Debate | Should Visitors be Allowed to Photograph Artwork in Galleries, Museums and Art Shows?

This weekend I received the following email from a reader, and artist and studio owner:

Hi Jason,

Love your Red dot blog!

Here’s a topic that I would love to see addressed:

Ours seems to be the age of phone cameras, selfies, and instant gratification, and I wondered how artists/exhibitors/galleries should handle this. We have a studio/gallery that has some public hours. We do have a sign posted that photographs of the art are not allowed because of copyright issues. Yet I am often confronted with visitors sneaking photos of everything they like, or just expecting that they can, and feeling indignant when they can’t. Also students come in working on projects, needing the photo of the art for their essay. Just this afternoon I allowed a high schooler to take photos of two of my entertainment scenes related to his jazz playing…but then I was left wondering just what his project was, and if my art is just going to be part of some visual mash-up.

I am happy to email medium files of art to interested collectors, but that is a time-consuming follow-up process. And many visitors just want it now, at their own convenience, and don’t even want the formality of giving an email address to get an image.

I also notice that in public spaces such as libraries, museums, people expect to snap away. What if you are a contemporary artist in a museum show – do you have to resign yourself to allowing everyone take high resolution photos of your art? They don’t have enough staff to police anyway in most smaller museums.

How does Xanadu handle this? Other exhibitors in arts festivals etc?

I’m in a quandary because photos from receptions, with people with the art, do seem to be helpful for publicity, but then where do you draw the line? Hard to say you can photograph the people, but not the art straight on. How do we balance access, the public’s enthusiasm and involvement with protecting our art from being used without recompense?

Love to hear your and Barney’s thoughts,



My response

Thank you for the email Karen. I’ve taken the approach that people in my gallery taking photos are helping me market the gallery, primarily to themselves, but sometimes to others through social media. I don’t really see this as a copyright issue. Even though smartphone cameras are hi-res, the likelihood that someone is going to get an image that would be high enough quality for reproductions without using a tripod and professional lighting is pretty low. It’s also likely that only a very, very small percentage of people visiting your gallery would even have the desire to violate your copyright. So what you are doing by having a strict no photography policy is irritating the vast majority of visitors to your gallery in order to protect yourself from a very small risk. Though only you can make the calculation, I’ve decided it’s just not worth the cost in terms of policing a policy like this, especially when you will end up being one of only a very small number of venues to do so.

We try to use photography in the gallery as a sales opportunity. When someone starts taking photos or asks if they can, we are very accommodating, even encouraging. We also offer to email them a photo of the piece they are interested in, letting them know that the email will include the size, price and artist name.

I would encourage you to rethink the policy and turn it from a negative into a positive.

Let me know if there is some other consideration that I’m not seeing.


What Do You Think?

So what do you think – should people be allowed to take photos of art in galleries or other venues? Have you ever had an image misappropriated by a viewer? How do you handle this issue when showing your work?

About the Author: Jason Horejs

Jason Horejs is the Owner of Xanadu Gallery, author of best selling books "Starving" to Successful & How to Sell Art , publisher of, and founder of the Art Business Academy. Jason has helped thousands of artists prepare themselves to more effectively market their work, build relationships with galleries and collectors, and turn their artistic passion into a viable business.


  1. I had people ask if they could photograph some of my paintings during a recent open studio visit. I had no problem with this and was even happy they were doing so. This was a way for them to remember my work after a day of seeing many different artists. I know how much work it takes to get a good professional quality photograph of one of my paintings, a quick snapshot from a cell phone is not going to be of that caliber.

    1. I respectfully disagree,

      Most people don’t need a high-resolution image to view. If they have a lower quality than 4K they will be satisfied with that and never consider buying the work.
      The only time I would allow anyone to photograph my work would be with me standing in front of it or with a watermark over it.

      1. If it’worth taking a picture of its worth buying. The same as copying music or movies. This is intellectual property good or bad, it took someone time to create it and even more time to learn how to create it.

  2. I once drew a fun picture of a mule that I later would use on all my correspondence. One day I was visiting a horse stable and there on the wall is a photograph of my mule. Complete with my signature. The owner had visited a show and snapped the picture with his camera. And WhaLa, he has a fun pic of a mule on his wall. He didn’t realize that I was one and the same as the signature. I didn’t make a fuss but I didn’t think I had been treated right either.
    So, no, I don’t think you should be allowed to photograph art at a gallery. Had I been asked, I would have gladly sold him a print (better quality too).

    1. You should have replaced the one on his wall and asked him to be sure to tell everyone that you were the artist and if they wanted a print they could get one from you. I would have used this as a marketing opportunity…it would cost you little and go a long way toward making a huge fan.

      1. I completely disagree with this. Why would you reward the act of the thief and teach them to continue to steal? Regardless of if you want to admit it or not, theft is precisely what that person did. This kind of reward system just makes that person, and others like him, continue to steal from artists. This response is part of the problem, not a solution.

    2. Ken, It would have been fun to take a picture with the man, you, and your picture. Thank him deeply for supporting you and your art, and how much that means to you. (all with a big smile!)

  3. My hackles always rise when I see haughty signs, proclaiming artists’ work to be of such quality and sale-ability, that taking photographs will automatically be followed by illegal reproductions. Vox Pops don’t have any photographic quality and are used to convey to other – and potential customers.
    I have “Photography Welcome” signs on my booth, but people usually ask anyway. I’ve turned enquirers into clients this way

  4. I personally don’t ever mind if someone takes photos of my artwork. I feel it only helps with exposure. My feeling is it’s never going to that great when it’s snapped in a gallery setting anyway. It’s most likely going to have a lot of glare from the overhead lights. For artwork to be professionally duplicated requires pretty precise and softly reflected light box lamps and or a scanning camera. I think in this day and age when everyone has a phone with a camera, we are probably going to have to surrender ourselves to the notion of our art being shown here and there. I pretty much consider it a compliment if someone wants to take a snapshot of my art. Of course, I would consider it a bigger compliment if they bought it and took it home with them, but I digress.

