2024 09 04
This car hasn’t moved in three years. It exists solely for me to take an occasional photo of it, I think. One day, the hood was popped (as pictured)! I image the owner woke up in an ambitious mood. Today was the day they would watch a couple youtube videos and get their old car working again so they could drive down to the shrimp place on the south side they love but haven’t been able to get to in quite a while. A few hours later, the hood was back down and things returned to their normal state of being. The nearby shrimp joint will have to do.
-Clayton
Busted car. Chicago, Illinois. May, 2024. © Clayton Hauck
This car hasn’t moved in three years. It exists solely for me to take an occasional photo of it, I think. One day, the hood was popped (as pictured)! I image the owner woke up in an ambitious mood. Today was the day they would watch a couple youtube videos and get their old car working again so they could drive down to the shrimp place on the south side they love but haven’t been able to get to in quite a while. A few hours later, the hood was back down and things returned to their normal state of being. The nearby shrimp joint will have to do.
See also: 2024 02 28
-Clayton
2024 08 26
This picture is only interesting because it was taken in July. To me, a humorous observation, does not translate to you, an unknowing viewer, without a written explanation of why the thing is worth looking at. This is, I think, an unbreakable rule of how to make good art: the art has to be immediately understood at a fundamental level by the observer. Sure, the interpretation may vary but there can’t be a blog blurb explaining why it’s worth looking at. Photo fail.
I was busy working all day today in Ocean City, Maryland so didn’t have the time for a more robust post. I did, however, ride a roller coaster as part of my work, so a decades-long dream has been fulfilled; since my days working as a ride operator at Six Flags Great America, I have not been paid to ride roller coasters. Until today.
-Clayton
Christmas in July. Chicago, Illinois. July, 2024. © Clayton Hauck
This picture is only interesting because it was taken in July. To me, a humorous observation, does not translate to you, an unknowing viewer, without a written explanation of why the thing is worth looking at. This is, I think, an unbreakable rule of how to make good art: the art has to be immediately understood at a fundamental level by the observer. Sure, the interpretation may vary but there can’t be a blog blurb explaining why it’s worth looking at. Photo fail.
I was busy working all day today in Ocean City, Maryland (have you been here?!) so didn’t have the time for a more robust post. I did, however, ride a roller coaster as part of my job, so a decades-long dream has been fulfilled; since my days working as a ride operator at Six Flags Great America, I have not been paid to ride roller coasters. Until today. Life win.
-Clayton
2024 05 17
Putting yourself out there as an artist is rather daunting. I’ve long preferred the more transactional method of calling myself an editorial and commercial photographer. I have what someone wants (a skill in making nice images) and they have something I want (money, and sometimes exposure). It’s a deal! Although, the money side of the deal is proving to be increasingly challenging these days, which is a topic for another day. In part because of the increasingly changing photography landscape (more supply, less demand) and in part because I’m getting older and wanting to focus more on things I want to focus on, I’ve been turning a bit more towards calling myself, and acting like, an artist.
While this artful pivot is still a slow-moving work-in-progress, I’m finding my brain is becoming a bit more in tune with the things needed to move down the path towards art. Things that a younger me would decide are deal-breakers, an older me sees more as fun challenges and absurd realities that can further fuel my drive to create things. I realize I’m being quite vague here, however, most of what I’m referencing boils down to sales. Things I rather dislike about my current reality in the commercial photography world (selling yourself by any means possible) are also things that successful (not always good) artists also understand and excel at. Always Be Closing.
I have no idea if I’ll ever become a successful artist, as taking myself seriously enough is a challenge I may never overcome. Pricing an image or art piece at $10,000 because it’s worth it is something I find much harder to do when the prospective buyer is the general public, as it immediately rules out 99% of the population and means your buyer will be a rich collector or investor type, and I fancy myself more a man of the people. Defense Mechanism Alert!
