Poster Design Pengpai News Reporter Zhou Huan
[Editor's Note]
In China, photography collection is still a new thing. Although pictures are already a way for people to communicate every day, collecting photography seems to be a distant thing. At the same time, China's image collection market has gradually become active in recent years, and more and more people and institutions have begun to realize the value of images: excellent photography is a witness to the times and also has artistic value, connecting individual and collective memories.
Since I bought my first photography work in 1992, Huang Jianpeng has been collecting photography for thirty years. His collection mainly has two special themes: one focuses on the representative works of important photographers in the history of Chinese photography, and the other focuses on Tibet, which collects representative works of important photographers photographing Tibet in the second half of the 19th century and more than 20th century. Thirty years of collection experience have made Huang Jianpeng one of the largest collectors of Chinese photography works in the 20th century. In 2019, an exhibition called "Stories in Light and Shadow - Huang Jianpengzang's 20th Century Chinese Photography Exhibition" opened in China Art Museum . This exhibition also brought Huang Jianpeng’s rich and important photography collection to the public.
When interviewed by Pengpai News reporters, Huang Jianpeng did not hide his confidence in his collection system and the quality of his collection. He talked with reporters about the establishment of his collection system, the current situation of Chinese photography collections, and the vision of a healthy photography collection ecosystem. Finally, he cooperated to send some pictures for display, and emphasized: "Most of the pictures used on the Internet have been copied several times, and the tones are different. The tones of these pictures are standard."
"Aristocratic Girl in Shigu Naotun" In 1934, Xikanglifan County (Li County ), Zhuangxueben , gelatin silver salt photo paper printing version, 41.2×41.1cm. The cover of the second volume of "The Complete Works of Zhuang Xueben" published in , 2009. Huang Jianpeng Gallery Photo provided by
The Paper: First, let’s put the batch of 20th century Chinese photography works you collected. People are curious that collecting requires huge amounts of funds. Where does the funds you collect?
Huang Jianpeng: I have been in the company since 1994 and have been doing it until now. I also trade stocks, and at the same time, we caught up with the reform and opening up, and have also received the dividend in the past 30 years. The real estate invested more than 20 years ago has appreciated many times. This money basically forms the main source of our photography collection.
"Stories in Light and Shadow - Complete Works of Huang Jianpengzang's 20th Century Chinese Photography Exhibition" was published in November 2020. This picture is a VIP limited edition collection of the album. Huang Jianpeng Gallery Photo provided by
The Paper: Your collection is mainly concentrated in the history of modern Chinese photography, as well as photography about Tibet. How did you establish your own collection system? What do you think are the value of these photos?
Huang Jianpeng: photography itself is an imported product. In the entire system, whether it is specific operations or concepts, including museum collection standards, the West is still ahead of China. So I think that in terms of collection methods, we should still learn from Western experience. But what to collect? My thoughts are clear. Before 2006, I also collected works by Western masters, but later I felt that it was wrong, because we did not understand their works and the ontological language in them enough, so we had a relatively large understanding of Chinese photography, so I changed my direction. After 2006, I basically did not collect Western photography works, and devoted all my energy to collecting classic works in the history of Chinese photography and Tibetan photography.
You just talked about Tibetan photography. I think this is the case. First, I have a lot of fate with Tibetan photography. Because I watched the works of photography master Lan Zhigui in 1990. I didn’t care much at that time. At that time, I happened to be studying photography in the Department of Fine Arts of Nanjing Normal University. After class, we would communicate with the teacher in private. He told us that there are many thematic photography in the West, including some masters’ works, which were photographed in one or two years, or even three or four years.After reading Lan Zhigui's works in 1990, I found that he was very amazing because he spent 20 years shooting such a big topic in Tibet, and these 20 years have been the 20 years of changing turmoil in Tibet. I personally think these works are very important. Under this premise, I talked with him many times. I also compared the photography language of famous international masters with the works he took, including the equipment he used at that time, which were also the world's top-notch, Rolei Flex, Leica M3, etc. He uses professional negatives such as Kodak, Fuji, and AKF, which are the same consumables used by Western photographers at that time. Based on the study of Lan Zhigui, I also conducted research on Zhuang Xueben and collected Zhuang Xueben's works. In 2009, the magazine " Tibet Human Geography " opened the "Huang Jianpeng Column", each issue introduced an important photographer related to Tibet, and a total of five people were introduced. I have interviewed more than a dozen important photographers who photographed Tibet, their wives and children. I also curated the exhibition of Lan Zhigui's Tibetan photography works in the China Art Museum and the Potala Palace . Having a deep understanding of Tibetan photography, I have unique conditions and opportunities to collect Tibetan photography works.