  5. Hi Jason
    Agree totally with your point of view. Anything to make the customer/collector happy and comfortable in a gallery setting. More people need to be welcomed to art locations. Too many are turned off by staff and artist attitudes. What is the had? Get your work out there in every way possible.
    Audrey Cooper
    ArtWithPanache Gallery,
    Owner and Artist

    1. Hi ,
      I also agree that you should be allowed to take photos. This week I attended the Summer Exhibition at the Royal Academy of Arts in London, where everyone was taking photos of the work and it really added to the atmosphere and made the exhibition even more inclusive and enjoyable. I also attended the excellent BP Portrait Awards at the National Portrait Gallery- photography was not allowed; however I did see some sneaky photos being taken. In fact I took a photo myself of the work of the Travel Award winner Magali Cazo whose work I loved most of all. I made some notes and sketches of Magali’s work and then sneaked a photo when no-one was looking. You can see my photos on my Facebook page Zoe Akroyd Parker- Artist. I think that most people take photos through admiration and inspiration. If you want a good quality image then you will buy a print- or an original anyway- everyone’s a winner.

  6. I think for now on when someone asks if they could take a picture, I’ll say yes and be sure to share it on Facebook and instagram and tag me!
    I don’t see the big deal of taking pictures, like Jason said it’s good marketing. Besides, when I take photo’s of my work I have to have professional lighting and a tripod and usually takes some time to get everything set up in order to get a quality photo.

  7. I am more than happy to allow visitors to my art fair booth to photograph my work for the purposes of seeing how it looks in their home, showing it to their spouse, etc. However I have found that those people usually ask. The people who do not ask permission are the ones who have no notion of copyrights, or of the fact that I had to pay a sizable fee to be there, and did so with the intention of selling something. It is aggravating to me because I think it encourages the attitude that art is freely accessible for the free entertainment of others, and no one is responsible for financially supporting its creation. What do these people intend to do with their photos? No, they probably will not try to sell them as reproductions, but they will print them or display them electronically, and they may also try to copy the work or have a family member “paint me a picture like this one”. And they assume it is their right to do so without doing anything to support the original artist.

  8. I certainly agree with you on this Jason. I have heard that many major museums allow cell phone pictures so they seem to have lost their concern about someone grabbing an image to make pictures to sell. As a digital artist I agree it is really hard to take a good picture in a gallery or museum and make a reasonable copy for sale. We live in a digital age and trying to stop people from snapping cell phone pictures is like trying to stop a waterfall.

    1. When I asked about all the people taking photos of the huge and beautiful John Singer Sargent show at the Boston Museum of Art 2 or 3 years ago, Stan, the guard told me that because digital cameras can get good photos without the aid of flashes, the Museum was OK with it. The extra light from camera flashes used to damage the paintings just a little bit every time someone took a photo. Now it’s not a problem. I took my first museum photos that day and still show them to my students when helpful.

  9. At an arts/craft show a few years ago I had a woman ask me to move out of the way so she could photograph one of my paintings. I asked why she was interested in taking a photo of my painting and she said “because I can’t afford paintings, so I’m going to photograph some of your paintings, print the photos and hang them on my wall.” This has made me really leery about allowing people to take photographs. Of course I gave the person a bit of an education about copyright and an artist’s right to make money from their work. If someone is really interested in a painting I have allowed them to take it home and try it out (if it’s someone local) instead of taking a photo home to show their spouse or whomever. This almost always ends in a sale.

    1. I agree.Also you can’t control the quality of the photo so they share it around and people think that the crappy blurry badly coloured mobile phone image is a good representation of your work! Not good for reputation.
      On another note I’m a pet portrait artist and used to do do short sketches of dogs in public. Of course a 15min sketch of a moving dog isn’t going to be as good as a commissioned portrait that takes weeks.
      One of my competitors does the same sort of thing. One day I had a prospect come up to me and show me a quick sketch she had bought from my competitor. The prospect made out that this was the standard of the competitors usual work. The 15 min sketch was pretty average. I know the artist does great work and has won prizes for her portraits. After that I decided posting quick sketches around wasn’t the way to go . Damaging to your reputation.
      Having said that I do paint from a model but watermark any images online with 2.30hr practise portrait from a model.I suppose you could try that with the dog sketches online but selling them to clients is asking for people to think that is the best you can do.

    2. Artists can cite their copyright all day long! But unless their works are timely registered with the US Copyright Office, they’ll have a challenging time enforcing their copy/rights. Though artists can file a DMCA take-down notice against unlicensed web and social media postings (notwithstanding Fair Use), if the alleged infringer files a counter-notice, the artist will have to file suit in federal court to get the artwork removed. A timely copyright registration will often provide creatives (and their IP attorneys) with leverage against infringers to settle the infringements quickly without going to court. I imagine that only 5% or less of the posters commenting on this blog have ever registered their artwork. Sad!

      1. That is completely and utterly incorrect. You need to research copyright properly. As soon as a work is created it is automatically copyright to the author/artist/creator. If you want additional protections you can follow that path, which does make legal issues easier. However, it is not at all required or the only way to prove the creator of a piece.

    3. This kind of makes me realize that it isn’t a bad idea to have prints available.
      I know it is expensive, but I do offer professional photos of my sculpture.

  10. Jason, I like your approach, which has a feeling of generosity and positive energy. I think the vibe you create leads to good relationships and good business. I enjoyed taking pictures at the Georgia O’Keeffe Museum in Santa Fe. I was interested in writing about her watercolors, which I particularly love and how her pencil sketches relate to large oil paintings. These pieces speak to me and my own work. I’m not trying to be Georgia O’Keeffe, but to learn from her work. I was pleased that almost all the paintings and drawings on display were free to photograph. Only a few were restricted, for copyright reasons.

  11. I feel the same way as you do Jason. We have two galleries showing only my work in Asheville NC. And it would be impossible to monitor trigger happy I phoners.
    They really do the artist a great marketing favor. We have tourists from all over the world come to Asheville NC and what a blessing that is. I’m actually delighted and honored when they shoot . They promote me at no cost to me. They occasionally ask for permission which is always granted.
    Because I do painting performances open to the public, i do however request that no video be taken.

  12. In response to Karen’s concern regarding people taking photos in art galleries, I understand because it is a real issue. However, no matter how hard we try, it’s not going to stop the small percentage from copyright infringement. I worked in a gallery where people were kind enough to ask before taking photos and we told them they are most welcome, and added in a lighthearted way — unless they planned to use it to copy the art. But we were already engaged in conversation with them by that point to know the purpose of their photographing.

    I also work in a frame shop where we recently had a customer come in to frame a large reproduction (48″ x 36″) on canvas of a photo he had taken of a local artist’s work that was hanging in a restaurant. He was proud of the fact that he was able to sneak such a good reproduction and was planning to hang it in his office. Isn’t this stealing? As an artist it infuriated me. What do I do in this case?

