Exhibits & Publications

When viewers look at photographs at an exhibit they would like to see authentic work. They generally would like to know some basic information like the name of the photographer, the title of the work, the year it was taken, and a signature that assures the work belongs to the photographer. A potential buyer would like a little more information, such as when it was printed, what kind of a print it is, whether it was printed by the photographer, and perhaps the edition.

The editioning of photographs, that is indicating the maximum number of prints there may be of this work has differing views. Some argue that all exhibited art should be a limited edition, like #3/25. Such a notation will indicate that this print is number 3 and there will be a maximum of 25 such prints will be made. The idea of limited editions probably originated when some artwork was produced using a master with limited life such as making intaglio prints. After a certain number of prints, the master would physically deteriorate and no more prints could be made.

In photography, especially digital photography the deterioration of the master is not really an issue. I can make as many prints from a digital file as I want without eroding the qualities of the file itself. So, being limited is artificially imposed on the work rather than stemming from the process of creating it. Generally, I am on this side of editioning, and with the exception of a couple of my works, I number my prints but do not indicate a maximum number of prints. So far, the largest number on any of my photographs has not gone into two-digits! So, all of you who have my work on your walls should consider your print “naturally limited!” See the total edition figure in the sample picture above?

That said, there may be other apparent advantages such as the sale of artwork being exempt from sales tax in Rhode Island. However you may feel about the limited or open editions, you may consider indicating that your work is either “original work of art” or “limited edition” may offer an advantage, at least in Rhode Island. For more information, see the document at this link.

If used, the editioning of your work should be clearly visible somewhere on your work and better yet, augmented by a certificate of authenticity. Such a certificate includes the statement of authenticity, the provenance of the work, print number, the total number in the edition, and your signature authenticating these statements.

I have been using various forms of authentication ranging from writing on the print margins the type of print, when it is made, editioning, and other relevant information. I have also used in some folios, open or editioned, a separate print serving as the certificate. Recently, I started using a separate sheet that has the relevant information and is affixed on the back of the framed print. This certificate even includes a small version of the print on the front to augment the authenticity.

Here is my practice, feel free to take any part that may suit your tastes:

1. On the print itself, just below on the left edge of the image, I hand write the title, year taken, print number, edition number if applicable
2. On the same line below the image, but to align with the right edge of the image I sign the image
3. For writing on the print, if it is a matte paper and can take pencil writing, I use a pencil. On other surfaces that do not take pencil writing, I use a pen that has archival ink. My choice of pen is PICMA MICRON and I generally prefer a fine nib with black ink.
4. For some special prints and surfaces, such as my Hagia Sophia folio which was printed on Kodak Endura paper I used a gold ink pen because that color was integral in the design of the folio
5. If the print will be matted, I only show the photograph itself hiding my signature and title. So, I replicate steps 1 and 2 just below the opening using a pencil.
6. On the back of the framed print, I paste a certificate of authenticity as shown in the opening of this article. If I deliver unframed prints, the certificate is in the same plastic bag with the print itself.
7. To offer a little hand in creating the certificate of authenticity, I have created a PDF file that you can download, fill in the fields using Adobe Acrobat, print it and sign it. Ready to roll!

Here is the PDF Certificate of Authenticity with instructions on it. In addition to adding all the necessary text, there is a small area that will take a small copy of the image in the front to complete the certificate. The instructions and a few other visible fields on the PDF form will not print, giving you a clean certificate to affix on the back of your prints or deliver along with the original print unframed. Unlike the opening image sample that has my name in the text, the wording on this version has no name hardcoded but entered by the photographer into the appropriate fields.

Authenticate your work! Let me know how this process works for you.

The Bosphorus Art Newspaper, a monthly publication to share news, ideas, and events in the art world as well as to introduce new artists to their readers. My old friend, and a highly accomplished painter Hatice Kumbaraci Gursoz, who has been writing a column for the Bosphorus Art Newspaper for many years and its Ankara representative, asked to interview me for the July issue of the publication. The following is the English version of what appeared in print. You can find more about Hatice and her work on her website.  The original article by Hatice Kumbaracı Gürsöz is below. The images of its cover and the page in which it appeared are also towards the end of the post.

Hatice Kumbaracı Gürsöz
hkgursoz@gmail.com
http://www.haticekumbaracigursoz.com

Art Photographer Cemal Ekin

“To photograph: it is to put on the same line of sight the head, the eye, and the heart.”
― Henri Cartier-Bresson

My interest in the art of photography peaked during my years at the Academy [of Fine Arts]. However, the heavy load of my classes, atelier work, and Cours de Soir (Evening Classes) prevented me from attending the photography atelier. Consequently, I could only continue my interest in photography as a spectator despite my great interest in it. Later on, my son Doruk Gürsöz was able to study this art form during his studies to become an interior designer. I believe that photography added a new dimension to his profession. He assumed the responsibility to photograph my paintings for exhibit catalogs and his designs added a different kind of art to the catalog contents.

During the years when I established Suna Çokgür Ilıcak Art Gallery and assumed its curatorial responsibilities, I curated the “Echoes from the Homeland and the World – Photo Exhibit” by the late Sıtkı Fırat. Also, the late photographer Şahin Kaygun was a student of mine while I taught Painting and Art History at Adana Karşıyaka High School. I most admire the work of the photographer Ara Güler, especially his black-and-white work.