"Happiness of Lhasa Festival" 1958, Lhasa, photographed by Lan Zhigui, 50.8×40.8cm, silver salt paper-based, Lan Zhigui's signature limited edition works. Limited edition 20 pictures, collected by the Chinese Art Museum on 4/20, and collected by the author on 1/20. This is the first international gold medal work to be won in the history of photography in New China. Huang Jianpeng Gallery Photo provided by
In 2012, we went to the Petris Museum of Oxford University in the UK and saw their collection of Tibetan photography. The Petris Museum is the largest collection institution for Tibetan photography in the world. It mainly collects photos from before 1950, while I mainly collected them from 1950 to 1980, and these two parts are connected. They were very polite to me and opened the warehouse for me to see. This happened to be an opportunity, so I think whether from the perspective of Tibetan history or visual art, I collected these works from 1950 to the 1980s and 1990s. Of course, I was also collecting them around 2000, and they have formed a very important series.
Dr. Chris Morton brought us into the Pitris Museum's warehouse for Tibetan images. Few people can enter this warehouse. The Pitris Museum and Dr. Morton gave us extremely high courtesy and trust. Huang Jianpeng Gallery Photo provided by
The Paper: What works have you collected from important photographers of Tibet and Tibetan images?
Huang Jianpeng: In 1995, Teacher Lan Zhigui gave me a picture of his work, which was the first Tibetan photography work I have collected. At that time, there was no awareness of systematically collecting Tibetan photography works. Around 2003, after reading Western-published photography collection books and reports on collections of Western museums and art galleries, I began to systematically collect works by important photographers in the history of Chinese photography in the 20th century; the works of important photographers in Tibet in the 20th century include: Japanese Aoki Culture and Education, British Charles Bell , British Frederick Spencer Chapman, American Loren Tutel, Demu Danzengcuo, Cheren Jinmei Songzanwangbu, Zhuang Xueben, Lan Zhigui, Xu Letian, Yuan Kezhong , Chen Jun, Fan Shilin, Lin Anbo, Ji Wenzheng, Atletico Madrid, Xu Anning, Ado, Zhang Gary, Chen Mingyi, Chen Zonglie , more than 30 important photographers including Zhao, Peng Xiaxi, Lu Rongzhang, Ma Pengwan, Yuan Boping, Hu Luxiang, Lin Zhichang, Liu Lijia, Hou Shengfu, Li Huanmin, Abuqin, Sang Zhu, Sun Zhongjing, Gu Shoukang, Li Jun, Wang Dajun, Zhang Shouguo, etc., have taken more than 2,000 original works by more than 30 important photographers in Tibet. The framework of works by major photographers in the history of Tibetan photography in the 20th century was established.
"The Shepherd's Girl" 1961, Chamdo , Lan Zhigui, gelatin silver salt photo paper washing and printing version, 50.7×40.7cm, limited edition work, signed by Lan Zhigui on the back, selected as "1961 Selected Chinese Photography Art", published in the 2nd issue of "Chinese Photography" magazine, 1962, 1962, 2009, 3rd issue of "Chinese Art Museum" magazine, 2009, 2009, 2000 The July 9th issue of "Photo Geography" magazine was published in the September 2010 issue of "Chinese Cultural Pictorial". It was selected in the solo exhibition of Lan Zhigui held at the China Art Museum in 2009, "Witnessing the Democratic Reform of Tibet - Lan Zhigui Tibet 1950-1970 Photography Exhibition" and was published in the album of the same name. It was selected in the "Looking back on the classics - Chinese photography masters Lan Zhigui and Zhuang Xueben Tibetan Photography Works Boutique Exhibition" exhibited at the Nanjing Museum in 2010 and was published in the album of the same name. It was selected in the "Chinese Photography" held in Beijing in 2015. Since the 20th century, it has been published in the album of the same name. It was selected as the "Snow Lotus Celebrating the 70th Anniversary of the Founding of the People's Republic of China, commemorating the 60th Anniversary of the Democratic Reform in Tibet, and Blooming Snow Lotus - Lan Zhigui's Personal Photography Works Exhibition" held in the Potala Palace in Lhasa in 2019 and was published in the album of the same name. It was donated to the same edition of the collection of works in the National Art Museum of China. Huang Jianpeng Gallery Photo provided by