    Another concern is that people are taking photographs of local art and sending it to a company in China to be painted in the same style — essentially copying — for a fraction of the cost of what they would pay for the original. The finished reproductions on canvas are mailed to the customer. Again, working at the frame shop, I recognized the artist whose piece was reproduced. The customer told me what he did and I was, yet again, astounded.

    1. I would suggest doing what a print shop does when asked to make copies of or enlarge a piece of work that they know the customer does not have the copyright for. They don’t accept the job. I realize framing does not carry any potential legal implications like reproducing a piece at a print shop, however I would urge you to decline the job on principle.

  13. I really don’t have a problem with photographs being taken of my paintings at exhibits. First of all, like you and others have said Jason, no one is going to be able to reproduce the work from a photo taken in that situation. More importantly, we artists fight to get the word out about our art. I don’t think there’s an artist alive who wouldn’t rather be painting or sculpting than figuring out another way to reach the public. I figure if my paintings show up on someone’s Facebook page or if they’re showing them from their phone and the person seeing them likes my art they’ll seek it out. The only problem is that you can’t validate titles or spelling of my name when the question is asked, “Who painted that?”

  14. I see I’m in the minority here, but I feel it’s just another sad situation where we have to waive protocol and respect for the unenlightened so that they can have their instant gratification. But gee, we get to feel good that they “really like me!” Somehow it has become a compliment that people like our images enough to steal them. All I know is that years ago an illustration I did for free as a favor to the Oregon-California Trails Association ended up on the cover of their newsletter with the face of the beautiful image I had created being replaced with a horrible garish cartoon face by some graphic arts hack. The worst part is, they left my signature on it. This practice may be good publicity for the gallery but I think it sucks for the artist.

    1. I think you and I are in the minority on this, Marilyn, but I still don’t usually like people photographing my work because of the situation I described above.

        1. Marilyn – Yes, I was so shocked I didn’t know how to respond for a bit. Ripping off someone’s work and making a copy because you don’t want to pay for it does not seem like a compliment to me. I am happy to let people take a painting home and try it – just did that this afternoon. If they feel it doesn’t work in their home, I get it back within a few days and all is well. It’s much better than having them take a photograph of it to “try” in their house.

  15. I agree Jason. Also if you make a rule you can’t enforce you’re wasting your time. Often when I’m at an opening at one of my exhibits and I see someone interested in a painting, I will offer to use their phone and take a photo of them with the piece. I never thought of telling them to post it on Facebook or Instagram. Good idea!

    1. Kathy, I like your idea. That should keep them from trying to replicate to frame and make a good promo to boot.

  16. Interesting debate. It’s true that you can’t stop casual photography; pehaps the posted rule (for those who read such things) should be that photography is permitted but please make sure that you note the artist’s name (an extra photo of the title card? Not too difficult… ).

  17. I’m a little touchy on copyright issues….. having had online images being sold by others (from not the highest quality jpegs, but obviously high res enough — My bad on posting them). But I agree that most gallery/art fair photos taken on a phone will not be easily reproducible. BUT I do know an artist that had a work hanging in a public area that had her work photographed and it was being used for ‘art parties’ to copy. She found out when the group posed with their copies and posted on Facebook. She was not pleased. But I think that is probably pretty rare! Anyway, not worth the effort to police the photography.

  18. I agree it can only help marketing, you know that every thing goes straight to facebook, I had a really popular piece in the Cherry Creek Arts Festival and every body wanted a picture of it. I figured that no one would be able to copy it and there are no new ideas under the sun at this point but I did do an interesting twist so I was happy to share. I am not the kind of artist who says “oh no, it’s a super sercret” huh??? But that’s me.

  19. Sometimes people ask if they can send a pix of a painting they’re considering purchasing for a friend or family member and I say yes. Personally I own a laser printer and can print large high quality prints from my phone so I don’t agree that phone images aren’t good enough quality.

    That said, my work is either bagged or behind glass which makes a phone pix pretty worthless.

    I actually worry more about people copying my concepts. I work in series and want to be known for them.

  20. Most Galleries here in So. Cal. do not allow photography. I have had people bring photos or down loaded images to me to paint “exactly like the photo”. Of course this rankled me and I had to explain that I cannot do that. I had also been given images to be used in layouts for business or personal flyers, cards, etc. when I was doing graphic design work. I do know of cases where photos of artwork were use without the artist’s knowledge or consent. Photocopy shops face this issues with customers wanting an image made into a transfer for a T-shirt. My experience show me that many people don’t care about the quality of the print or transfer. In another case, one of my artist friends had her signature design stolen by a company that produced and sold toys. So – no, I do not agree that artwork should be photographed by gallery visitors.

    1. The National Gallery allows photos of the pieces they, and, by extension, we, the tax payers of the United States, own, but not works that are part of a traveling exhibition.

  21. Thanks for your reply, Jason. It changed my thinking about people who want to take pictures of my art work in my booth at Art Fairs. Especially with all the reflections, they are most likely not going to get something reproducible, but hopefully they will have something to remember my artwork, and will purchase a piece at some future time.

  22. This is yet another example of what happens when funding for the arts is removed from our education systems. The high school student who needed the photo for a project should have been taught an appropriate protocol, but funding cuts means little time and often untrained teachers teaching art courses.
    If someone requests a photo of my work while at a show, I simply say ‘yes, if you don’t mind having me in the shot too’. This works for me, but certainly isn’t for everyone.
    At a recent show, i did experience people slyly taking shots. When I notice, i sweetly say, ‘no pictures please’…. but it is only because they didn’t ask first. If i have time when I see someone just walk up and line up his or her camera, I use it as an opportunity to help educate the person. I ask what about the work makes them want a photo, etc… and steer the conversation to explain to the person why it is important to ask permission to take pics. So, i haven’t solved any world problems or prevented the stealing of all images or anything, just my teeny bit to help people see the world from the artist’s perspective.

  23. To a certain extent, I do agree with Jason and the majority of replies here. But i also agree with Marilyn and Christina (I think) that it doesn’t always benefit the artist. Most non-creatives don’t know anything about copyright. They will happily upload a cell phone shot of a painting to a site that prints notecards or pictures on purses and check yes for the box that asks if they have permission to print it. There are many sites that will print whatever you upload, too. I got in an e-mail argument with a company that was advertising you could pick photos uploaded to Facebook by your friends and get them printed by them. They thought it was perfectly fine. Many people don’t care if there are pixels visible either. Getting the best photo of something is not their goal because they are not as discerning a viewer as the artist. I just don’t think it’s that easy to stop them.

