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Meet Amani Olu: Collecting Photography Expert
By Katy Donoghue | April 15, 2009 . 3:58 pm
Amani Olu
Photography has often taken a backseat to painting and sculpture. Amani Olu, our resident expert on collecting contemporary photography, is here to change that. Let’s get familiar.
WHITEWALL: Before founding Humble Arts foundation, directing Bond Street Gallery, and curating independently you published “b.informed” an urban lifestyle magazine out of Philly and taught break dancing classes. So, how did you become involved in photography? Do you see photography as somewhat of a subculture?
AMANI OLU: In 2002, b.informed’s photo editor introduced me to photography, specifically documentary photography. Over time I grew fond of these documentary spreads, and decided that if the magazine did not survive, I would relocate to New York to continue this work. During the summer of 2005, I moved to New York to establish Humble Arts Foundation (with the help of Jon Feinstein) as a resource for emerging art photographers.
I never saw photography as a subculture, but I did learn early on that some people in the larger contemporary art community had problems accepting it as a valid art form, primarily because of the perception of how easy it is to take a picture. What many people don’t know (or don’t care about) is that it’s not easy to make a successful photograph. There is a significant difference, and the people who take photography seriously are aware of this.
WW: You recently produced and designed Collector’s Guide to Emerging Art Photography. What did you want to convey in the book? What should collectors know about photography, that they often don’t?
AO: The Collector’s Guide to Emerging Art Photography was published to promote the work of artists we felt deserved recognition. The book is intended to be a reference manual for art industry professionals who have an interest in emerging art photography. I hope that serious collectors already know enough about photography. What interests us most is that they know about the community of artists that Humble serves.
It’s not easy to make a successful photograph
WW: Define “Art Photography” - it’s a word I’ve heard you use before. Why do you think it’s necessary to distinguish “Photography” from “Art Photography?”
AO: I understand “Art Photography” as work concerned primarily with the development of ideas, presented with a unique, fresh, and creative perspective, or “eye.” Art Photographers usually create long terms bodies of work, that are editioned and for display in galleries, museums and art publications. This work is often in dialogue with historical art movements and is criticized using various interpretations. Other forms of photography, such as music, editorial, commercial, photojournalism, and fashion are not considered “Art Photography” simply because they exist to illustrate articles, are to be reprinted in periodicals for the purpose of telling a story, or they intend to sell products. This is not to say that these forms of photography do not receive equal dialogue, criticism, credit in art and photography history, or wall space in museums and galleries.
The reason I say “Art Photography” is because that’s what the work is, and I want people to know right away where I stand and where my interest lie.
WW: You have a dedication to emerging photographers, both as an independent curator and as founder and director of Humble Arts Foundation. How do you find these artists and what about their work needs to strike you? Any recent discoveries?
AO: Humble has maintained an ongoing submission policy for over three years, so that’s how we find work for Humble’s publications, grants, exhibitions and online shows. For my own practice, I look at whom Humble is showing and rely on my colleagues to keep me informed. I also participate in numerous portfolio reviews, go on studio visits and encourage artists to send me work. I can’t claim discovering her, since Jon was there too, but Ann Woo is someone I am very excited about these days. I am keen on Woo’s work because she successfully challenges the way standard photographic conventions such as still lifes, portraits and landscapes, when placed next to each other, can appear emotionless and detached, even though the pictures are beautiful and rich in color. She’s just brilliant, and I look forward to showing her pictures at every opportunity.
WW: When collecting contemporary and emerging photography, are there any dos or don’ts?
AO: I wouldn’t say there aren’t any dos or don’ts per se. I think it’s important for the collector to have an idea of what they want and why the want it. I also think they should look around, be patient and only buy if they really connect with the work, I mean, after all, they have to live with it. If all else fails, they should just give me call. I’ll take care of them.
Ann Woo at Amani Olu Project's booth in SCOPE NY 2009.