"First Snow on the Grassland" At the end of 1934, on the way to Goluo, Zhuang Xueben, the original joint exhibition of Lan Zhigui and Zhuang Xueben of Nanjing Museum, gelatin silver salt photo paper washing and printing version, 37.7×49.4cm. It was published in the 112th issue of "Good Friends" magazine in December 1935. It was published in the cover of "Chinese Photography Magazine" published in June 1936 under the title of "Hunting in Snow Mountains". It was selected in the "Selected Photography of Zhuang Xueben Minority" edited and published by People's Art Publishing House in 1980. It was published in the 2nd issue of "Chinese Photography" magazine in 2002. It was published in the 5th issue of "Tibet Human Geography" magazine in September 2009. It was selected in the "Looking back on the classics - Chinese photography masters Lan Zhigui and Zhuang Xueben Tibetan Photography Works Premium Exhibition" exhibited at the Nanjing Museum in 2010 and was published in the album of the same name. Huang Jianpeng Gallery Photo provided by
"Kangba Sedi Tu Official" In 1934, photographed by Zhuang Xueben, Guoluo, Qinghai, original joint exhibition of Lan Zhigui and Zhuang Xueben of Nanjing Museum, gelatin silver salt photo paper printing version, 41×40.7cm. Published in the first volume of "Complete Collection of Zhuang Xueben" published by Zhonghua Book Company in 2009, it was selected in the "Looking back on the classics - Exhibition of Tibetan Photography Works by Chinese photography masters Lan Zhigui and Zhuang Xueben" exhibited in Nanjing Museum in 2010 and published in the album of the same name. Huang Jianpeng Gallery Photo provided by
"Tibetan Herdsman Woman" Photographed by Zhuang Xueben, Litang, Sichuan, Litang, Sichuan, original joint exhibition of Lan Zhigui and Zhuang Xueben of Nanjing Museum, gelatin silver salt photo paper washing and printing version, 41.4×39.8cm. Published on the cover of the 2nd issue of China Photography magazine in 2002 and the 12th issue of 2007. It was selected as the cover of "Selected Photography of Zhuang Xueben Ethnic Minority" edited and published by People's Art Publishing House in 1980. "The Dust-Covered Historical Moments" published by Sichuan Ethnic Publishing House in 2005, "The Dust-Covered Historical Moment", Photography Master Zhuang Xueben's Humanistic Visit to the Western Region in the 1930s 1934-1939". Selected in the "Zhuang Xueben Photo Album" published by Shanghai Cultural Publishing House in 2012. The "Looking back at the classics - Chinese photography masters Lan Zhigui and Zhuang Xueben Tibetan Photography Works Exhibition" was selected for the 2010 exhibition at the Nanjing Museum and was published in the album of the same name. Huang Jianpeng Gallery Photo provided by
"Qiang Women" In 1934, Jiuzitun, Lifan County (Li County), Xikang, Xikang, silver-salt photo paper printing version, 45.5×45.4cm, selected as "Selected Photography of Zhuang Xueben Ethnic Minority" edited and published by People's Art Publishing House in 1980, published on the cover of the first volume of "The Complete Works of Zhuang Xueben" published by Zhonghua Book Company in 2009. Huang Jianpeng Gallery Photo provided by
Pengpai News: Can you introduce your collection channels?
Huang Jianpeng: There were many small auctions around 2000, including Beijing, Shanghai, Guangzhou and Chengdu. From 2000 to 2010, that period was the best time to buy photography works. I have received a lot of important things in the past 10 years, and these things have never appeared again after receiving them. This is a channel.
The second channel is large-scale auctions, including special auctions on images in Beijing and Shanghai, which are relatively expensive.There were also some WeChat groups selling photos three or five years ago, and they also held auctions, and I also found a lot of good things here. In the early days, bookstores selling second-hand books across the country could also receive a lot of good photography works. You can also find some Chinese photography works when traveling abroad.
The Paper: Have you encountered fake photos and have you ever suffered any losses?
Huang Jianpeng: The possibility of fake photography works in is very small, and I personally am a professional, and I know a lot about washing and printing chemistry. I have also encountered some fakes, such as remakes. But I always say it first. If the thing is not right, I will give up, and I have basically never suffered any losses.
The Paper: Do you remember how much did your most expensive collection cost?
Huang Jianpeng: I won’t talk about which work it is. There are more than 100,000 yuan per set, and there are tens of thousands of yuan per set, but most of them are not that expensive. From the late 1990s to the present, the average value of these collections has increased by more than 20 times. The fastest appreciation must be the important works of famous masters and good versions.
