Poster design by surging news reporter Zhou Huan
It may be said that 2006 was the first year of China's video collection - the sudden rise of the photography market marked by the Huachen Image Special seemed to inject a shot in the arm into the entire Chinese imaging market. Photographic works that have always been not favored by the collecting world, from images of silver salt glossy photo paper to photos output by Epson's art micro-spray process, have been dyed with a mysterious aura for a while and have become the object of many collectors. In the autumn auction of 2007, the "Three Kingdoms Era" was finally formed in which video auctions were established - Huachen International, China Guardian and Beijing Chengxuan competed for cards, which was very lively.
In December 2007, the Huachen Autumn Image Auction was held as scheduled and closed with a turnover of 2.187 million yuan and a transaction rate of 58.64%; In the earlier China Guardian Autumn Auction, there were 89 special lots in its "Video Art", and the lowest estimate exceeded 200,000 yuan with 5 pieces; There are 40 "Chinese Photography" special lots in Beijing Chengxuan Autumn Auction, of which two exceed the lowest estimate of 200,000 yuan. The final auction price of these images has risen to a sky-high price of nearly one million yuan, which has made many outsiders frightened and surprised.
I wrote after the 2006 Huachen autumn shoot: The history of Chinese photography will become a turning point here, and countless photographers are waiting for where to go. The first thing we think of is: for the collection and auction of Chinese photography, which works will become a hot spot for auction and collection - as long as the works of characters in the history of Chinese photography cannot be bypassed, or just works that cannot be bypassed, they are all worth collecting! So, which photographer is the person who cannot be bypassed in the history of Chinese photography, and which work is their masterpiece? The market has been making a basic combing for more than a year. The next question is, how many of these "inescapable figures" and works are in the inventory of the Chinese photography industry today? Years later, how many works will continue to thrive in the hammer of auction? Does Chinese photography have a sufficient understanding of the value and essential characteristics of the auction items? Are the shooting groups mature and well versed in the doorways, and willing to spend thousands of dollars to continue to buy Chinese images?
Project Hope – Big Eyes, 1991. Xie Hailong's works. In 2006, the curtain of China's video art auction market slowly opened with the opening of the Huachen Video Art Session. Xie Hailong's "Hope Project - Big Eyes" sold for 308,000 yuan,
The first question: What is the Chinese video collection?
According to expert analysis, there were roughly five categories of Chinese film collection and auction in those years: first, famous works of famous photographers, second, influential images, third, historical old photos, fourth, representative images reflecting photographic technology innovation, and fifth, famous images of contemporary art. If you look at the overall situation, in fact, there are only three types of video works that are really popular: one is old photos (old photos here refer to some old photos of special eras, the time is about after the founding of New China and the "Cultural Revolution", including a small number of works from the 30s and 40s); the second is the conceptual art video works of contemporary artists; The third is the works of famous foreign photographers who have gradually entered the Chinese image auction market.
Let's start with the first category of works, which are old photographs – the most eye-catching works in the early days of China's video auctions. Due to the special reasons of the period of China's social and historical development, after the founding of New China to the "Cultural Revolution", it was the most complex and turbulent period in Chinese history, and the number of major historical events and the change of upper-class characters were bound to become the focus of video recording. However, during this period, Chinese photography was far from popular, and there were not many photographers who could shoot with handheld cameras and truly leave valuable works, and many images were destroyed in turmoil, so the surviving images naturally became the focus of people's attention. As the director of photography at Christie Auction House in New York defined: the price of an image depends on the rarity of the photograph. "Rarity" here may include conditions such as being too little to be handed down due to age, or the production process is more complex and no longer used, or the photographer's own personality is too prominent to be imitated or repeated... Li Zhensheng's "Cultural Revolution" series and Weng Naiqiang's historical replay series both cost more than 200,000 yuan, which is for this reason. However, what worries people is: how many of these "inescapable figures" and works are still in the inventory of the Chinese photography industry today? Years later, how many works will continue to thrive in the hammer of auction? At the time, I asserted that such works would continue to appear, but there was not a great chance of reaching new heights. Unless accidentally discovered, or a complete set of works (such as the complete set of revolutionary model drama photographs represented by the Beijing "Ying Gallery" later, the collection price exceeds one million yuan).
Works by Li Zhensheng
Works by Weng Naiqiang
Revolutionary model theatrical photo
As for the conceptual art video works of contemporary artists, they have been favored in the foreign auction market as early as the 90s. Chinese photographer Zhuang Hui's "Landscapes Made for Livelton", Wang Jinsong's "Standard Family Photography Series", Hong Hao's "Qingming Upper River Map", Liu Zheng's "National People" series, Miao Xiaochun's "Propaganda Advertising" and other conceptual art works were already priced at more than 10,000 US dollars in the foreign auction market in the late 90s. However, returning to the Chinese video auction market, it seems that it is difficult to get a big breakthrough. Among them, the most successful is Liu Zheng's "Four Beautiful Pictures" started at 1 million yuan, and after five rounds of bidding, it finally fell under the hammer for 1.5 million yuan, plus the auction commission, the work was finally sold for 1.68 million yuan, becoming the highest price in domestic auctions. But this is only a case, on the whole, domestic collectors' collection of conceptual art has not yet reached the level of understanding it deserves, and there is still a trend to follow the trend. But compared to old photos, this is a very potential market. As for the emerging conceptual art cutting-edge in recent years, it may be unrealistic to surpass these relatively mature photographers in a short period of time. Especially in order to rise rapidly in the cultivation of the domestic image market, the new generation of conceptual art image creation still needs a long way to go. Or choose the "roundabout tactics" of senior artists overseas blossoming Hainaixiang, there is no shortage of wise choices.