    1. Having had my paintings used in that way…. it is VERY disconcerting when you find your work on various well known print-on-demand websites being sold under another person’s name…. on everything from prints to teddy bears and shower curtains…. With the US sites it is fairly easy (but time consuming) to have them taken down. Since I had about 10 images taken, I still find some paintings (using image search) being sold on sites based in the Middle East and Asia. I would love to know if they have actually SOLD any.
      Back when I had a day job as a graphic designer a large portion of the smaller business clients wanted me to ‘just download a photo from the internet….. and I would have to tell them ‘no’ I couldn’t legally do that…. many of them still did not understand.

  24. Unless they are truly obnoxious, I’m a fan of being generous and giving people the benefit of the doubt, so I do let them photograph my work at exhibits and in galleries. Yes, I want to protect my work and get paid for it, but I also realize that because it’s been published on the internet, I risk unauthorized reproductions anyhow. Life is just too short for me to feel resentful over this.

  25. I am in a little different position. I make jewelry. Many of the materials that I use are available online and locally. I do my own designs and often take many hours working out the right combinations of color and material. How often I have heard shoppers say “Oh, I can make that much cheaper myself.” Well, they sure have a jump start on that if they take close-up photos! Though I have pride in the way I finish my pieces, it is the design work that I am selling. Taking photos is stealing my work.

    When someone asks to send a picture to someone else to see if they want it, I generally say that I would be happy to send a photo from my phone but I would rather not have them take pictures. At least I have an email address to announce future showings. If someone will not let me do the photograph, I regretfully decline having them do it.

    1. You are exactly right. I show at various juried art festivals. Last fall, my assistant caught a man walking by my jewelry booth with his cell phone at his belt taking surreptitious photos as he walked the length of the booth. The second time he came by, my assistant told him to stop. If I’d hadn’t been occupied with customers, I would have stopped him immediately. I also give regular presentations on artisan entrepreneurship. During one event at the Entrepreneur Development Center, after my slide show ended, a gentleman on the front row said he had worked for years for a Chinese business, and it was his sole job to take photos to ship designs to China that they could have on the market en masse in a few months. When I began, I thought it was great if someone loved my designs and just wanted to take a photo. At my first festival in 2007, I let this woman take photo after photo while she talked on the phone with her “client.” I am not that naive any longer. But in the past 9 years, I think I’ve developed an instinct for the true customer who wants a photo for her sister or daughter. Sometimes I offer email a photo to them.

  26. I used to worry that they would try to copy my style, but then I realized that it took long years of experimentation to get my work to look like it does. I DO encourage them to take a pic of the tag along with the work, so they can remember who the artist is. *I volunteer at our art league’s gallery, where we have many artists represented. I DO have a problem with them taking close-ups of my photography, though. Those are too easy to replicate. I request that they take it from an angle. I know they can straighten it in an editing program, but it never looks right.

  27. I really wish I could agree with you Jason, but I find that many people have no tact to shame these days, much ado to the smart phone. I feel it is my job to protect the artist’s integrity by not allowing cheap reproductions. My most recent was a person snapping a photo of a very beautiful, oil painting who took it over to the next street to have it reproduced onto a t-shirt!
    If , for example, someone wants to show this piece to their partner, then I allow a photo to share with him, but otherwise, I find it really rude to assume that you can just photograph something that an artist spent a lot of time on and hang it on your refrigerator or your bathroom wall. I don’t enjoy having to police my gallery or having altercations with people that cannot read my well placed signs, but I really do feel that it is not right to walk into a gallery and just snap away at whatever strikes your fancy. I know that many of these images are being reproduced in other countries and sent back over here for us to purchase. I have people walking through the door once a week with cheap reproductions. I know the internet via websites & social media has made everything much more available but I must continue with my policies to best protect the artist’s integrity.

  28. I have no problem with it at all. If anything a photograph is someone marketing my art for me. That person goes home and shows lots of friends and family something they really loved. Really it’s no different than someone sharing your post (of your art) on Facebook. My art is textured which doesn’t really show up in photos anyway. Only the overall image. So people still get a unique experience seeing them in person. I try not to worry about copycats too much either. They could go to my website just add easily. So if they are going to do it they will (and I do regular searches of my images to try keep that to a minimum).

  29. I agree with you, Jason. Note: when I post images of my work on my blog, Instagram, Pinterest and Facebook I always make sure that they are low res (72 dpi) so that a nice reproduction would not be possible – and then I welcome sharing and photographs.

  30. I used to worry about this but my husband said “If someone steals your work and makes a lot of money you can sue them in court and get lots of publicity!” I had to laugh.

  31. I can neither take my art nor the money with me to my grave. I love it when people take photographs of my work. It obviously means something to them. If my art can be a part of their cheerful memory — why not? It is an honor really for someone to take the time to notice and deem my work note-worthy to photograph it so that they can later view it as a reference or as a souvenir or as a cherished memory.

  32. I witnessed a young lady carrying her tablet round d’Orsay in Paris, filming a stream of impressionist masterpieces. She was looking at the tablet not the paintings. I just felt sorry for her.

  33. Interesting points of view. I have to agree with those letting photos be taken. I know there are some abuse of the privilege but in general it is a good thing especially if it ends up on facebook or instagram.

  34. I do like people to ask, and only occasionally catch the ones who don’t. If I do I then engage them in conversation about the piece and give them my business card too. My work is highly textured and difficult for people to reproduce so I usually don’t worry. I often send a photo to someone’s email for spouse etc to look at. I also post photos on line often without overwritten copyright. I don’t sell prints because rarely do they do the painting justice. My style is original and recognisable so I don’t worry to much and my stepson is an intellectual copyright barrister!? ,
    What is more of a concern is some online galleries who hide in their terms and conditions the rights you are giving away to them!
    I always check their terms and conditions first and don’t sign up for the dodgy ones

  35. Those who would steal an image with the intent to reproduce it know how much legal fees are … not worth it to you and they usually get away with it. So how much are you going to lose? If you have an attorney send a cease and desist letter, you may be successful, but probably not. A painting or sculpture will never be exactly like yours so copyists are a moot point. But photographers get ripped off as a matter of course and have a terrible time protecting their copyright. I’ve seen painters scroll through google images constantly hunting for reference, even painters copying other artists’ work out of art magazines and selling it.
    What about a workshop or painting group with a dozen painters lined up painting the same scene? It really doesn’t matter.
    I let people take photos and make them promise to put it on social media and list my website and Facebook. They usually do.
    We can either fret over copied work or go back to the studio and paint.