"Return to the Meditation" In the 1920s, Zhenjiang , Wuzhong photos, Wuzhongxing's darkroom essence in the 1920s, the best printing version of gelatin silver salt photo paper, 21.3×36.9cm, the back Wuzhongxing signature, one of the important works in the history of Chinese photography in the 1920s, selected in the 1926 British International Photography Exhibition, selected in the 1931 British Photography Yearbook, published in 1936 "Long Hanying's Photography Yearbook" The Collection of Paintings was published in the Republic of China magazine "Chinese Photography" in 1947. It was selected as the "Wu Zhongxing Art Photography Collection" published by Jiangsu People's Publishing House in 1957. It was published as the "Chinese Photography" magazine "3, 1957, 4, 1999, and 11, 2019. It was selected as the "History of Chinese Photography 1840-1937" published by China Photo Publishing House in 1987. It was selected as the "Classic Works of Chinese Photography in the 20th Century" published by China Photo Publishing House in 2005. It was selected as the "Chinese Photography Classic Works" published by China Photo Publishing House in 2015. It was selected as the "Chinese Photography" held in Beijing in 2015. Since the 20th century, a large-scale exhibition has been published in the album of the same name and was selected as the cover of the "Wu Zhongxing Film Art Collection" published by China Photography Publishing House in 2019. Huang Jianpeng Gallery Photo provided by
"Road Back to High Mountains" Photographed by Chen Wanli in the 1920s, Yandang Mountain, Chen Wanli, Darkroom Fine Release from 1920 to 1930s, Best Printed Version of gelatin silver-salt photo paper, 28.6×37.3cm, lonely product, published in the hardcover book "Southeast Range Rover" titled by Jiang Zhongzheng published in 1935, published in the November issue of the Republic of China edition of "Chinese Photography" magazine published on November 1, 1946, and published in the album "Chinese Photography Master" published by China Photography Press in 2017. Photo provided by Huang Jianpeng Gallery
"Jinbo Pan Raft" In 1930, Zhejiang Sheng County, Lang Jingshan photographed. In the early 1950s, Lang Jingshan personally released the dark room, 20.6×15cm. Selected in the "Lang Jingshan Photography Special Issue" published in 1939, selected in the "Jingshan Highlights" published in 1948, selected in the "Jingshan Photography Art" published in Taiwan, China in 1964, selected in the "Sixty Years of Photography Selection" published in Taiwan, China in 1971, selected in the "Jingshan Art Film" published in Taiwan, China in 1972, selected in the "Lang Jingshan Poetry and Painting Special Issue" published in the Taipei Municipal Art Museum in 1988, published in the 4th issue of "Chinese Photography" magazine, 1990, selected in the "Photography Master Lang Jingshan" published in 2003, selected in the "Painting Art Collection Lang Jingshan" published in Taiwan, China in 2004, selected in the "Painting Art Collection Lang Jingshan" published in Taiwan, China in 2013, selected in the National Art Donation and Collection Series "Imaging China" published in the 2013 China Art Museum Editing Printing Industry Publishing House "The famous Chinese photographer Lang Jingshan in the 20th century" was selected as the "Chinese Photography Since the 20th Century" large-scale exhibition held in Beijing in 2015 and published in the album of the same name. It was selected as the theme exhibition "The Works and Documents Exhibition of the Works of the Master Lang Jingshan of Huang Jianpengzang Photography Master Lang Jingshan" in the 2018 second "Lang Jingshan Cup" China New Painting Photography Biennale, co-organized by Chinese Photographers Association and Huai'an Municipal People's Government.Huang Jianpeng Gallery Photo provided by
"Huaxi Salt Well" 1938, Leshan, Sichuan, photographed by Lang Jingshan, Lang Jingshan in 1950s, the best printing version of gelatin silver salt photo paper, 42×29cm, published in "Sixty Years of Photography Collection" published in 1971, published in "Lang Jingshan's Poetry and Painting Special Issue" published in 1988, published in "Chinese Photography" magazine, Issue 4, 1990, Issue 4, 2020, published in "Photography Master Lang Jingshan" published in 2003, published in "Photography Master Lang Jingshan" published in 2004 by Lion Art, published in "Picture Collection Lang Jingshan" published in 2013 by the China Art Museum of Art, published in "National Art Donation and Collection Series" edited and published in "National Art Donation and Collection Series" edited and published in "China Art Museum of Art in 2013, Issue 4, Issue 4, Issue 4, 2020, published in "Photography Master Lang Jingshan" published in 2003 by the China Photo Publishing House, published in "Pictures by Master Lang Jingshan" published in 2004 by the Lion Art, published in "National Art Donation and Collection Series" edited and published in "National Art Donation and Collection Series" edited and published in "China Art Museum of Art in 2013 The large-scale album of "Lang Jingshan, a famous Chinese photographer in the 20th century" was selected as the "Chinese Photography Since the 20th Century" exhibition held in Beijing in 2015 and published in the album of the same name. It was selected as the theme exhibition "The Works and Documents Exhibition of the Works of Lang Jingshan, a master of photography by Huang Jianpengzang, co-organized by the Chinese Photographers Association and the Huai'an Municipal People's Government. Huang Jianpeng Gallery Photo provided by
"Long History" In March 1948, Fenghua Test Sword Rock, photographed by Weng Shouyi, the best printing version of gelatin silver salt photo paper, graphic size 34×26cm, handwritten and simple, this work was published in the 17th issue of "Chinese Photography" magazine in the Republic of China published on July 15, 1948, and published in the 4th issue of "Chinese Photography" magazine in 2020. Huang Jianpeng Gallery Photo provided by
The Paper: What is the approximate number of your photography collections?