In this article, I would like to talk a little about Cemal Ekin who has made his name heard in the international art world. Living in the United States, Cemal is a well-known art photographer with many exhibits and awards in addition to being a life-long educator. His work with dried orchid blossoms became the genesis of an original ballet Orchis performed in 2013 and then in 2014 by Festival Ballet Providence in Rhode Island.

While I was studying painting at the State Academy of Fine Arts, Cemal also attended the photography workshops as a visitor. He is a childhood friend of my husband, my brother, and I. And, this friendship that started and got fused in the dusty heat of Adana still continues as strong. Cemal has been living in Rhode Island for a long time with his wife Janice who is a great friend of Turks and Turkey. His work that echoes the faces from Anatolia has been subjects and inspiration for my work as well. His black-and-white art punctuates the finesse he extracts from them and invites you to experience the lyric, even melancholic moments fully lived.

Through our conversations over the Internet, I asked him a series of questions and this article is the result of our conversation, albeit from afar.

HKG (Hatice Kumbaracı Gürsöz): What is the origin of your interest in the art of photography?

ACE (A. Cemal Ekin): I used to be fascinated by pictures, as photographs were commonly called then. One day in 1951, when I was at the Sariyar Dam for the summer where my father worked, I entered a darkroom to watch Valentin make prints. I believe that was his name and I was sure it was magic; put some light on paper then soak it in something to make an image appear from nowhere.

After a trip to Doğanca, a small village in Thrace, back in 1963 or so with a borrowed camera, I seem to have found my photographic footing. I returned with a few rolls of photographs of the village people and village life in a representational manner, but, they also conveyed how I felt about them. Friends and family, photographers and journalists encouraged me to follow the path I had found; and, to a large extent I believe I am still walking on that path of creating connections and commonness between me and the viewer.

HKG: What is the role of the technique, craft in the art of photography?

ACE: The tools have changed, we now watch tiny cans of ink delicately and precisely put some ink to make the images emerge. In many ways, the magic still continues although many facets of photography have become almost trivially simple. The “simplicity” of photography, compared to other art forms, has become simpler yet as many see it and practice it. Everyone is a photographer if they have a smartphone, and “photography” has become almost synonymous with “image recording.”

After years of practicing photography, making many mistakes, reading about and looking at photographs with gusto have helped me to accept, no, embrace the idea that photography is a language with its own vocabulary, grammar, syntax that help me, and other photographers to encode an idea into our work. A message, so to speak. I do not mean a profound social commentary, a message can be, and often is, rather simple like the dynamic, energy-filled, almost moving forms created by dried orchid blossoms. Indeed, a collection of these photographs later became a full-fledged ballet, Orchis, with its original choreography, music, costumes, and an accompanying show featuring these dried blossoms bringing together multiple disciplines of art. Quite a thrill for all the artists indeed!

Art without the mastery of the craft is hard to sustain, so it was essential for me to learn the craft of photography from what goes on in the camera, to developing film, and extensive darkroom work. This later continued in the digital era and I have become extremely comfortable in Photoshop, Lightroom, and producing fine prints. As much as art cannot do without craft, too much craft can overpower the art. The mastery of the craft requires, for me, that my work appears to be “effortlessly done.” Craft should push the vision and the idea forward and not be visible itself. The craft-driven trends in photography seem to stem from a desire to be noticed in the flood of imagery made with cameras. Lack of restraint can easily make the craft the main thing in a photograph, pushing the art behind. I believe the tools and techniques should remain subservient to the photographic vision.

HKG: Photography is inherently visual and tied to reality. What are the elements that should be taught and learned about this art form?

ACE: We are exposed to a very large number of images every day, and most, if not all, are called photographs. This may create the impression that photography is changing, some may even think it is going downhill. In the case of photography, the tip of the iceberg is the millions of photographs we see, and the unseen, deeper part are the practitioners of Photography. Take Gregory Crewdson for instance, whose work starts questioning you, let alone providing answers to your questions, engages you in creating your own narratives while looking at his photographs. His preparations may take months to create with extremely elaborate staging. Yet, looking at the finished photographs the viewer marvels at the execution and then the tools and techniques become transparent; the conversation begins.

Having taught at college level for over 40 years, I have learned that teaching is a great learning tool and writing to share ideas crystallizes them better. So, I used every opportunity to leave reasoned comments on photographs on early photo sharing sites which helped me to learn more about my work. Later, I started writing about various aspects of photography, from critical essays to technical tutorials on my blog. As much as they might have helped the readers, they forced me to organize my thoughts and learn more about the subject.

After many workshops, lectures, over 500 blog posts, tens of thousands of frames, and a dozen exhibits, inclusion in books and magazines, and even a ballet, I remain as interested in photography as I was back in that darkroom in 1951. So much to learn!

As Cemal said, art is an endless, boundless experience. Artists of all kind are special people. They get their strength and creativity from sharing their art. I have always been proud of the success of such a valuable Turkish artist. I wish and hope that his work will find followers among the art lovers in Turkey. You can find more information about him and his art on his website.

That’s all from the Capital. Wishing you all a long life filled with health and art in a free world.