  36. I agree Jason. I am both a photographer selling work in galleries and a board member of a non-profit GALLERY. I think the benefits outweigh the risks.
    Also, as a potential customer I’ve been frustrated by not being allowed to take and email an image to my wife of a piece of art I think she may like.

  37. I don’t think photography of art should be allowed, unless it is for publicity purposes, marketing etc.
    Thing is, if you’re hosting a gallery opening. you can ask for people attending before hand not to use their cameras or camera phones unless they have prior arrangements to do so, to respect the artist/gallery etc. However we live in a society where nearly everyone has access to a camera, this goes for photography/videos of live concerts etc. it is tough to know where to draw the line really!
    I have had photographs randomly taken of my art work and without my permission. I do wonder what the purpose was for doing so, as at the time I was dealing with a customer at the time it happened. I just hope that it was not to copy it!

  38. Jason, when someone takes a picture and doesn’t take a card with my name, how does that help me? If they show it to others and they like it, no one knows how to contact me? Now if. they’re taking it and and asking, their spouse, honey can I buy it while they are standing there, I could see it.

  39. Hi Jason, I have A sideline story re: photographing art. Last week we were so excited to visit the Vatican and Sistine Chapel in Italy. The art there is religious as well as priceless! The guides plus numerous signs posted in several languages ask visitors NOT to take photos and to move through the galleries quietly. This is a chapel. There are hundreds of tourists there at once. Huge crowds… Okay! We saw many people completely disregard the warning by snapping away with phones, selfie sticks while conversing loudly! Guess the rule wasn’t for them! And yes the guards did ask some to stop! Sooo, of course there will always be a few who take personal photos of someone else’s property w/o permission! I enjoy your posts and comments very much! Thank you!!

  40. I am so happy to read this article and all the comments. I would always get frustrated when people snap photos, I felt that they should buy a print if they like the work. Reading this today changed my view. When I started my art career ant saw my art being copied on internet, at first I was angry. Then I realised it’s inevitable and I can’t waist emotional energy and time going after this. The value of sharing my art with the world (I make a living from it) definitely outweigh the copyright rip off problems. I realise now that the same goes for a photo on a phone. Luckily there are enough true appreciative people that gladly support our work and buy it. The ignorant others would not be clients ever anyway so there is no point getting mad. It’s way more fun to be open and positive than worried and angry. Big thanks Jason for letting us share about this important subject.

  41. I have had numerous experiences with this and most of them bad.

    I really don’t mind if someone asks to take a picture, and I am happy to email picture interested clients, but it is the entitlement issue that really gets under my skin. Those are usually the ones that try to be sneaky about it. I have cameras all over my gallery and I watch the body language. I can pretty well tell who is going to take out their smartphone before they even do. It’s the darting eyes and snappy head movements as they look to make sure the proverbial coast is clear.

    I have had situations where they work in teams. One keeps me distracted while the other goes around taking pictures. I once had one member of a tag team try to steal the SD card out of a digital picture frame that I “used” to use to display images.

    I once caught another tag team in progress. They were going through a bin of unframed art. They were making their way through the collection of about 50 pieces as one was holding each piece up as the other was taking pictures. These are not interested buyers.

    My works are all limited editions and I promote the fact that I do not license my work in any way. If you just paid a few thousand dollars for a piece, I don’t want you finding that same image on a coffee cup, mouse-pad or calendar – and yes it has happened.

    Having said all that, I am softening my stance on this. If I see someone who is not sneaky take a piece due to pure ignorance, I will tell them I don’t mind as long as they share the picture with as many people as possible – I might as well get some exposure out of the situation.

    For fun, if I see someone take a picture in a sneaky covert way, I walk up to them and say, “Congratulations!” When they ask what I mean, I tell them in the art world if you take a picture without asking, that means you’ve agreed to purchase that piece, and I assume you’re showing all your online friends what you just bought:-) It’s amazing how quickly they delete the image from their phone:-)

  42. Jason, I suspect that your opinion as a gallery owner about viewers photographing art differs essentially from the intention of artists wanting to protect original work. Photographers and advertisers have to get written releases from subjects for reproducing their images. When I did advertising, I had to explain to a client why he couldn’t use a photo of Ronald Reagan in his bee pollen ads even though Reagan used bee pollen. Where does the line cross into identity theft? What is the benefit of a style/brand if people are being invited to copy it?
    I have art on Fine Art America, but have stopped submitting new art. Some of the same people in California are viewing my art every week but neither buying prints nor inquiring about originals. This has gone on for years.
    We do care about sales. If one artist in your gallery isn’t selling, you can find another one. For artists themselves, there are no substitutions. We are our art. Because copyright infringement is common surely doesn’t make it right.

  43. This is just another thing we need to adapt to. Change can be slow and painful, but you have provided a forum of creative solutions. Lots of people need to read the suggestions. I teach my (weaving) technique, sell the looms and yarn for exact copies but those people don’t have my logo, expertise or market.

  44. The problem for most artists is not the photo itself but that someone other than the artist or artist representative wants to profit from the artists effort. You can’t stop all copying but you can stop others from profiting from your art work.
    ESTABLISHING A PUBLIC RECORD as artist is key to solving and collecting on any serious copyright infringement.
    Copyright establishes a public record. Works can be registered with the us copyright office piece by piece or an inexpensive method is to take photos of your work and publish them as an artists collection every so often with “Blurb” or similar. If you publish, send one copy of your collected works to the copyright office along with a filled out registration form. This establishes a public record of copyright by the artist for all included works.
    The book can also serve as a portfolio of your work.
    Publishing is as easy as creating a portfolio.
    So let them take photos but stop illegal profiting from artist works.
    Maybe Jason will write a blog on how artists can manage copyright infringement on their work.

  45. Who owns the image? The artist. The visual art belongs to the artist. I think it wise for an artist to value his/her property. Protecting your property is one way to remind yourself of that value. It also helps to mitigate the epidemic of a lack of respect for artists, their work, and their right to protect their legal rights concerning their own work. The artist is already expressing generosity for allowing the public to view their work for free. Why the unfair expectation of artists that they must give away also their legal rights to their own property? Or, worse, shame and guilt the ones who protect what belongs to them, as though they are somehow stingy, egostistical, or paranoid? Genuine respect and value honors the rightful protection of another’s property.

