Lena's Photomontage exhibited in International Show

YOU ARE INVITED to a reception on March 20, 2009 from 6pm to 9pm at the Museum of the Living Artist in Balboa Park, San Diego, CA. Lena's work will be on display in the 50th International Exhibition of the San Diego Art Institute until May 15, 2009. Please stop by and have a look!

Lena says: "This particular work (called "Idaho Farm Memories") is an assemblage of approximately 20 photographs from four different locations shot on Hwy 75 between Shoshone and Sun Valley, Idaho. This area is rich in vernacular architecture related to the farming industry that once thrived in this region. All of these structures have been abandoned, and are now in an advanced state of deterioration. I predict that within 3 - 7 years most will have collapsed and will be forever gone as landmarks of this region. In this particular photomontage I transferred more than 80 fragments from my photographic archive of this region to create this work. The barns, silos, fence segments, animals and farm implements were each individually transferred and inserted into the final composition using a digital imaging software program."

This work is the start of a new series of photomontages by Lena that mirrors the workings of the subconscious mind in the dream state. The subconscious mind stores a life time of memories and then pulls fragments from this memory bank to create imaginative and vivid dreams while we sleep. Mirroring this process, Lena transfers fragments from her extensive archive of digital photographs and creates entirely new realities, or dreams, that contain memories of the places she has photographed.

See Lena's photos online at the Museum of the Living Artist, San Diego Art Institute website

Lena's Limited Edition Photograph entitled "Aztec Dancer" accepted into "Outstanding Visual Artists" of Region Show at Museum of Living Artist

YOU ARE INVITED to the Museum of the Living Artist, San Diego Art Institute at Balboa Park, San Diego, CA to view this photo on exhibit until October 5th, 2008.

ARTIST STATEMENT: "This was one of the most moving performances I have ever witnessed. As drums beat in the background and the smell of burning sage filled the air, the Aztec dancers swirled around the gazebo in Chicano Park. The sound of the caracol (conch shell trumpet) pierced the air as the Hueceros de Fraile (friar bones) ankle bands made of Ayoyote tree seed pods rattled with each step. In this dance, the Chicanos honor their Aztec ancestors through ritual dances and ceremonies, passing an important sense of history and identity to successive generations. The entire community participates in these dances, from the toddlers to the elders, each one in elaborate costumes of brilliantly colored beadwork, brightly colored feathers, glistening sequins and hand appliqués."

Lena has hundreds of fine art photographs and digital artwork for sale in limited edition prints and giclée fine art prints. She is available for free lance photography travel and location assignments. For purchasing information contact Lena

Fine Art Photography from Lena Johnson Studio Art Gallery is available as Chromogenic Photographs in Limited Editions, Giclée Fine Art Prints in Open Editions and Black and White Photography

Lena Johnson's Fine Art Photo Accepted Museum of Living Artist, San Diego

You're invited to see Lena's new work documenting Chicano culture at the Museum of the Living Artist at Balboa Park - Reception June 13, 2008 from 6pm to 8pm!

Lena's new photo entitled "Red Velvet," will be on display.

Here's Lena's statement about the piece: "The Lowrider is alive and well in San Diego as shown here at the Chicano Park Festival where hundreds of these intricately detailed cars were on display. This tradition is a uniquely Chicano invention that merges art, religion, fashion, recreation and family values. The name Lowrider was coined when large families of Mexicans riding in the car caused it to sink low to the ground. Oftentimes, the Lowrider is a family project where brothers, sisters, cousins, aunts, uncles and children share responsibility for design elements such as air brush detailing, hydraulics, engine restoration, upholstery and accessories. The Lowrider is a cultural statement about a way of life that values family, relaxation, artistic expression and the pride of being uniquely Chicano without ever selling out who you are..."

Lena has hundreds of fine art photographs and digital artwork for sale in limited edition prints and giclée fine art prints. She is available for free lance photography travel and location assignments. For purchasing information contact Lena

Marketing Tip: Trade Spaces with Artists from another town

Below is a reprint from Alyson Stanfield's Art Marketing Newsletter. Alyson is a wealth of information for photographers and artists!

"Most artists would like to get their art into cities and towns outside of their own. If you’re such an artist, you can take the traditional longer route of researching galleries, adding them to your mailing list, visiting, and waiting for an invitation. OR, you can take a more inventive, more proactive route.

The Internet affords us all kinds of options to form friendships with people we might never have otherwise met. Lots of people. Lots of possibilities. Why not take advantage of these? Trade spaces with artists in another city. What I mean by this is use your connections and creativity to organize an art exchange with an artist or a group of artists outside of your usual stomping grounds. Here are a couple of different scenarios.