Huang Jianpeng: In total, there are more than 2,000 photos in the history of Chinese photography, and more than 2,000 photos in Tibet.
The Paper: Are there anything more regrettable in the process of collecting it?
Huang Jianpeng: Of course, there is . For example, around 2017, I discovered a group of works by Sha Fei. I had never dealt with sellers, so I hesitated for a while. When I prepared the funds the next day and was about to go to Beijing, he changed his mind. But I have a good mindset now because it is impossible for you to receive everything you think is good. Collecting this thing is a kind of fate itself, and collecting it also emphasizes personality, you cannot follow the crowd. There are always regrets, this is normal.
"Crossing the Road" In 1957, Beijing, photographed by Ke Fu and Wang Yibo, darkroom fine release in the late 1950s, gelatin silver salt photo paper washing and printing version, 25×18.2cm, published in the fourth edition of " People's Daily " August 10, 1957, selected as the first National Photography Art Exhibition in December 1957 and published in the catalog of the same name. In the 1st issue of "Chinese Photography" magazine, 1958, 2019, 9th issue of "1958 China Photography Yearbook", published in the large-scale album of "Selected Chinese Photography Works 1957-1959" published by People's Art Publishing House in 1962, published in the large-scale album of "Selected Chinese Photography Art Works 1949-1989" published in the 1989 China Photography Art Works 1949-1989, selected in the 2000 China Federation of Literary and Art Publishing Company 1949-1966 Photography Collection, selected in 2011 by Chen Shen and Xu Xijing, "History of Chinese Photography Art" published by Sanlian Bookstore. Huang Jianpeng Gallery Photo provided by
"A Thousand Miles of Jiangling One Day Return" 1957, Fengjie, Sichuan, Xue Zijiang photographed. Xue Zijiang personally released darkroom essence in the late 1950s, the best printing version of gelatin silver salt photo paper, 59.5×44.6cm, published in the 3rd issue of "Chinese Photography" magazine, 1957, 2003, 2010, 3rd issue, 2019, 9th issue, selected as the first national edition in December 1957 Photography Art Exhibition, published in the 1958 Chinese Photography Yearbook, was selected as a practical photography knowledge series published by Shanghai People's Fine Arts Publishing House in 1958, was selected as a "Memorial Collection of Photographer Mr. Xue Zijiang" in 1963, was selected as a "Xue Zijiang Photography Lefty Works Exhibition" and the catalog cover exhibited in Beijing in 1963, was selected as a "Xue Zijiang Photography Collection" published by Shanghai People's Fine Arts Publishing House in 1983, was selected as a "Chinese Photography Collection" held in Beijing in 2015 Since the 20th century, a large-scale exhibition has been published in the album of the same name.Huang Jianpeng Gallery Photo provided by
"Longmen Stone Buddha" 1959, , Henan Luoyang , photographed by Xue Zijiang, in the late 1950s, Xue Zijiang personally puts down darkroom essence, gelatin silver salt photo paper best printing version, cardboard mounting, 63.1×50.5cm, selected for the third National Photography Art Exhibition in September 1959, published in the 4th issue of "Chinese Photography" magazine, 2020. Huang Jianpeng Gallery Photo provided by
"Portrait of Yu Youren" Photographed by Lang Jingshan, Taipei in the late 1950s. Lang Jingshan personally put the dark room in the early 1960s. The best version of gelatin silver salt photo paper, Yu Youren hand-written seal, 28.2×20.7cm, lonely product, selected as "Chinese Photography Series Theory Volume" edited by Gu Zheng and Linlu in 2013. Huang Jianpeng Gallery Photo provided by
The Paper: Let’s talk about the current situation of photography collection in China. How do you think the official institutions in China, including art galleries and museums, are they performing in photography collection now?