Standard Family, 1996. Works by Wang Jinsong
Partial comparison chart of "Qingming Upper River Map". Works by Hong Hao
One of the "National People" series. Works by Liu Zheng
So, what is the trend of the works of famous foreign photographers in the Chinese auction market? I'm afraid it's not optimistic. Michael Jordan's video streaming, which was introduced by Huachenchun in 2007, is an ominous portend. Huachen and other auction houses have begun to "test the waters" of foreign contemporary photography works also face the current situation of "water and soil dissatisfaction". Some commentators believe that this "unsatisfactory" is mainly caused by cultural differences, coupled with buyers' lack of understanding of foreign contemporary photography, so it has become the main concern of buyers.
In fact, the real reason for the "unsatisfactory" is mainly related to the maturity of the market and the gap in price. The foreign video auction market started from the auction price of more than 70,000 US dollars in Ansel Adams' "Moon Rise" in the 80s, entered the stage of standardized operation, and then experienced twenty years of cultivation and has been quite mature. Naturally, prices have risen to a space unimaginable for the Chinese video auction market. Therefore, although domestic collectors are very familiar with the works of foreign photographers, they are still unable to start. For example, Mexican female photographer Modotti's "Rose, Mexico" has already set a new photo auction record at that time with a collection price of $165,000 20 years ago, which can be imagined as shocking. American photographer Edward Steken's "Moonlight Pond", which was talked about in the Chinese photography industry in the early years, sold for 2.928 million US dollars, while in 2006, the first auction of Huachen Images, which caused a sensation in the country, sold 84 photos of 132 photos in the auction, with a total transaction of 2.45597 million yuan - even if the yuan behind this figure is converted into US dollars, it is less than one of Steken's works. This is the gap that has to be faced, and it also indicates that there is more room for sustainable development. Although the Chinese video collection market has been up and down and faltering to this day, it is still in a steady trend.
Michael Jordan, by Mark House. One of the works of the 2007 Huachen Spring Auction
"Moonrise". Works by Ansel Adams
"Rose, Mexico". Works by Tina Mordotti
"Moonlight Pond". Works by Edward Steiken
Fortunately, the topic of what to collect in Chinese images has been gratifyingly explored today. For example, the "Chinese Photography Masters 100 People and 100 Works Collection Plan" gathers 100 of the most collectible and potential photographers in China, selects and customizes a representative work for each person, limited to 100 editions, collection-level acid-free framing output, autographed by photographers, with collection certificates, united by 100 famous photographers, to achieve the double guarantee of word of mouth and strength.
What this collection plan does is to cultivate a standardized image collection space, make an accurate positioning of the past and future of Chinese photography through a meticulous combing process, let those long-forgotten historical books be touched by the sun, and let those pioneers who dare to explore get due evaluation rather than seniority. Moreover, it is no longer necessary to let the collection of images be high, but to lean down and let the classic works truly enter the hearts of the world, so that the Chinese image collection market can be long-lasted and vibrant-photographers have truly confident works to sell, collectors have truly valuable works to collect. So as to truly achieve the goal of the plan: to let the masterpieces of photography enter thousands of households all over the country with collection-level standards, while lighting up their lives, and precipitating value in the years.
This brings us to the second question, who will collect? For example, from the perspective of the collecting community, how do they affect the direction of video collection? Is a person's collection of photos for research, reference or appreciation? Let's extend it with the help of two foreign cases -
When the famous American photographer Richard Arveton passed away on October 1, 2004, he left behind a very unique collection of private photographs, which are enough to reflect his gaze and rival his creations. Few people have been able to see these private collections, which have been housed in his apartment on East 75th Street. The collection, which spans 50 years, was exhibited in San Francisco a few years ago under the title "The Spectator's Gaze: From the Richard Avitton Photo Collection."
Inner Silence, Córdoba, Spain, 1933, by Henri Cartier-Bresson. Richard Avitton Collection
Twins, 1967. Diane Arbus, a series of ten photos in a box. Richard Avitton Collection
Mrs. Gladys Ulrich with baby baobtail Sam, 1971. Diane Arbus, a series of ten photos in a box. Richard Avitton Collection
Young man wearing curly clips at home, 1966. Diane Arbus, a series of ten photos in a box. Richard Avitton Collection
His collection of photographs is mainly based on purchases, but some are gifts from others. Some of the givers came from other artists who respected him, including his particularly good friends such as Jacques-Henri Lattigue, Henri Cartier-Bresson, etc. For example, when Diane Arbs launched the landmark work "A Box of Ten Photos", Aviton was one of the first three to buy. As a form of friendship, Arbs also added an eleventh work and inscribed it.