(1) You belong to an organization or co-op that has its own space. You find an organization or co-op in another city and build a friendship-partnership with them. Your goals are similar. This is key. Once trust is established, you brooch the subject of trading exhibits. You send up a solo or 2-3-person exhibit from your city and invite them to do the same in return. You decide you’ll do this every two years. You might even split costs for a joint catalog.

(2) You don’t really have the connections to do #1, so you do something on your own with a friendly contact in another city--someone you just happen to know. Since you don’t have access to a formal gallery space, you work with cafés or public buildings. You might even find a willing patron to open up a fancy home or decide to hold an open studio event in yours for the out-of-towner. "

(Be sure to sign up for the complimentary teleseminar on open studios. See http://artbizcoach.com/classes/openstudios.html

Investing in Fine Art Photography 101

by Lena Johnson

Why Should I Collect Photography?
"Ever increasing wealth, particularly at the top end of society, coming up against the finite supply of art, means that the long term trend for art prices is very definitely upward." - Forbes magazine article on art investment (2002)

In this modern age of globalization, we are experiencing an expanding market worldwide for fine art photography in galleries and corporate art programs due to an increase in the perception of photography as a fine art medium whose value can survive economic downturns. And most notably, in good times, the value of fine art rises more than other goods. Fine art has always been seen as a secure financial investment and photography is now included in that realm. Of couse, that is only one reason to invest in fine art photography. If you have a genuine interest in fine art, that may be enough for you as a collector. Being able to enjoy beautiful images on a daily basis is a reward in itself. Other collectors invest in fine art as a statement of financial success and their desire to display to others high standards of aesthetic beauty. Whatever the reason may be, it will be advantageous to educate yourself on the subject of collecting art to ensure that you make intelligent decisions about which photographs to purchase.

What Motivates Me to Collect Art?
If you determine in advance the criteria which motivates you to collect, it will be easier to find the galleries, dealers and photographers that meet your criteria. Do you want to invest in one piece of fine art or do you want to build a collection over your lifetime? Do you already have a well developed sense of taste or are you struggling to develop one? Most experts agree that it is best to follow your intuition. Visit museums and galleries that display fine art photography and pay attention to the subject matter, colors and lighting that attract or repel you. There are a number of photography museums whose goal it is to educate the public about the history of photography and its current practice. Many have websites that you can view at home or at the office if you are unable to visit in person. A few notable museums are the International Center of Photography Museum, UCR/California Museum of Photography, George Eastman House International Museum of Photography and Film, Museum of Contemporary Photography, Griffin Museum of Photography and the Museum of Photography Arts. (I have included the links to these websites at the end of this article.) Study photographic images. Determine which ones generate a positive emotional response. Determine what you don't like. Is it an image you can live with and will enjoy day after day?

How Should I Build My Photographic Collection?
Most experts agree that the value of a photographic collection can have a higher resale value if it contains a theme or focus. So, if you desire to collect photography as an investment, it may be best to concentrate on a particular theme, a specific photographic process (such as black and white), a specific photographer or photographs from a particular time period. This will allow you to become an expert about your collection as you will quickly gain knowledge that will allow you to make informed decisions about which photographs to add to your collection. In addition, it will allow you to connect with photographers, galleries and dealers that specialize in your chosen category, allowing you insight into the art world as well as unique social opportunities. Attendance at exhibition openings will allow you to meet the photographers and to learn about the motivation behind their work.

What Questions Should I Ask?
To create a good collection of fine art photography, you need information to make intelligent decisions. The fine art marketplace can be overwhelming and confusing if you do not know which questions to ask and what to look for. Art galleries vary in their product offerings. Some offer products that look and sound like art of quality, but they may actually be mass produced inkjet prints with no investment value whatsoever. Is it a limited edition chromira photograph or an open edition inkjet print? Limited edition photographs and giclees are produced in a finite quantity which means that the works will increase as the edition is sold out as there will never be any more produced. So, ask. What kind of photograph is this? Is it an actual photograph? Is it a giclee? A lambda print? An inkjet print? A chromira photograph? Is the edition limited? How many will be produced? What kind of paper is it printed on? Is it archival? Is it signed by the photographer? Does it come with a certificate of authenticity? (For more information on processes click here: www.LenaJohnsonStudio.com)