Huang Jianpeng: Everyone has this awareness now, but few people really understand photography collections. is not like painting, sculpture, or contemporary art. It already has a very professional collection organization and collection group. It is also a photo. It is an art work or a document. Many people don’t know whether it is a work of art or a document, but foreign galleries and institutions are very clear. The entire photography biological chain is very sound. Many links in the photography biological chain in China are decoupled. For example, some collectors have received a lot of things and think that what they have in their hands is the best. In fact, this is not the case. Good works have recognized and professional standards. As time goes by, with the return of these international students studying in Europe and the United States, and with the intervention of a large number of collectors, everyone will understand what is really good.
I personally think that most institutions in China have not yet understood photography collections. They may say that they have collected several thousand copies, with the number of copies as the standard. But those who understand will not emphasize how many pictures we have collected, but will only talk about which of our people have what works. From this perspective, the first step in is to distinguish whether it is information, documents or works.
"Pond·Morning Light" 1920-1930s, Beijing, photo by Liu Bannong, darkroom fine release from 1920-1930s, best seal version for gelatin silver salt photo paper, 18.4×24.5cm, signature and seal of Liu Bannong in the lower right corner, published in the 2020 Issue 4 of "Chinese Photography" magazine. Huang Jianpeng Gallery Photo provided by
"Zhuo Shuiqiong wearing a straw hat and POSE" in the early 1940s, Kunming, Liang Zude photos, in the early 1940s, Liang Zude personally puts the darkroom essence, gelatin silver salt photo paper best washing and printing version, hand-colored, 29.3×29.3cm, lonely product. It was selected as the "Liang Zude Film Festival" held in Guangzhou by the Guangdong Branch of the Chinese Photographers Association in 1980, and was selected as the "Chinese Photography Since the Twentieth Century" large-scale exhibition held in Beijing in 2015 and published in the album of the same name. Huang Jianpeng Gallery Photo provided by
"Zhuo Shuiqiong holding a sandalwood fan" in the spring of 1949, Guangzhou, photographed by Liang Zude. In 1949, Liang Zude personally put the darkroom essence, the best printing version of gelatin silver salt photo paper, hand-colored, 35.2×28cm, lonely product, selected as the "Liang Zude Film Festival" held in Guangzhou by the Guangdong Branch of the Chinese Photographers Association in 1980. Huang Jianpeng Gallery Photo provided by
"Victory Lamp" In 1945, Liang Zude took the photo. In the 1940s, Liang Zude personally released the darkroom, the best printing version of gelatin silver salt photo paper, 38×30.5cm, selected for the "Liang Zude Film Festival" held in Guangzhou by the Guangdong Branch of the Chinese Photographers Association in 1980. Photo provided by Huang Jianpeng Gallery
"Children's Lion" In 1949, Guangzhou, Liang Zude, Liang Zude personally released the darkroom in 1949, the best printing version of gelatin silver salt photo paper, 30.5×30.2cm, selected for the "Liang Zude Film Festival" held in Guangzhou by the Guangdong Branch of the Chinese Photographers Association in 1980 and published in the album of the same name, selected for the "Selected Photography Works of Liang Zude" published in 1993, selected for the "Chinese Photography Since the Twentieth Century" large-scale exhibition held in Beijing in 2015 and published in the album of the same name.Huang Jianpeng Gallery Photo provided by
"The Yellow River Central Plains People - Wood Market" 1990, Shandong, Zhu Xianmin , original exhibition work of darkroom essence in the 1990s, best printed version of gelatin silver salt photo paper, 33.5×49.3cm, signed by Zhu Xianmin in the lower right corner, selected as "Chinese Yellow River People: Zhu Xianmin's Yellow River Customs Photography Collection" published by Culture and Art Publishing House in 1997. Huang Jianpeng Gallery Photo provided by
The Paper: In the past decade, many places in China have established photography festivals, and have also intervened in photography collections to varying degrees. What do you think of these activities?
Huang Jianpeng: Do you want to listen to the truth or lies?
The Paper: The truth.
