Photography’s Revival as a Collectible Art Form - As seen in The New York Times & The Economist
In October 2024, two major publications highlighted the growing importance of photography as a collectible art form for galleries, collectors, and art advisors, along with the increasing number of exhibitions dedicated to it.
In The New York Times, it was noted that as AI technology advances, traditional photography is gaining status as a fine art object, appreciated for its vintage appeal in contrast to the new digital medium. The Economist observed a rising interest in fashion and fashion photography, emphasizing its role as a source of escapism in today’s world.
“After at least a decade of focusing almost exclusively on painting, many of the largest and most powerful art dealers are dedicating significant attention and real estate to photography.”
As artificial intelligence rapidly advances, blurring the line between real and synthetic images, photography is making a powerful comeback. This resurgence isn’t just a passing trend; it’s taking center stage in major galleries across New York and beyond. The growing prominence of photography in the art world today signals a shift: just as technology challenges our perceptions, galleries and artists are turning to the authenticity and tangible nature of photography as an anchor to reality.
“Last summer, 35,000 people visited Gagosian’s exhibition celebrating the American fashion photographer Richard Avedon’s centenary in New York, making it one of the gallery’s best attended shows in recent years. Gagosian also hired its first director of photography, Joshua C., and added the photographers Nan Goldin and Deana Lawson, as well as the estate of Francesca Woodman, to its stable in the past two years.”
In New York, some of the biggest names in photography, including Irving Penn, Trevor Paglen, and Jeff Wall, are featured in compelling exhibitions that explore themes of identity, culture, and the blurred line between truth and fiction. Irving Penn's works, for example, are celebrated in a unique setting that replicates his iconic narrow sets, where he photographed iconic figures like boxer Joe Louis and writer Truman Capote. Similarly, Paglen’s work dives into the enigmatic with his photographs of U.F.O.s — presented in such a way that raises fundamental questions about the veracity of what we see and believe.
While AI reshapes digital art, photography stands as a reminder of the craftsmanship involved in capturing reality. This is evident in exhibitions like Chris McCaw’s, who uses large-format cameras and sunlight to burn images directly onto photosensitive paper, creating works that embody both natural and photographic precision. At the same time, contemporary galleries are embracing older, analog processes, highlighting photography as a medium that withstands the fast-paced technological changes, offering art lovers something both nostalgic and refreshingly tangible.
“This moment, however, is unique. The rise of A.I. image generators makes physical prints feel all the more outmoded, and therefore all the more like fine art objects — rare specimens that ought to be valued for their craftsmanship, luminosity and composition. “New tech has made even digital photography seem somewhat romantic and nostalgic,” Drew Sawyer said.” (Curator of photography at the Whitney Museum)”
Amid this era of digitally generated imagery, photography has become an accessible entryway into art collecting. The tangible quality of prints, especially those created using historical or unconventional methods, offers a sensory experience that digital art often lacks, attracting both seasoned collectors and newcomers alike. Experts believe this revival of photography reflects its ability to hold cultural and emotional significance even as technology advances.
“The art world is firmly fashion-forward. Exhibitions about designers have drawn hundreds of thousands of visitors. Artists including Tracey Emin, Damien Hirst and Yayoi Kusama have collaborated with fashion brands; the Louvre, the Met and Tate Modern have all hosted catwalk shows or industry events.
More attention is being paid to the talent involved in making beautiful things, and so fashion photography—a form which was once disparaged as crass and commercial—is now being celebrated for its creativity.”
“The genre is appealing to collectors’ as well as curators’ tastes. “The market for fashion photography is thriving,” says Emily Bierman, head of photography at Sotheby’s, an auction house. “High art and high fashion absolutely meet and have become very coveted and collected.””
““It is about creating a fictional world,” Nathalie Herschdorfer, the curator of the Saatchi show, says, “where people can dream and escape.” The impulse to gaze on something bewitchingly beautiful is an enduring one, but it is particularly acute in times of turbulence. Fashion photography jolts the viewer out of the grim and the quotidian.”