How Much Should I Spend to Collect Fine Art Photographs?
There is no rule of thumb about how much to spend. A limited edition of fifty photographs signed by the artist and printed on archival paper will cost more than open edition inkjet prints that are printed by the thousands, but the limited edition ones will also hold their value and appreciate nicely over time as the edition sells out. The price that a gallery, dealer or photographer sets for each fine art photograph is dependent upon its quality and the reputation of the artist. Is it a rare photograph taken 75 years ago by a famous photographer who is deceased? Then, you can expect to pay a small fortune... Is it an old image in poor condition by a photographer who no one has ever heard of? If so, you are taking a risk that it is not worth more than its aesthetic value. Is it a limited edition photograph of an up and coming photographer whose images you love and who you think is going to do well? Then, by all means, invest. Price is dependent upon many factors: rarity, uniqueness, size of edition, reputation of artist, aesthetic value, process and materials, condition of work and even the current state of the economy. Don't be afraid to ask questions! A good gallery will appreciate your interest and will know that you are looking for a quality product.

Links to Photography Museum Websites mentioned in article:
International Center of Photography Museum: www.icp.org
UCR/California Museum of Photography: www.cmp.ucr.edu
George Eastman House International Museum of Photography: www.eastmanhouse.org
Museum of Contemporary Photography, Chicago: www.mocp.org
Griffin Museum of Photography: www.griffinmuseum.org
Museum of Photography Arts: www.mopa.org

Check back soon for more information about fine art photography and collecting!

Photography as Collectible Fine Art

The 1905 opening of Alfred Stieglitz's Little Galleries of the Photo-Secession in New York City is generally acknowledged to be the event that spurred fine art collectors in America to seriously consider photography as authentic art worthy of their consideration. European photographers already sensed that their work was legitimate art, but there still remained much debate over which photographs fell into the classification of artistic pursuit versus documentary evidence of reality.

Weston Naef, curator of photography at the Getty Museum in Los Angeles, claims that Alfred Stieglitz "was the first person in America to clearly articulate the potential for photography as a form of creative expression," thereby elevating the consciousness of the American public into acceptance of the medium as a modern fine art form.

Steve Perloff, editor of The Photo Review and publisher of The Photograph Collector, claims that when Stieglitz exhibited his photography alongside prints, paintings and sculpture of Cezanne, Picasso and Matisse, he represented the photographic medium as legitimate fine art of the Modernist movement. Thus, he was able to demonstrate that photography possessed artistic merit through the conveyance of transcendental truths even when purely documentary.

When museums began to acquire photography in the early 1900s, other American institutions followed, advancing its validation as collectible fine art. The Museum of Fine Arts in Boston began to acquire photography for its permanent collection in 1924 when it added photographs by Stieglitz. The first acquisition of photography by the Metropolitan Museum of Art came in 1926 with photographic images from the personal collection of Stieglitz. When the New York City Museum of Modern Art began its exhibitions of photography, huge crowds received the medium well as a legitimate Modern Art form.

In 1937, the New York Museum of Modern Art (MOMA) presented Photography 1839-1937, the first comprehensive exhibition that articulated the first hundred years of the development of photography through an historical context. Photography historian Beaumont Newhall selected 841 items, including scientific, X-ray and infrared photographs which later traveled to ten major museums. The catalogue of photographs by Edward Weston, Atget, Timothy O’Sullivan, Paul Strand, William Henry Fox Talbot, Julia Margaret Cameron, Matthew Brady and the rest became a teaching resource for generations of students.

In the mid-Fifties, two notable events stand out in the elevation of photography as fine art in the minds of the American public. The first was the 1954 opening of Helen Gee’s Limelight Gallery/Cafe in New York City’s West Village, the first commercial art gallery which dealt exclusively in photography. Basing her design on the European café model, she had a seven year run of approximately seventy shows, setting a standard for future galleries that would offer photography as fine art. The café component helped her survive some very rough years. A few of the photographers showcased at Limelight were Aaron Siskind, Henri Cartier-Bresson, Robert Frank, Bill Brandt, Atget, Paul Caponigro, Arnold Newman, Julia Margaret Cameron and Gene Smith. Limelight was considered an important venue for the viewing of serious photography, as was MOMA, which staged the second significant event of the mid-Fifties.

