Questions following Marcus Davies talk

1)What models of working exist for the photographer in the 21st Century? (Marcus mapped out a portfolio of income streams.) Consider how or whether the model Marcus described might be sustainable. State what the risks are of working in this way and what are the benefits. Consider whether there are there any other models of working?
• Photo libraries (Millennium) not a constant supply of money, don’t know when you will get paid or how much or if you will get paid at all. But do get a lump some of money and I can be quite a lot of money if you did get paid, good for extra money but not as your main income. Only get 50% of the profit. Not in total control of how your work is used and portrayed. Have to pay money to be represented, if you are only starting out then it can become pricey.
• Teaching – constant supply of money, but not a lot of money. Have some extra time to do photography on the side. Have to work out times to create time to do personal work.
• Galleries – only get about 50% of the profit, not certain if anyone will buy anything, good to make contacts within your profession,
• Collaborating with other people – (group exhibitions) there is a bigger variety of artwork so more people are likely to come.
• Collaborating with other people (represented by a gallery) (Amsterdam) you have permanent work which gets exhibited, like a bigger photo library it is not a constant supply of money so you can’t depend on it, because it is a smaller organisation there will be less people looking there. Because it is a smaller organisation there is more probability of it becoming bankrupt.
• Board game design – selling his own work
• Illustrations – Maisy mouse
• Nathaniel Davies – selling his dads work
• Employed directly by newspapers/ magazines.
• Residency
• Commissioned
2) Give an essentialist and materialist definition of artist and/or photographer and consider how these operate in society.
• Essentialist definition: is the view that, for any specific entity (such as an animal, a group of people, a physical object, a concept), there is a set of attributes which are necessary to its identity and function.
• Materialist definition:
• Essentialist;
• be able to compose a picture “a good eye”
• Can use the equipment
• Natural ability – something you can’t be taught
• The world you have been brought up in, the upbringing you have had. If you were brought up in a third world country, then you wouldn’t be thinking about it as much as becoming something more academic.
• More doing it for yourself

• Materialist
• You can be taught the technical ability but can’t be taught the passion
• Technology need
• Need to be taught technical ability
• Essentialists want to go out and take pictures but don’t care so much about making money because they only care about photography.
• Materialists take picture to make money purely for material gain, so they can make the money to buy material objects.

3)What is your class position as an artist/photographer and what is the place of your practice with the broader socio-political setting? What level of privilege do you enjoy as student in the 5th richest country in the world? Does this alter the kinds of work you produce or how you consider you should earn an income?
• We live in a Western country where we are able to do a degree in almost anything ad you are free and can make money from doing an art degree
• In a third world country it is highly on academic education because that is useful.
• The idea is that because of the loan system it is that everyone can end up with a degree, because of Btec courses you don’t necessarily need to have A-levels.
• Access to high standards of equipment and teaching, basic privileges in terms of loads for housing, course funding.
• Allows opportunity for us to study art as its own career path.
• Work should never cause harm, as someone who comes from a Western environment that is quite liberal you must be mindful of social differences and show them the utmost respect.
• background of different student
• after graduation many things limit your ability to practice – class as background.
• Exploiting subject matter to benefit you – from a moral standpoint is wrong.
• class as established in photography:
• where my work is valued in the hierarchy of art and photography.
• Constantly nurtured by the education system. They take us along and through school it is constantly there for us and we have to go to school but in third world countries its pure luck because they don’t have the same education system, you also need to pay where as unless you go to private school it is free.


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