Like many photographers of a certain age, I still have hundreds of prints from a decades long career. Not surprisingly, I ponder what to do with them as I get older and have intimations of mortality. What will happen to my work after I’m gone? What can I do about it now? Assuming that you, too, are an artist of a certain age and have an inventory of work, here are some questions to consider and, I hope, answer.
- What are you doing with the work that you still have?
- Do you have a plan for the distribution of your work after your death?
- Is there someone—a curator, collector, dealer—who champions your work?
- Do you have a friend, spouse or someone else with whom you have an agreement concerning bequeathing, trading or selling your work?
- Are you engaged in collaborations with other artists dealing with this or related issues?
No comments here yet, but several “likes” on Facebook.
Here’s what I have done thus far:
- Thrown out several hundred dupes, 2nd prints and mediocre images.
- Contacted museums that either have some of my work or others where a donation would be appropriate; e.g., a series shot in New Orleans to a museum in New Orleans.
- Donated a series of the flood wall in Louisville to the University of Louisville’Photographic Archives. Donated works by three local photographers and a photographer from Cincinnati to the Archives.
- Have not and will not donate the most valuable works that I own by others. Hopefully, they will benefit my heirs.
Here’s an idea: get together with some of your photographer friends and trade work, lots of work. That way you will be able to donate each other’s works at fair market value to your favorite museum or nonprofit, something tax laws don’t allow you to do with your own work.. There are more options to collaborating, which I’ll share with you next time.
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February 13, 2016: I hopped on my bike in Santa Fe and rode to the Lannan Foundation where there was an exquisite small show of contemporary paintings by Anselm Keifer, Morris Louis and others as well as two drawings by Sol Lewitt. As I was leaving, I photographed a lone orchid in the sunlight. Next I went to the O’Keeffe Museum, where there was a quirky and delightful show of Susan York’s carbon pieces interspersed with O’Keeffe paintings to which they related; while there I photographed the shadow of a tree on a large window shade. And, finally, I arrived at the New Mexico Museum of Art, where Shakespeare’s First Folio was on view as well as a stunning show of guitars from hundreds of years ago to the present time. Sitting in the gorgeous museum courtyard afterwards, I photographed a chile ristra hanging above some native grasses. The triptych below is my offering from that day. All photos conveniently taken with my iPhone.
The Effortless Honesty of Anne Noggle
Anne Noggle, ca. 1943 and ca. 1987
Anne Noggle was irascible, willful and tough. During WWII, Anne was a WASP (Women’s Air Service Pilot), towing targets that were used for artillery practice behind her plane. After the war, she worked as a crop duster before taking up photography. She was a student of Van Deren Coke’s at the University of New Mexico and later served as Photography Curator at the Museum of Fine Arts, Santa Fe.
Her photographs, specifically, her self-portraits, are among the most significant photographic art of the late 20th Century. Using herself as the subject, they address aging, self-image and emotional vulnerability in women. Noggle’s work, in my opinion, relates well to Cindy Sherman’s “Film Stills,” self-portraits commenting on stereotypical roles of women in 1950s films. Together, the photographs of Sherman and Noggle would make a splendid show. Below is a selection of Anne’s photographs.
One of Us