Importantly, the relationship between collecting and creation can be seen in his collection – Aviton has a keen eye for the appreciation of photographs and is inseparable from his photographic practice. Although his interest in taking photographs was far greater than collecting photographs, and more often than not, he always trusted his own judgment and gaze, as he had always lived surrounded by countless photographs, including various photographic versions of his collection and love, from masterpieces to anonymous works. In particular, during his photographic career, he has said that he was particularly interested in "neurotic women" and that his work represented a reflection on "faith, fashion, love, and other ephemeral things that come and die." This expressive technique, which is beyond the imagination of ordinary people, is often done under the theme of women and death, especially the identity between men and women, fully demonstrating his fascination with women and his mockery of men based on material comforts—as evidenced by his extensive collection. The wide range of collections ignited Aviton's desire to create, and as another collector of photography Liz said: "I love that there are so many photographers shooting all kinds of works, and it gives me such a sense of freedom."
Dovima and the Elephant, 1955. Works by Richard Avitton.
Works by Herb Ritz
Works by Herb Ritz
Works by Herb Ritz
So let's talk about the famous American photographer Herb Ritz, who began his professional photography career in 1979, and his fashion and portrait photography in the 80s contributed to the luxurious elegance of Vanity Fair, and each of his works had a maximum price tag of more than $20,000 10 years ago. In his studio, he photographed countless celebrities such as Madonna, making him one of the most important and versatile fashion photographers in the United States.
Indeed, exploring the reasons for Ritz's varied style, it can be seen that his hobby of collecting photographic works is closely related. As early as 1972, five years before Ritz began his photography career, he was already collecting photographs. "I didn't understand anything, I just earned $1,000, and I used it to buy three sets of photographs by the famous photographer Richard Avitton," Ritz recalls. Today, the value of these photos is close to $15,000. Despite Ritz's repeated emphasis, he never used a collection to invest. But the same sharp gaze he used to identify purchases began his later photographic career and heralded a good start.
When he travels in Europe or shoots in the United States, Ritz often wanders around flea markets and galleries. He bought body works in Moscow and chose turn-of-the-century works in Japan. Since Ritz already had three residences, in Hollywood, Malibu, and Santa Fe, his collection was scattered across these locations. "I love images like this everywhere, no matter where I am, the beautiful thing is the picture that makes me stop and gaze; I have these moments—when I'm actually watching. The expansive collection ignited Ritz's desire to create, he says, "I love how free it feels to have so many photographers shooting all kinds of work."
Perhaps, it is precisely because of the influence of diverse styles of photography that Ritz has constantly asked himself to innovate, constantly get rid of the existing creative style, and boldly open up realms that are difficult for ordinary people to achieve in 20 years with a spirit of adventure. From collecting hobbies to photographic styles, we can learn something rewarding from Aviton to Leeds – and not just for master photographers, of course.
"Collection Plan of 100 Works by 100 Chinese Photographers"
Can it be said that in the field of image collection, the vast majority of collectors are photographers themselves, and most of them are accomplished people? Looking at Chinese photography from this perspective is perhaps very similar. Although theoretically, more people are needed to promote the improvement of the domestic art system, give more photographers and artists more opportunities to realize artistic value, and then devote themselves to building China's photographic art consumption system from an appropriate perspective, it is also the most appropriate way and the most stable rhythm to adapt to the process of growing demand for art in the current era. But if photographers can't ignite the enthusiasm for image collection, how can they guide and persuade other groups to buy into image collection? For example, in recent years, the "Chinese Photography Masters 100 Works Collection Plan" and the "Chinese Classic Image Collection Project" produced by Gong Zhiming have brought a warm current to the collection market of Chinese photography. Among them, the main collector is the accomplished photographer - the famous photographer in Shanghai has collected two sets of "Collection of 100 Works by Chinese Famous Photographers at once", which is enviable. The TOP50 masterpieces of Beijing Ying Gallery's 2021 online auction just saw, most of them are also collected by photographers. Although the issue that Risong discussed online was about price, it is important that Narison made an important point of his view:
In today's Chinese image market, it is actually meaningless to discuss the price of photos, because until now, China has not established a systematic and stable photo collection market and price system, and the vast majority of important photographers in China still have not entered the so-called "collection market", in a double embarrassing state of "priceless" and "priceless". If placed internationally, these important photographers and works may have been carved up, packaged, and then systematically marketed. In China, we may have to wait a long time to see the day when China's local image market really rises and is respected. Of course, on the other hand, now is also the time when the Chinese photo market can be harvested and mined at will, although it is disorderly and even chaotic, but it is full of treasures.
So I agree with Na Rimatsu's appeal: collectors, what else to hesitate?
Now back to the second question, I think of who collects video works may be more important than what they collect! To sum up, there is no lack of magic in collecting video works, the key is how to be favored by truly professional collectors - think about the collectors of those world-famous paintings, how many are painters? More and more image collectors should come from powerful, discerning non-photography circlers – involution alone is not enough!
Poster design by surging news reporter Zhou Huan