemeral
art less important than
art objects that can last for
hundreds, even thousands
of years? In a world where
people are likely to view
more and more art on screens, can impermanent prints help spur a renaissance in art you can touch and display on a wall?
Photo by Willie Chue
Panel at SVA
Panel at SVA
To add depth and perspective to the concepts underlying the Fugitivart exhibition at Soho Photo, a panel discussion was held at SVA. It was a surprising and insightful evening! In October, a video of the event will be released. Look here for the link.
Panelists included: A.D. Coleman, illustrious critic, historian, curator, educator, and web publisher; Jon Cone, master printer and pioneer of the use of ink jet printing for fine art photographs; Michael Foley, influential gallerist and educator; and W.M. Hunt, prominent collector, author, curator, and gallerist. Moderated by Scott Lerman, co-curator of the Fugitivart project.
A.D. Coleman has published 8 books and more than 2000 essays on photography and related subjects. Formerly a columnist for the Village Voice, the New York Times, and the New York Observer, Coleman has contributed to ARTnews, Art On Paper, Technology Review, Juliet Art Magazine (Italy), European Photography (Germany), La Fotografia Spain), and Art Today (China). His work has been translated into 21 languages and published in 31 countries. In 2002 he received the Culture Prize of the German Photographic Society, the first critic of photography ever so honored. In 2010 he received the J Dudley Johnston Award from the Royal Photographic Society (U.K.) for "sustained excellence in writing about photography."
Coleman's widely read blog "Photocritic International" appears at www.photocritic.com. Since 2005, exhibitions that he has curated
have opened at museums, galleries, and festivals in Canada, China, Finland, Hong Kong, Italy, Romania, Slovakia, Spain, Taiwan, and
Jon Cone is a collaborative master printer, photographer, teacher,
and an ink and software developer. He and his wife Cathy Cone founded Cone Editions Press in 1980 in Port Chester, NY, as a collaborative printmaking workshop, featuring screenprint, etching, aquatint photogravure, relief print, and monoprint. In 1984 Jon was the first to begin digital printmaking with artists and photographers, and Cone Editions Press (now located in Vermont) became 100% digital in 1990. By 1994, he was IRIS Graphics Development and Marketing Partner for Fine Arts.
Jon began developing archival inks in 1994 and produced one of the first archival IRIS ink sets. He invented Quad Black inkjet printing in 1995 and received the PDN/PIX Digital Innovator of the Year award in 1997 for his work in black & white photographic inkjet printing. In 1999, he founded InkjetMall.com
Michael Foley opened Foley Gallery in 2004 after fourteen years of working with notable photography galleries, including Fraenkel Gallery, Howard Greenberg Gallery, and Yancey Richardson Gallery. FOLEY brings together fine line and obsessive precision in the disciplines of drawing, cut paper, painting, and photography. After eight years in Chelsea, the gallery relocated to the Lower East Side in 2012.
In 2009 Foley co-founded The Exhibition Lab with partner Sasha Wolf as a study center for people involved in various aspects of fine art photography. It provides a vibrant modern-day salon for artists, scholars, and others who are interested in engaging the world’s diverse and vital photography community through the gateway of New York City.
Foley is on the faculties of the School of Visual Arts and the International Center of Photography where he teaches and lectures on issues in contemporary photography.
W.M. Hunt has been collecting, looking at, and talking about photography for over 40 years. He is an author (The Unseen Eye: Photographs from the Unconscious, published by Aperture in 2011), dealer (founding partner of Hasted Hunt and photography director of Ricco/Maresca), and teacher (the School of Visual Arts, Aperture, and the International Center for Photography).
He is working on a number of new projects, while he continues to write and lecture, review portfolios, judge competitions, and serve on the boards of the W. Eugene Smith Memorial Fund and The Center for Photography at Woodstock.
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