  46. During awfull art shows I have considered charging all picture takers 25 cents a pic. Anyone can afford 25 cents and it gives you an idea of the sort of person they are and the value they place on your work. One terrible show I counted 78 picture takers in my booth over the weekend (and that was just in the last 1.5 days) and I realized that if I had been charging them each a dollar then I would have at least made my booth fee. I have approached some of the rude picture takers (the ones who barge into my booth, stepping in front of potential customers, snapping photos of everything in sight, realizing the pic isn’t to their satisfaction and elbowing in for a better shot) and told them the first two pics are free but after that they are 25 cents a piece. This seems to move them along pretty quickly and I laugh while saying it which seems to keep the atmosphere pleasent. In general I don’t mind people taking pictures of my work (bronze sculpture) and I always thank the people who ask permission and tell them I really appreciate how polite they are, and I have made lots of sales because someone else was drawn into my booth by a picture taker. I have also lost sales though when a serious customer got distracted by a picture taker and decided to second guess their purchase and take a picture instead. So I totally understand how it can crawl under an artists skin, some people are insanely rude. I have had people come in and talk about how they are going to have their high-schooler/artist-friend/cousin make them one, which always cracks me up. One person caught me snickering and actually called me out, I told her to take really good pictures and if her son could make an exact replica I would give her the original. I handed her my business card and she took more pictures. It was funny and it made a good story. But I have 3D work so a pic doesn’t come close to replication. I would probably get my hackels up if someone came in with a 3D printer though. Which is essentially what some picture takers are doing with 2D work… So maybe the question isn’t just yes or no, maybe a decent 3rd option is simply that we all start charging picture takers a small fee at art shows. In the mean time I need to figure out how to get people to post their pics to social media and include my #s! Because exposure is always important!

  47. In NYC last autumn, I was at the MOMA and saw vast crowds in front of a gorgeous Van Gogh lillies using their phones and pads to view the painting rather than LOOK at the real thing. I saw and heard a mother and daughter at the Frick before an incredible del Sarto drawing ‘Just take a picture dear and we will look at it when we get home’. They have lost the power of observation and will never know wonder. Very sad.

  48. In the beginning I took offense if someone took pics of my work.
    Changed my mind an attitude about the whole think years again. I look at it this way;
    Often times people view my photos and make the comment that they look like paintings.
    I consider this to be a real complement…although a very small percentage seem let down when I thank them and then explain that the work is actually a photograph.
    This is a downer for me, but so few adopt that attitude that I don’t dwell on it.
    Same goes for taking a photo of my work. Like it or not it will happen and the chances of anything becoming of it is so small that it is not worth the worry.

  49. I agree with the marketing aspect of it but I have a lot of people who want my artwork as a tattoo. I am relying on the integrity of the tatoo artist to be honest but unfortunately so many are not. Advice?

    1. Timely register your works with the US Copyright Office. This can provide your IP attorney with LEVERAGE and force the tattoo artist to settle the copyright infringement quickly (via paying you a settlement fee) in lieu of going to court.

  50. I have postcard sized card with my info on them for people to photograph at fairs. If they seem interested in the art, I encourage them to take a snapshot of my info and sandwich their photos between images of my contact info. This does not prevent theft, but it does help connect my art to me in their minds, and it gives them the info they need to tag my work if the decide to social share it – helps lead back to me.

    I also have a few pieces that use retroreflective lenses. These are invisible in diffuse light, but they capture and intensify directional light (like light coming through an opening such as a door). If there is directional light from a natural source, parts of the painting will seem to softly glow as the viewer walks past. Most are galleries and display areas are well-lit with diffuse non-directional light, so getting people to take photos is a better explanation than anything I could say.
    In a flash photo all of the retroreflective elements “light up” at once. I encourage people to take flash photos of these pieces, then I walk them through what the lenses are doing, how they can see the difference comparing the phone image to the piece in front of them, and how they’ll see a moving softer version of the same effect in a room with windows.

    The flash photo would make a lousy reproduction and letting them take it to see the “active’ optics helps emphasize the difference between the original and a picture of an original in their minds.

  51. I have seen events where people are clearly crossing a line with photography. There is a local Art Walk here in Boston that regularly draws photographers to capture the atmosphere and scenery. that’s all fine – great potential publicity for next year’s event.

    However, I have often (not just occasionally) seen photographers with professional grade cameras, bulky tripods and a backpack full of camera kit stuff setting up right in the middle of artists’ booths to take very high res, well lit (shade), reproduction quality photos of other people’s work. Without permission.

    These guys are different from the cell-phone snapshot crowd. They block traffic and create a hazard. And they raise clear questions about what exactly they plan to do with that high res professional quality “capture” of someone else’s creative product.

    I have seen this happening when the artist was clearly distracted with customers and unable to address the photog. I will generall walk up to the photog and politely ask what newspaper or magazine they are with, and how my busy artist friend (or I) can supply them with the background info on the artist for their photojournalism article. I assume journalism because there is no other reason for doing this other than journalism that is even remotely ethical behavior.

    Sometimes a lightbulb goes off and they stop. Sometimes I have to ask them to move out of the flow of traffic while I get the artist. If it’s my booth I’ll move them out of traffic and ask a few more questions to see if there really is a PR aspect there for me.

    Free floating “exposure” of your art that isn’t configured to lead back to you is of zero to negative value. Even tagged images on someone’s Pinterest or other accounts are of questionable value. Art photos by third parties are valuable if they are blogger, Press, are sharing with a friend who is Press, are thinking about a purchase and using them for reference, or are involved in curation.

    Ask some questions and help those “useful exposure” folks with more info. Ask your questions as if everyone were in that “useful exposure” category. Those who are simply p[planning on copyright infringement will get uncomfortable explaining that they don’t plan on tagging you, nor sharing your info, nor blogging about you etc – and most will politely desist. And you will have done nothing but be helpful.

  52. Feel free to take as many photos of my work as you like, people wouldn’t photo it if they didn’t like it and the more my work gets out there the better, its not going to stop anybody buying a painting.