The Family of Man exhibition at MOMA in 1955 proved to be a turning point in the consciousness of the American public in its perception of photography. This show, mounted by photographer Edward Steichen after four years of preparation, drew an audience of seven million who went away from the show with a new idea of photography. Steichen received more than two million photographs and selected five hundred and three photographs taken by two hundred and seventy-three photographers from sixty-eight countries both professional and amateur. The mission of the exhibition was to demonstrate the "essential oneness of mankind throughout the world" during the Cold War. The photographs selected by Steichen exemplify universal human emotions, traits and experiences such as birth, death, fear, hope, joy, pain, love, work, play and children. Steichen acknowledges this achievement as the “culmination of his career.” Photographs by Dorothea Lange, Henri Cartier-Bresson, Edward Weston, Wayne Miller, Irving Penn, Robert Capra, Jack Delano, Marion Palfi, Alfred Eisenstaedt and Margaret Bourke-White were just a few of the many chosen. The Family of Man exhibition became the most popular and well attended show in the history of photography and it later traveled in several versions to thirty-eight countries. The original exhibition was donated to the Grand Duchy of Luxembourg where it is preserved in the Clervaux Museum, fulfilling Steichen’s wish that the “most important work of his life” be permanently housed in his country of origin.

In 1969, Lee Witkin’s Gallery opened in New York and it is celebrated as the first gallery to survive selling fine art photography exclusively. Collector interest grew rapidly in U.S. during the Seventies and Eighties and dealers experienced success in marketing photography as a modern art form instrumental in its definition of culture. The advent of photography’s integration into the permanent collections of museums and private collections of individuals and corporations led to an increase in its perceived value as a modern art form and as a mirror of culture.

Reasons are varied why people invest in the art of photography. Most collectors value one or more characteristics of a photograph, whether historic, aesthetic or emotional. Some individuals and corporations invest in art photography to increase their asset value due to its ability to survive economic downturns. Take for example, the bear market of 1966-1975 when fine art prices rose 256%. Michael Moses and Jianping Mei, professors at NYU Stern School of Business completed a study of twenty-seven recessions since 1875 and found that fine art outperformed the S&P 500 during the past 50 years. Art collectors know that when they buy fine art photography of a limited supply, such as originals or limited edition prints, it will result in long term appreciation of their asset, thus providing more stability than most financial investments in tenuous times. This characteristic makes fine art photography an attractive alternative investment to the stock market which has been known to nosedive at the slightest provocation.

Check back soon to see Lena's next Blog entitled: Investing in Fine Art Photography 101

To see Lena's fine art photographs go to www.LenaJohnsonStudio.com

To receive news about new work and photography exhibitions by Lena Johnson, go to: http://lenajohnsonstudio.com/photography-art-newsletter.htm

The Contemporary Photography Debate of Inkjet vs. Chemical

From www.LenaJohnsonStudio.com

The advent of digital photography has sparked a debate among contemporary photographers as to which process is best to use to print from digital files. Several options are available with differing opinions. Yosef Drescher of Yosef Drescher was quoted in the November issue of Art Business News as saying that this debate "is something the whole photo world is dealing with."

It has been claimed that inkjet prints (or giclee prints) can last up to 200 years with the new permanent pigment inks and printers such as those Epson is making. However, that longevity has been questioned and there are rumors among some professional photographers that I have talked with that they have seen inkjet prints change in coloration over as little as a ten year period of time when exposed to bright light.

Alex Novak, Editor of the I Photo newsletter was interviewed in the November issue of Art Business News. Novak has 30 years experience in the photography-collecting arena. He is a long-time member of the Daguerreian Society and the American Historical Photographic Society, as well as a member of the Association of International Photography Art Dealers. In the interview, Novak observes, "there is still a lot of aversion to inkjet printing; a good number of photographers use lambda prints," or the equivalent chromira print, in which the images are projected via digital enlarger onto photographic paper which is then chemically processed by a tried and true technique to produce a C-print. The disadvantage for photographers is that they cannot do this at home due to the high cost of the lambda or chromira enlarging equipment.

Dan Bigelow, a portrait photographer based in New York, was quoted in the November issue of Art Business News as saying, "I can run inkjet images for my own use from my $600.00 Epson, but for the last word in quality, I have to ship the file to be printed on a $200,000.00 lambda printer."

No matter what your opinion, it is the view of this photographer that only time will be able to solve this debate. As the technology of inkjet printing is a relatively new technique for printing photographs, enough time has not elapsed to fully judge how they will hold up over time. The industry does know how long a C-print produced with chemical means will perform.

What the industry does have to be careful about is the public perception of inkjet prints. The public has been lead to believe that they are a very high quality product. If this should turn out not to be the case in years to come, I expect that there will be a backlash against those photographers who use this technique to print their photographs. I would love to hear from other photographers who have used either technique. I am especially interested in hearing about how the public perceives of both methods as well as any problems you may have experienced in printing with one of these techniques.

For more detailed info. on chromira prints and giclee prints go to www.LenaJohnsonStudio.com
To receive news about new work and photography exhibitions by Lena Johnson, go to:
http://lenajohnsonstudio.com/photography-art-newsletter.htm