Most of the works featured in the Fall issue of SPOT are considered constructed however, it is all so different.įK: In a 1976 essay, A.D. However, when I was preparing a statement for an exhibition of my collection it became apparent to me that the largest part of the collection consisted of what I called constructed photographs.ĮM: Can you describe what you mean by constructed photographs? Of course, there is a long-standing history of the Constructed Image, but this history is constantly changing and evolving. My collecting was guided purely by intuition. Susan Dunkerley MaguireĮM: Is there anything in particular that inspires your collection? Is there a theme or themes that have evolved?įK: I have described my collection as an “accidental collection” because its acquisition process happened without a specific plan. I hung them at home, and they provided both daily enjoyment and inspiration. Her use of objects as symbols was intriguing and I acquired five of her prints over a period of a couple of years. In this same timeframe, I saw the work of Susan Dunkerley Maguire (Susan Dunkerley at that time) in a FotoFest exhibition and loved the way she arranged a group of objects to elicit their symbolic values. I arranged them to accent one characteristic or the other. I was drawn to the way that some appeared to be fantastic creatures and others reflected human forms. At that point, I was developing a portfolio using orchids, which I raised. While I purchased a few prints in the 90s, my collecting did not begin until 2000.
THE BOOK COLLECTOR HOUSTON SERIES
I made my next series later in the 90s by using objects collected on my travels to construct surreal still-lifes. There, I traveled to Mexico often and created my first body of work in the early 1990s. This was in the late 1970s and I continued to photograph when I moved to San Antonio, Texas in 1981.
THE BOOK COLLECTOR HOUSTON HOW TO
A friend from law school had a darkroom with two enlargers and in the evenings during the week, he taught me how to print. and used this equipment to photograph on the weekends. I worked for an energy agency in Washington, D.C. They were going to Japan and they purchased a Nikon F2 and lenses with the proceeds. So, I sold my motorcycle, a 650 cc Bonneville Triumph, and gave the money to my parents. When I graduated from law school, I knew I would need some right-brain activity to balance all of the left-brain analysis I would be doing.
As a child I always photographed on trips, and in school, I was the photographer for my group of friends at parties and other events. As Houston Center for Photography embarks on its Annual Print Auction, which will take place on February 13, 2020, I spoke with Houston-based collector, Frazier King, about his evolving photography collection, its showing in the 2012 FotoFest Collector’s Eye II exhibition, his upcoming book-release, and the constructed image at-large.Įrin Miller: Could you tell me a little bit about when you began collecting work and what drew you to photography in particular?įrazier King: I was drawn to making photographs before I started collecting.
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