  53. Jerry W McDaniel
    Wake up artist and art galleries’
    Technology. I am working on a project in Paris, france this summer.
    there is a giant billboard Aout.60 feet by 40 feet . An Adv. for I-phone
    It is quite attractive but Thats quite a bit of resolulation. Perhaps everyone should subscribe to The Professional Artist Mag. and find out we are being ripped off by the cell phone pros.. You no longer need high resolution equipment to steel an image
    Not long ago the question of signing and dating ones work. I have signing, copyrighted and dated my work for ever. My agent did not like to show commisoned works that were dated. So to protect my copyrights, I redated everything with Romain numerials. I was in Ceret, Catalogna, France, resently an saw an exhibition of cubisium. Great exhibition and one of Picassos works was dated with Romain numerials.

    1. I agree with Jerry. I have a friend who is a professional photographer. He has changed to shooting with an iPhone exclusively. His huge enlargements have excellent resolution. He now teaches classes in iPhone photography.

  54. Offer yo take a photo of them with the painting or with the painting, artist and the person /customer who wanted the photograph. If you or your associate take the photo offer to email it to the customer with your contact information.

  55. I don’t like the idea of my hard work becoming a visual mash-up without my consent, whether profit can potentially be gained or not. Artists have the right to have some measure of say where your work ends up. No, you can’t stop all copying but you can have policies and a public record to protect all parties concerned. Yes, visitors may send the images along to a wider audience who may, without prodding, never read the art section of a paper, visit an artist’s website or go to a show at a gallery. But this is hit or miss. I think the real issue here is high consumption and low attention span. I become outraged when I am visiting a gallery, museum or library and the quality of my viewing is disrupted by someone next to me snapping a picture. When the sound of a digital camera or smart phone goes off, more often than not I see that same person just walk away and rush to the next “click”. Often they do not stop to fully be present with the work of art itself, in real time. As if the photo will give them the full value and experience of what was right in front of them. It will not. A photo of a piece of art steals all sensory pleasures gained by truly viewing the work live, from me and those taking the photo. I support Karen’s policy. It shows the gallery’s integrity and respect towards artist’s work. Changing the policy will not diminish alienation – she won’t be able to please everyone – for some it’s just about entitlement and having it. As for those high school students, what better way to teach them how to truly view and understand art without the use of an electronic device – decreasing their desire for consumption and increasing their attention span! Because of digital cameras/iPhones, etc., the joy of viewing a piece of work and savoring it is almost a dead art in itself. But it doesn’t have to be with mindful galleries such as Karen’s.

  56. Offer to take a photo of them with the painting or with the painting, artist and the person /customer who wanted the photograph. If you or your associate take the photo offer to email it to the customer with your contact information.

  57. While I agree with your attitude toward allowing photography in your gallery, I think that you are incorrect in that I have found it is very easy to get a reproducible image from a hand held 10 mega pixel camera

  58. Does anyone remember when FineArtAmerica and their follow up print on demand sites first came into being? They were heralded as the way for artists to make spare money, from the folks who couldn’t afford to buy a real painting. They were going to save a whole bunch of artists from destitution.
    Instead it’s turned out to be a way around the artist, to abscond work guilt free.
    And while we all complain about THAT, how many artists do you know that still use those print sites?
    Reproductions are a poor excuse, from which ever angle you look at them.

    1. I have found my work being sold on FineArtAmerica, CafePress, Zazzle, and various other less ‘legitimate’ sites under other people’s names (often foreign). For the buyer there is not guarantee that the ‘artists’ on those sites are the creator of the artwork. The only one of those sites I have bought anything from has been CafePress, where I was just getting items made, one off, for gifts. I would never use any of them for reproductions (giclees I have done I work with a supplier and market them myself) since I cannot control the quality. (I am not a fan of reproductions of paintings…but have succumbed when asked by clients that would not pay the price of the originals…. OR when printing digitally created ‘paintings’.)

  59. I agree with allowing point-and-shoot or smartphone pictures in the gallery for a two reasons:

    The second is practical ~ it’s virtually impossible to police all visitors who have a smart phone, in all the gallery rooms, and stop them from taking a quick picture. What’s more, if they’re in a gallery to see ~ maybe to buy ~ artwork, and they’re stopped from snapping a pic (perhaps for reference), that’s a really strong negative response ~ a roadblock in the buying process that may turn the customer off completely.

    The first reason is because a gallery visitor saw my work and took a couple of pictures with his phone, including one of my name label. About 8 months later, he and his wife tracked me down through the label and purchased 6 pieces over the next two years.

  60. This is an interesting discussion. I understand the “no flash” policy that galleries and museums in particular have to enforce, because it has been proven that the millions of flashes of light on a painting will eventually compromise the colors if they are not light fast. However, I get very annoyed when a museum will not let me photograph without a flash. And it’s even worse when they allow you to photograph some rooms in the museum and not others. I suspect they do it so they can sell more exhibition catalogs. However, I am often disappointed after buying the catalogue and seeing that many of my favorites works are not in it. The gallery I work in allows visitors to take photos because it often leads to a sale from the website later on. I had a friend who had her work stolen once off the internet and discovered a store that had put her image on t-shirts and greeting cards without her permission. It was very frustrating for her to think that someone else was getting the money for her work.

  61. I politely disagree. Copyright is a strong issue for me. Others have already stated so many instances where the artist gets burned from someone who doesn’t really respect the work and creativity it takes to make what we do. Instead, I wish people would protect artists’ rights and inform the public on what copyright means. I have had a few issues in the past where my work was copied and published under another artist’s name. It was a group of artists who contacted me to tell me to check it out. I’ve also had magazine editors and publishers call to tell me they turned away artists who were using my techniques or copying my images in another genre to get published. It made me feel comfort to know the publishing houses had their artists’ best interest as part of their business ethic. I know we can’t stop all of them. But educate them what they are doing is wrong without written consent of the artist.

  62. I sell my photography in a co-op gallery and at art fairs. I generally don’t mind if someone takes a broad shot of my display that includes several pieces of my work.

    I DO have a problem with someone that is obviously attempting to take a quality, full-frame closeup of a single piece. In this situation, instead of being a ‘bad cop’ I say, “You really like that one?” or something similar, and they’ll usually mutter something awkward. Then I continue, “Here, instead of taking one picture, take my card, and you can see top quality images of ALL of my work on my web site when you get home! Problems solved. They stopped photographing, and they also have my name, eMail, and web site in hand!