Huang Jianpeng: There are many domestic photography festivals that claim to be world-class, but international first-class photography festivals should not be slogans. As a goal, each of us should work hard to achieve it. It makes no sense to talk about first-class things. First of all, first-class original works by first-class photographers in photography history should be selected from an international perspective for display. Very few original works used in excellent foreign exhibitions are more than 20 inches, and it is a relatively naive curatorial act to take photos into huge sizes for exhibitions. This is rarely done in international first-class exhibitions. Even if some of the works are put into large numbers, they are only partially setting off the atmosphere. Small-sized original works must occupy a mainstream position in the exhibition hall.
Some domestic photography festivals are quite funny, and they shout slogans very high. In fact, there are big problems. If you look carefully at their works and the authors they choose, most of them are the works of these curators and people in the circle of friends of the curator team. The perspective of the exhibition in this perspective is definitely very limited. I rarely participate in such activities now because I don’t think self-entertainment is meaningless. The above views I put forward are not directed at anyone, but are just talking about the matter.
has another point. is more important because of photography collection or photography exhibition, it mainly emphasizes personality. You must calm down and slowly dig out good things. chatted with Teacher Gu Zheng in Shanghai two days ago. He mentioned that on December 26, the "Muqin Career - 130th Anniversary of Ding Zell's Birth" will be held at Liu Haisu Art Museum . He spent six years conceiving this exhibition. As a curator, he hoped to use the original work to restore the context of the time to the greatest extent. I lent the original works of the important photographers of the Republic of China, Lu Shifu, Guo Xiqi, Chen Chuanlin, and Hu Junlei, and Liu Haisu Art Museum to support such warm academic exhibitions curated by Teacher Gu Zheng. Liu Haisu Art Museum borrowed and displayed its original works from more than 20 institutions and individuals across the country.
"Ancient Pond of Red Cliff" in the spring of 1935, Shaoxing East Lake, photographed by Lu Shifu. In 1962, Lu Shifu personally released the darkroom, the best printing version of gelatin silver salt photo paper, 46.7×30cm, the original work of "1962 Lu Shifu's personal photography art exhibition", lonely product, signed by Lu Shifu in the lower right corner. Huang Jianpeng Gallery Photo provided by
"Stone Lyrics Stone" 1930-1940s, photographed by Guo Xiqi. Guo Xiqi personally put the darkroom in 1930-1940s, the best version of gelatin silver-salt photo paper, sealed on the back, 7.1×9.6cm, selected as "History of Chinese Photography 1840-1937" published by China Photography Publishing House in 1987, and selected as "History of Chinese Photography Art" written by Chen Shen and Xu Xijing in 2011, Life, Reading, and New Knowledge Sanlian Bookstore. Huang Jianpeng Gallery Photo provided by
"Ms. Wang" Photo by Chen Chuanlin in 1938, Shanghai, Chen Chuanlin personally released the darkroom in 1938, the best printing version of gelatin silver salt photo paper, 22.1×18.4cm, lonely product, this work is the original selected for the 1938 French International Photography Salon, published in the 4th issue of "Chinese Photography" magazine, 2020. Huang Jianpeng Gallery Photo provided by
"Three Sisters and Brothers on the Lawn" Photographed by Hu Junlei in the 1940s. In the 1940s, Hu Junlei personally put the darkroom essence into the 1940s, the best version of gelatin silver salt photo paper, 19.4×24.5cm, sealed in the lower left corner. Huang Jianpeng Gallery Photo provided by
The Paper: What do you think is a healthy photography collection ecosystem?
Huang Jianpeng: Any circle has a biological chain, but the biological chain must be normal.For example, in the photography collection, like the West, there are generally art investors, capitalists, researchers from various research institutions, staff and heads of publishing institutions, scholars who independently study photography, teachers who specialize in photography in universities, and practitioners, collectors, artists in auction companies and galleries, including primary and secondary market practitioners . I often emphasize that photography collection requires time to settle. In contemporary photography, many works sold at a price higher than Zhuang Xueben, Lan Zhiqiu, and Wu Yinxian . I think it is inexplicable and illogical. Over time, the price coordinates of Chinese contemporary photography, which was previously priced at a high price, will move downward.
In Europe and the United States, the photography market has its ins and outs. I went to the United States to attend AIPAD in 2013. It is the largest photography trading fair in the world. I spent 2 days in the 4-day exhibition. I thoroughly figured out the concept of the photography version there.
In AIPAD, New York, it is really crowded, and 60% of people buy works. But like the Shanghai Expo, most of the people who go to the Shanghai Expo are photographers, fashionists and check-in people. They take various cameras and mobile phones to shoot the exhibition hall like models at the car show. These people hardly buy photography works, and buyers are rare. In New York AIPAD, Paris PHOTO and PHOTO Shanghai, the three photography art sales expos have the lowest transaction rate, so there is a huge difference between East and West in photography collection culture.
