Seminar - Photography in the Age of Beneficiaries, Estates, and Foundations

Is the public interest in photographic heritage now solely the responsibility of public institutions? While an entire generation of photographers is wondering about the future of their archives, and a photography market has emerged—ranging from vernacular photography to works by established artists— the role long played by the government in preserving photographic collections must now coexist with new players in the field. 

Who are the heirs interested in preserving a legacy that is often rich and complex to inventory, classify, and showcase? Should they sell, or should they invest in researching and documenting a photographic collection as part of history? Are these two approaches, in fact, mutually exclusive? How can one find advice and expertise outside of academic circles?

On the gallery side, we are seeing a renewed effort and interest in handling substantial collections—archives that must be properly highlighted to give them value and meet the expectations of the heirs. Auctions no longer seem to be the only option in the market. Moreover, are we talking about the images themselves or about copyrights? How can we coordinate all these legal issues to avoid breaking up collections that, quite often, derive their meaning from the coherence of their history? At a time when photo agencies themselves must manage the estates of deceased photographers or those concerned about their legacies, what strategy should be adopted to serve their interests and, by extension, the history of photography?

In recent years, in France and in all countries where photography has become a cultural asset, we have seen the emergence of new ways of promoting the private sector that complement the heritage missions of institutions. Foundations born of the commitment of heirs, endowment funds aimed at financing projects, nonprofit organizations, the growth of philanthropy, as well as institutions linked to local governments are opening new horizons for photographic heritage. Libraries, archives, and museums must now navigate a landscape that includes galleries, auction houses, associations, and foundations. Given this, how should we respond to photographers and their heirs when the time comes to pass on their work?

Through case studies, testimonials, and discussions, this seminar aims to explore one of the major social issues in the field of photography, at a time when the digital revolution has transformed our relationship with our visual heritage for more than a generation.

↘︎ Scientific leads:  Léa Miranda, with Michel Poivert and Anne Lacoste

↘︎ Proposal: Study Day organized by Paris 1 Panthéon-Sorbonne University, in partnership with the International College of Photography

↘︎ Roundtable 1: Management and Preservation of Photographic Archives and Collections Through the Testimonies of Rights Holders
With Fiammetta Horvat, representing the Frank Horvat Collection; Rosalie Varda, representing the Agnès Varda Collection; Aliette de Fenoÿl, representing the Pierre de Fenoÿl Collection; and Benjamin Dauchez, Esq., a notary specializing in intellectual property law

↘︎ Roundtable 2: Independent Organizations: What Existing Structures and Tools Are Available, and How Can We Make Use of Them?
With  Clotilde Blanc-Burri, on behalf of the René Burri Foundation; Lorène Durret, president of the Association des Amis de Marc Riboud; Nicole Vitré-Méchain, promoting the work of François Méchain;  Agnès Sire, Henri Cartier-Bresson Foundation, Louis Bachelot, and Marjolaine Caron, on behalf of the Gilles Caron Foundation

↘︎ Panel Discussion 3: Restructuring the Photography Industry: New Players, Estates, and the Market
With Audrey Bazin, Director of External Relations & Associated Projects at Galerie Christophe Gaillard; Fannie Bourgeois, photography expert at Christie’s; Simon Brodbeck, representing the Peter Lindbergh estate; Alexis Fournol, Esq., attorney for artists and art market professionals; and Thierry Maillard, General Counsel of ADAGP