  63. I have been adamant about the copyright issue for years and there are certainly copyright abuses galore, especially with photography. However, I think it’s pretty uncontrollable at the pedestrian level now, with Instagram and Facebook. Basically, I think it’s a compliment and it does spread the word about your work IF the user is kind enough to give credit! As a painter, I am personally grateful when I can photograph works that I admire, especially close up! It’s impossible to get a reproduction that really shows the artist’s special ability to apply paint. The beauty of little patches of paint on paint thrill and inspire me to pay attention with my own work, and I enjoy being able to re-visit and exhibition that I found moving and memorable by way of my photos.

  64. Hot button topic here. Many conversations I have had with fellow artists about this. As a mixed media assemblage artist. I’ve literally heard people say, “I’m taking a picture of this, what a great idea. ” And yes, many have copied it. For graphic canvas work. I have a really good friend who has had her internet images ripped off and people have reproduced her work on multiple surfaces and resold it as theirs. Also a few other art friends have had the same happen to them
    And be copied by big retailers. So, it will happen. Each has entered law suits to fight it as well. Whether they are taking a photo in person. Or even from Your website. Art thieves abound. I really just let people take pics anymore. I hate
    To offend someone. I believe it’s a risk we take in a digital age. You can be diligent and watermark Internet photos. Or keep you art locked away and never share it with the world or sell it.

  65. I have an online gallery for my work on Facebook. I had a print that had over 5000 views and 119 shares. Imagine my disappointment that not one of these views or shares purchased a print! As infuriating as that was I take a long view. The more people that see my work online, the better a chance in the future I have for commissioned art and print sales, as the economy slowly improves.

  66. I used to not like people to take photos without asking, but policing is not my strong suit. I like your solution.

  67. I have read some of the comments relating to snapping away with high res cameras or mobiles in galleries. Interesting…..
    I can add a very personal experience to this subject, which happened to me at a time when mobiles had not been invented and cameras were still analog…
    I was showing some paintings in a small gallery in London where anyone was allowed to take photographs as the owner thought it was good for the Gallery and the artists.
    To cut a long story short: soon afterwards I saw black and white reproductions of two of my paintings being sold outside tube stations allover London and a friend of mine even brought me one (title: Victim 1) he had bought in a big flea market stall in Paris.
    We eventually found out where the culprit lived, but when we went to the address he had moved, but we did find out that the police was looking for him as he had done a similar thing to Athenas, the big poster chain. He had bought posters of Jimi Hendrix , Bob Marley and other famous Rock and Jazz musicians and had them copied and sold through his network of street dealers and even ignorant corner keepers, as I found out to my amazement years later, when I saw the b/w reproductions of my paintings in a window next to an Indian take away….
    It goes without saying that I never earned a penny from these illegal sales, nor did I ever get any more information from the police even after contacting them several times over two years….
    So I am not excited about snappers in Galleries, especially, as visitors can always buy
    signed prints of artworks the gallery or the artist can prepare before the show …or even books or catalogues if they are available.

  68. I had someone happily tell me that they had downloaded & printed a painting of mine from my website & it was now framed in their home. Like many artists, I work hard to find time to market & sell my work (in addition to creating it). My income is very low and hard earned. It absolutely felt like this person had stolen from me. Somewhere I was happy she liked the work, but artists are deserving of compensation for work like any other human. Too many people seem to feel that we are free spirits happy to be allowed to make our art and live outside of material concerns.
    That said, I mostly agree with Jason on this. I post medium res images of my work on my website & social media & do not watermark, a time consuming process that imo mars the work, & don’t spend much time worrying about mis use of my images.

  69. Friends. I have a really hard time with people taking photos of my work. I find it very disrespectful. Although if someone asks I always let them, and thank them for their thoughtfulness.
    I find this issue to be very similar to the music industry and what has happened through digitization. Its heartbreaking to be the songwriter and artist and have your songs being downloaded for free. All the benefit goes to the consumer. Remember how hard Metallica fought all those years ago? Free downloads and digital snapshots don’t pay the bills for artists. They get the picture on there phone, can look at it whenever they please, and the artist who spent 20 hours on a painting gets nothing, and possibly is even violated by copying and reproduction.
    I deal with it constantly. I have yet to find a good solution for myself and potential customers.
    Artists need more advocates. We are just people trying to make a living. I’ve seen people pick up a print, put it back, and then take a picture.
    Hard issue for me. I’m glad you opened the discussion and I’m thankful for everyone’s responses. I’m also grateful to know I’m not alone in this frustration

  70. I agree, Jason.
    I for one (and I know most every other artist does the same) publish images of my work many places on the Internet. Coming into a gallery and snapping a photo is no issue when the images are available online.
    On the subject of somebody being happy with just the image, poor as it may be, and not buying art because they have the image, I will insist that person won’t buy the art anyway.
    Last, I don’t care how great the phone camera may be, it’s not going to be good enough for a real reproduction.
    So I welcome photos of my art. Just spell my name right and add my URL if possible.

  71. As a credentialed press photojournalist with over 30 years experience.. it is not a matter of conjecture or opinion… It is a matter of law, and the law is very clear.
    It is legal for anyone to photograph anything in public which can be seen with the naked eye… period. That goes for iPhones, point & shoots and professional SLR’s. If an art show is on public property… it is public and fair game. Private galleries are a different story. Private is private and can make their own rules. Many artists are under the illusion that since they are paying rent for their space it is somehow private property while they are there. Not so. Here is where the changes apply. Press can photograph people, art, etc and publish/reproduce in any news paper/magazine etc without need for permission nor release. This applies to children as well (though schools are different and these days any professional photographer of consequence and experience with always defer to wishes of parents before taking pix of children. In a breaking news story (disaster and such) this would not apply) Discretion is always the better part of a professional photojournalist) Back to publishing. Any person can take a photo anywhere of anything able to be seen with the naked eye in public any time without need for permission. (no one can use a telephoto to shoot through a bedroom window or reach over a fence) They can reproduce the photo and hang it on their wall for their own enjoyment. They cannot however publish it, reproduce it publicly for profit or advertisement. That is the main difference between a press photojournalist and a regular civilian photographer. These days, there is the grey area of Social Media… the yet uncharted waters of our new technological age. and then of course there are drones which are as uncharted as well. But as far as regular photography is concerned…. the law is crystal clear… I hope this helps.

  72. Obviously everyone makes art for VERY different reasons!!! If someone enjoys your art enough to take a photo- enjoy it and share it with others- congratulations! You should be honored, where has all the real love and soul gone in the purpose of creating art to begin with?!? Holding onto things with greed is sad- create and release for 1 or all to experience!!!

Leave a Reply

Your email address will not be published. Required fields are marked *