ART.ZIP: What would you see the future or trend of photography? Is it becoming much prosperous or have gone downhill?

BR: If this question concerns trends within the commercial market, then yes compared to the 1970/80s, photographers who operate within the contemporary art market are definitely more prosperous than they have ever been – e.g. Jeff Wall, Andreas Gursky, Cindy Sherman. “Straight’ photographers have also benefitted from the rise in art market interest in the medium – thanks also to the promotional strategies of specialist galleries e.g. Fraenkel, Greenberg, Hamiltons and the emergence of photofairs such as Paris Photo.

For the majority of young and emerging photographers, getting a foothold within the market remains highly competitive and very hard – many struggle to find representation especially
in London where there are very few commercial galleries specializing solely in photography, and find they need to pursue other ends (teaching, editorial work etc) to earn a living from their work.

ART.ZIP:你認為攝影的未來方向是什麼呢?現今攝影算是越來越繁榮 ,還是有點走下坡呢?

 BR:如果從商業市場前景來說的話,那麼答案是肯定的,相比於七、八 十年代,攝影師在當代藝術市場上肯定比以前要好很多,譬如潔夫·沃 爾(JEFF WALL) ,安德瑞思·古斯奇(ANDREAS GURSKY),辛蒂·雪曼 (CINDY SHERMAN)。 “如實攝影(STRAIGHT PHOTOGRAPHY)”的 攝影師也同樣因為這種媒介在藝術市場的興起而受益,還有多得各種 攝影畫廊的宣傳策略吧,像法蘭克爾畫廊(FRAENKEL GALLERY),豪 沃德·格林博格畫廊(HOWARD GREENBERG GALLERY),漢密頓斯畫 廊(HAMILTONS GALLERY)等,還有就是像巴黎攝影博覽會(PARIS PHOTO)這類攝影博覽會的出現也促使攝影產業蓬勃發展。

對於大部分年輕和新生代攝影師,在市場上能站一席之地還是非常難的, 很多人都在爭取找畫廊代理,尤其是在倫敦,很少商業畫廊會 只做攝影作品代理,所以攝影師們都需要幹別的工作來養活 自 己 ,譬 如 教 學 、編 輯 工 作 等 等 。



ART.ZIP: You have engaged in photography for a long time, any interesting stories about photography to share? Any views on photography have changed?

BR: Photography has changed enormously in the 40 years I
have been involved – there is now a fundamental awareness of the importance of photography’s critical role within the world
– I see it almost as ‘wallpaper’ that links nearly everything of great importance together in our understanding of the world. Photography changes everything.

ART.ZIP:你已經從事攝影工作這麼多年了,這些年來你對攝 影的看法和與過去有發生什麼大的變化嗎?有什麼有趣的故 事可以分享嗎?

 BR:在我從事攝影的過去40年裡,攝影確實發生了天翻地覆 的變化,現在人們終於從根本上意識到攝影對世界產生的重 要作用,我會把它比作像“壁紙”,它把我們認識世界的每樣重 要事物都連接在一起。攝影改變了一切。


ART.ZIP: How would you define a good photographic work?

BR: That’s nearly impossible to define – but for me it is a work that offers repeated viewing, that operates on more than one level, which is multilayered and retains a degree of ambiguity.


BR:這個幾乎無法定義,但是對我來說,一件好的攝影作品能 讓你重複地觀看,並提供多種解讀的可能性,能保持一種開放 性討論的就是一件好作品。


ART.ZIP: The Photographers’ Gallery was founded in 1971, what’s the intention of the establishment? What are the changes during these 42years? What is the future direction of the gallery? Could you name some programs?

BR: When it was founded in 1971, the main intention was to promote photography as an art form. At that time most people only understood photography as a mass media tool of communication rather than a vehicle for creative expression. Through our 40 years the Gallery has endeavored to promote an understanding of photography’s use across an expanded field – not just as in its applied or functional form (advertising, fashion), but its capacity to be operate outside the frame and alongside other media such as drawing, sculpture, collage and as an integral part of contemporary art.

ART.ZIP:畫廊在1971年成立,當時創始人建立畫廊的初衷 是什麼呢?經過42年的發展,現在畫廊的立意與最初有發生 什麼樣的改變呢?畫廊未來發展的方向是什麼呢?能推薦一 些項目嗎?

 BR:畫廊在1971年成立,當年的主要目的就是促進攝影作為 一種藝術形式來發展。當時很多人都只把攝影看作一種大眾 媒介溝通的工具,而不是創意表達的手法。 40年來畫廊已經 通過不懈努力使得攝影的使用在更廣泛的領域得到認同,不 僅僅是其應用或功能形式上,例如廣告攝影、時尚攝影,而是 攝影的應用不再局限於鏡頭內外,並且與其他媒介相結合,譬 如繪畫、雕塑、拼貼,攝影真正成為當代藝術一個不可分割的 部分。


ART.ZIP: The Gallery has been through two years redevelopment (2010- 2012), apart from more spacious space and well-designed interior to control the light, will it go to a new direction or any new programmes have been added?

BR: We are delighted the Gallery has had a chance to create a purpose– built new space in which to provide both artists and the public the spaces required to show and appreciate photography in the 21st century. Our future intentions are to build on the new location and take photography out into the street by developing a public realm programme in Ramillies Street to attract a new audience off Oxford Street.

ART.ZIP:畫廊經歷了兩年的重建(2010-2012),除了空間 擴展到三層和特殊設計來控制室光線以外,畫廊有什麼發 展新方向呢?增加了什麼新項目嗎?

 BR:我們很高興畫廊有機會建成一個為藝術家和大眾使用而 特別打造的新空間,給大家展示和欣賞21世紀的攝影。我們 未來的規劃是要在這個新據點把攝影帶到街頭,在拉米利斯 大街(RAMILLIES STREET)發展公共項目吸引牛津街上的新 觀眾。