Photography market

 

Analyse “Photography as a more and more popular investment choice”
You can choose one aspect to analyse about it. Art funds or collectors.
– The history on collecting photography
https://www.jstor.org/stable/24556346?newaccount=true&read-now=1&seq=1#page_scan_tab_contents
http://afterimagegallery.com/dixon.htm
– Current market

https://www.bloomberg.com/news/articles/2015-10-01/is-photography-the-best-deal-in-the-art-market-
These two sources have a lot of analysis of current photography market and you might want to use some data or graph. Some thesis about “scarcity”.

Spring 2013 Photography Auction and Market Analysis by ArtTactic


(When you use it as sources please reference this one instead): https://arttactic.com/product/photography-market-auction-analysis-april-2013/

Less interests and investments in old masters, with a fallen of 40% compared to its peak a decade ago. Same situation applies to classic cars, oriental rugs and carpets and etc… Photography has emerged as the hottest new are of investment among all collectables. (need to find the Data analysis for this thesis)

– Why is photography valuable as a collectable.
The fluctuating value of photography is represented not only through its commercial value but also lies in the intellectual, aesthetic and ethical values underneath.
Photography is more affordable and accessible to collectors as compared
to other collectables such as old master paintings, classic cars and etc…
https://www.jstor.org/stable/24553966?read-now=1&refreqid=excelsior%3Aa7e7ef73a7facc60aa3f8bcadab0b517&seq=1#page_scan_tab_contents
https://www.jstor.org/stable/24556041?read-now=1&refreqid=excelsior%3Ae2622c309935570f8b7c91ebc1536581&seq=1#page_scan_tab_contents

– The ambivalence
People often question the ideas of “scarcity” within photography, where old masters obtain value due to exclusiveness while photography is largely influenced by the credibility of its reproductions. How to sustain the healthy dynamics between the photography market, the photographer as well as the collectors require the discussions on self-regulations. (Provenance)
– New model in collecting photography: Picking up emerging photographer
– Photography funds: the investors might not expect the maximization of
profit, rather they are photography enthusiast with passions.
– How to define the value of photography in the current digital era. How to make people to consider photography as art rather than pure documentation cultivates high collecting values. Photographic images today are becoming very cheap to produce, under such circumstances, the discussions on the border between photography as an art object with collecting values and photography as daily objects produced for everyone.
– Think about this book. The art of the deal.

Bibliography:
London, P. (2018). Photo London. [online] Photo London. Available at: https://photolondon.org/photography-auction-sales-2017-review/ [Accessed 22 Apr. 2018].
(Photography auction sales review of 2017)

Collinson, P. (2017). Value of classic cars and fine art plunges as photographs soar. [online] the Guardian. Available at: https://www.theguardian.com/business/2017/sep/04/value-classic-cars-art-photographs-investment-coutts-bank [Accessed 22 Apr. 2018].
(The market’s interest in old masters, classic cars, watches and etc has dropped over the last decade, while photography gained favor and is gradually becoming as the hottest area among the collectables.)

1uyxqn3lzdsa2ytyzj1asxmmmpt.wpengine.netdna-cdn.com. (2018). [online] TEFAF-Art-Market-Report Available at: http://1uyxqn3lzdsa2ytyzj1asxmmmpt.wpengine.netdna-cdn.com/wp-content/uploads/2017/03/TEFAF-Art-Market-Report-20173.pdf [Accessed 22 Apr. 2018].

Smith, Dyane, ‘The £3.3m photography fund’, The British Journal of Photography, Vol. 158, Issue 7787, (April 2011): 88
(photography fund as a new and attracting way of investment)

Barnes, M., Dalman, M., & Cheatle, Z. (2010). Photography discussed: images from the Tosca Photography Fund Collection: selected essays from the Object to Idea Symposium, Courtauld Institute, October 2009. England?: publisher not identified.
(The Tosca fund collection )

Swinnen, J 2010, THE WEIGHT OF PHOTOGRAPHY : Photography History Theory and Criticism. Introductory Readings, ASP, Brussels. Available from: ProQuest Ebook Central. [22 April 2018].
Chapter:

The Digital Imprint. The Theory and Practice of Photography in the Digital Age. Andre
Gunthert. P. 423. ( the value of collecting photography in current market)

Weightless Photography. Jan Simons. P. 557 (photography in the digital era)

Sample Solution

ACED ESSAYS