From photography's birth to the turn of the century, the first 50 years were a time of boundless inventiveness. Choices of media, fine materials, magnificent presentations, and passionately well-crafted images were the standard. But the next 50 years were different. The death of Stieglitz took away photography's greatest advocate for recognition as an art form; and two World Wars took away the choices of fine materials and left one, the ubiquitous silver-gelatin print. Photographs became things that could be easily manufactured with little variation, as a commodity. Factory-manufactured silver gelatin papers were the medium, by default. In 1970, the materials available to the artist were the same as those available to the drugstore.
Today, now that many photographs are no longer available for free, the situation is improved. But in truth, for most of us as collectors, the questions of "who actually made this" and "of what" still don't bear much discussion. We covet and collect and pay for the image that obsesses us. But beyond that we just hope for the best. And that is a problem for photography, both from the point of view of artists who would like to have choices ... and from the point of the view of the art collector, who might be interested in photography, but who is still reluctant to buy. And furthermore, now we have the issues of digitization, and the questions of archival quality and conservation. |