But who am I kidding, really? I currently sell my images for $10,000 to corporations, who can afford it, while thinking this is a more justified and acceptable path. Is it?
via Allison Schrager’s Known Unknowns substack:
Becoming a successful artist these days takes jumping through a series of hoops: the Yale MFA, showing at the right galleries, and—if you are lucky—being featured at events like the Biennial. It is hard to imagine that anyone who works at any of these places would indulge an artist who doesn’t adhere to the doctrine.
But that is also the case for many of our most elite institutions, in consulting, media, academia…—pretty much everywhere. And the result is more predictability and less creativity. Don’t take this as an anti-woke rant. Some of the institutions I have in mind are not woke by any stretch, but they still demand a certain type of employee who went to a certain type of school and is conformist in nature. And this really matters in a winner-take-all economy, because climbing to the top of these institutions, or affiliation with them, is important, at least more important than it used to be. No wonder productivity is down.
I liked this quote above from Allison because it showcases how the art world is largely structured and guarded just like any other line of work. This idea is originally what kept away from the art world but these days is more so pushing me towards it.
My 40’s will be interesting as I have no idea where I will be in another ten years. The landscape may change so much I’ll be forced to move to a trade (certified arborist, here I come!) and leave photography altogether; or perhaps we’ll all be living easy off our universal basic income checks. But for now: Fine, art.
-Clayton
Parking lot cat. Rockford, Illinois. March, 2024. © Clayton Hauck
Putting yourself out there as an artist is rather daunting. I’ve long preferred the more transactional method of calling myself an editorial and commercial photographer. I have what someone wants (a skill in making nice images) and they have something I want (money, and sometimes exposure). It’s a deal! Although, the money side of the deal is proving to be increasingly challenging these days, which is a topic for another day. In part because of the increasingly changing photography landscape (more supply, less demand) and in part because I’m getting older and wanting to focus more on things I want to focus on, I’ve been turning a bit more towards calling myself, and acting like, an artist.
While this artful pivot is still a slow-moving work-in-progress, I’m finding my brain is becoming a bit more in tune with the things needed to move down the path towards art. Things that a younger me would decide are deal-breakers, an older me sees more as fun challenges and absurd realities that can further fuel my drive to create things. I realize I’m being quite vague here, however, most of what I’m referencing boils down to sales. Things I rather dislike about my current reality in the commercial photography world (selling yourself by any means possible) are also things that successful (not always good) artists also understand and excel at. Always Be Closing.
I have no idea if I’ll ever become a successful artist, as taking myself seriously enough is a challenge I may never overcome. Pricing an image or art piece at $10,000 because it’s worth it is something I find much harder to do when the prospective buyer is the general public, as it immediately rules out 99% of the population and means your buyer will be a rich collector or investor type, and I fancy myself more a man of the people. Defense Mechanism Alert!
But who am I kidding, really? I currently sell my images for $10,000 to corporations, who can afford it, while thinking this is a more justified and acceptable path. Is it?
via Allison Schrager’s Known Unknowns substack:
Becoming a successful artist these days takes jumping through a series of hoops: the Yale MFA, showing at the right galleries, and—if you are lucky—being featured at events like the Biennial. It is hard to imagine that anyone who works at any of these places would indulge an artist who doesn’t adhere to the doctrine.
But that is also the case for many of our most elite institutions, in consulting, media, academia…—pretty much everywhere. And the result is more predictability and less creativity. Don’t take this as an anti-woke rant. Some of the institutions I have in mind are not woke by any stretch, but they still demand a certain type of employee who went to a certain type of school and is conformist in nature. And this really matters in a winner-take-all economy, because climbing to the top of these institutions, or affiliation with them, is important, at least more important than it used to be. No wonder productivity is down.
I liked this quote above from Allison because it showcases how the art world is largely structured and guarded just like any other line of work. This idea is originally what kept away from the art world but these days is more so pushing me towards it.
My 40’s will be interesting as I have no idea where I will be in another ten years. The landscape may change so much I’ll be forced to move to a trade (certified arborist, here I come!) and leave photography altogether; or perhaps we’ll all be living easy off our universal basic income checks. But for now: Fine, art.
-Clayton