We need to talk about the National Portrait Gallery.

Summary

In this video, the speaker discusses the complexities surrounding photography exhibitions, particularly at the National Portrait Gallery, where Zoe Law's exhibition catches their attention. They reflect on their own experiences with the Taylor Wessing Portrait Prize, touching on past controversies and the changing landscape of the art world. The speaker critiques the increasing financial barriers to entering such competitions and the influence of wealth in the arts, contrasting it with the more modest origins of past photographers. While acknowledging Law’s potential, the speaker questions the impact of funding and connections on the visibility of certain artists.

Takeaways

• 😀 The National Portrait Gallery is currently showcasing an exhibition for Zoe Law, but the speaker is unfamiliar with her work.
• 😀 The speaker, a professional photographer, has a long history of working with prestigious magazines and had a major exhibition at the National Portrait Gallery.
• 😀 The speaker was once involved in a controversy in 2010, when he voted for his partner's photograph in a competition, leading to an investigation but ultimately clearing their names.
• 😀 The speaker feels that Zoe Law's sudden rise to prominence is suspicious, especially since her background includes being a Tory fundraiser and makeup artist.
• 😀 The speaker compares the shift in acting and photography, suggesting that many successful photographers and actors now come from wealthy backgrounds rather than humble beginnings.
• 😀 While supporting the idea of reinvention, the speaker finds it strange that Zoe Law, with little prior recognition, has a significant exhibition at a major institution.
• 😀 The speaker is concerned about the high cost of entering photography competitions, including the National Portrait Gallery’s Taylor Wessing competition, which he believes negatively affects photographers in a tough economic environment.
• 😀 The speaker contrasts the National Portrait Gallery's competition entry fees with the generous rewards given to winners in the Australian National Portrait Gallery competition.
• 😀 The speaker advocates for more support for photographers, especially in light of the high costs associated with entering competitions and the financial strain many artists face.
• 😀 The speaker makes it clear that he is not criticizing Zoe Law personally but is questioning the influence of money and funding on the art world and its institutions.

Q & A

What is the speaker's main concern regarding the National Portrait Gallery's exhibition of Zoe Law?

The speaker is puzzled by Zoe Law's recognition, as they had not heard of her before and found it strange that a photographer with limited public portfolio was given such a significant exhibition at the National Portrait Gallery.

How does the speaker view their own career in photography and their relationship with the National Portrait Gallery?

The speaker reflects on their career journey, mentioning their success in the photography industry, including having an exhibition at the National Portrait Gallery. They express respect for the institution, but also frustration with the current state of the art world.

What controversy did the speaker experience while judging a photography competition in 2010?

In 2010, the speaker was part of a judging panel for a photography competition while dating photographer Abby Traylor Smith. They voted for her picture, which was shortlisted, leading to a scandal. An investigation followed to ensure the judging process was fair.

What is the speaker's opinion on the impact of wealth and connections in the art world, particularly in photography?

The speaker is concerned that wealth and connections are increasingly influencing the art world, especially photography, where someone with financial backing or a prominent spouse may receive opportunities, overshadowing more experienced photographers.

What critique does the speaker offer regarding the costs of entering photography competitions?

The speaker critiques the high costs associated with entering competitions, including entry fees, costs to have prints made, and delivery fees. They argue this creates financial barriers, especially during difficult economic times, for many photographers.

How does the speaker compare the National Portrait Gallery's competition process with that of the Australian National Portrait Gallery?

The speaker contrasts the National Portrait Gallery’s competition process with that of the Australian National Portrait Gallery, highlighting the Australian competition’s artist-friendly approach, including substantial cash prizes, artist fees, and travel allowances, which they feel supports photographers better.

What is the speaker's perspective on Zoe Law's background and its potential influence on her success?

The speaker questions Zoe Law's background, noting that she was a Tory fundraiser and makeup artist before transitioning into photography. They express skepticism about how her connections to a billionaire hedge funder and the art world may have influenced her success.

What does the speaker mean by 'punching down' and how does it relate to their critique of Zoe Law?

The speaker emphasizes that they do not want to be seen as 'punching down,' which refers to criticizing someone in a less privileged position. They clarify that their critique of Zoe Law is not intended as personal criticism, but rather as a reflection on the influence of wealth in the art world.

How does the speaker feel about the general state of the photography industry today?

The speaker feels that the photography industry is struggling, particularly due to the increasing costs of entering competitions and the challenges posed by the digital shift. They also express concern that the industry is less accessible to those without financial backing.

What is the speaker's final message regarding the role of institutions like the National Portrait Gallery?

The speaker urges institutions like the National Portrait Gallery to better support photographers, especially considering the financial and professional challenges many face. They call for a more balanced approach that considers the needs of the broader community of photographers, not just those with financial influence.