Americans love photography works very much. Ordinary Americans have the habit of collecting original videos. From April 4 to 7, 2013, 11,000 visitors were visited in four days of the exhibition. 60% of the participants will purchase photography works. Huang Jianpeng Gallery Photo provided by
. Also, whether it is a foreign art gallery or a personal collection, the photos you buy are at the same price. Some art galleries in China come to me, and they want me to donate or sell some works cheaply. I have donated some, but the purchase prices of some art galleries are very outrageous, and they are not promoted according to market behavior and prices.
Therefore, when every link in the entire biological chain develops well and the ecology is healthy, Chinese photography can enter a stage of stable development. The current biological chain of Chinese photography collection is broken . Some auction companies will also give medicine to many new collectors, which will mislead something. It’s not about photography works, but also bring in some documents and old photos. There are also many people collecting old photos abroad, but it is relatively less artistic. Art works of real photography language are mainly born in the 20th and 21st centuries.
The Paper: In fact, you just mentioned the price difference between contemporary photography and classic photography. More than a decade ago, works such as Andreas Gursky and Cindy Sherman set auction records at that time. In the past two years, the classic photography of Man Ray and Edward Steichen has set a new record. Do you have a tendency to judge the value of these two?
Huang Jianpeng: I think the value judgment in the past two years is more accurate. You cannot avoid classic works in the history of photography. This is definitely the pursuit of various art galleries and museums in the future. classic masterpieces must be works that form part of photography history. If you collect them, their value will definitely be higher than that of modern and contemporary works in the future. I have always emphasized that time is very important for photography, and collection is the same, and it must be precipitated and baptized by time. There are many contemporary photography nowadays, and there is no sedimentation in this area. If we look at many "sugar water" landscape films and so-called documentary works in professional photography magazines 20 years ago, you will find that 90% of the authors have nothing to do with photography. Now, looking at these works again, there is no value anymore, and there are very few classic masterpieces that can be left behind.
The Paper: You mentioned the concept of the photography version just now. Can you explain in detail what the concept here is?
Huang Jianpeng: Let me give you an example. In 2013, I was in AIPAD in the United States. For example, the work "Bear Pepper" by Edward Weston is 8×10 inches in size. In AIPAD, some are sold for $10,000, some are sold for $85,000, and some are sold for $200,000. Why?
There are subtle differences in photo paper here. Because "Green Pepper" is unlimited, it depends on your eyesight and the credibility of each gallery. Most galleries in Europe and the United States are professional, rules and credible. Works worth 10,000 are sold to 8,000 to 12,000, which is acceptable to the public. If you sell something worth only 10,000 yuan and you sell it for 30,000 yuan, you will be despised by your colleagues, so don’t do this gallery. If you can sell for 85,000 yuan, it is worth about 85,000 yuan. The texture and printing age of photo paper are very subtle, just like those who know wine, you will know the subtle differences in it by drinking a little, and it constitutes its value. Edward Weston's "Green Pepper" was sold at the
AIPAD exhibition, and another gallery sold "Green Pepper" for $10,000. The price of this is $85,000, mainly because this is a version from the 1950s, while the $10,000 is a version from the 1980s. Huang Jianpeng Gallery Photo provided by
The Paper: You have collected so many things, have you ever considered the final flow of these works?
Huang Jianpeng: Of course, as a collector, when he is old, he will definitely hope that these things will enter public space and be passed down from generation to generation. Collectors are just custodians of time periods. In the end, collection is nothing more than four destinations. One is to sell them all, one is to donate half and keep half, one is to sell half and keep half, and the other is to donate them all to each public space you like. Sell or donate? It has a lot to do with the collector's final situation. If a collector starts to be poor in his later years, he will definitely hope to sell it. I have always been rich and don’t care about money. Some good museums and art galleries in the world are the best destinations for collections. But donations need to be prerequisites.
Public space must be fair, abide by the rules, and be passed down. For example, if you donate some public spaces to them and they sell them to you, isn’t that very unrestrained? But this is indeed the case. Therefore, if China wants to form a good collection environment, all links must be scientific and modern, and inherited. Today, the director said that the contract is executed. In a few years, another director will have another statement, a confusing account, and this is the problem.
This issue of photography works is selected from the "Stories in Light and Shadow - Huang Jianpengzang's 20th Century Chinese Photography Exhibition" exhibited at the China Art Museum in December 2019.
poster design Pengpai News reporter Zhou Huan
