When Giants Roamed The Earth 24"x30" : Peter Leighton
There were giants in the earth in those days;
and also after that, when the sons of God came
in unto the daughters of men.
Genesis 6:4
]]>When Giants Roamed The Earth 24"x30" : Peter Leighton
There were giants in the earth in those days;
and also after that, when the sons of God came
in unto the daughters of men.
Genesis 6:4
]]>
The Gangster Of Love 20"20" : Peter Leighton
Some people call me the space cowboy.
Yeah! Some call me the gangster of love.
Some people call me Maurice,
Cause I speak of the Pompatus of love.
"The Joker", Steve Miller
]]>Original digital art prints, for example, in the 17x22 inch range and once selling for $200-$300 are now being offered at below $100. Many of these images being sold by print-on-demand online galleries attempting to aggregate as much content as they can in one place to get the biggest bang for their buck. Thus feeding the notion that digital art prints, no matter their perceived quality, are disposable art objects, to be enjoyed for the moment, but not collected.
My only concern with this trend is that not all digital printmaking processes are equal. I have yet to purchase an image from a print-on-demand gallery, but one has to wonder if the image one gets from a 3rd party volume printer, with whom the artist has had little contact, is of the same quality the artist might have wished it to be.
At this point, I'm content to continue to print my own work and distribute it myself - and to charge a little more for it, rather than give up control over what the final print looks like.
In terms of price, I consider my original work to be in a sales category somewhere between offset lithographic art reproductions and traditionally printed, limited edition fine art originals. Which, I think, fits nicely within the criteria Mr. Davey has set out in his post today.
Certainly we are in the midst of a global sea change in the way art in general is valued and perceived, how it's created, who is creating it, and how it is being distributed. In the coming months, I'll be addressing some of these issues in my "The Business of Art" blog category. Stay tuned :-).
]]>BEFORE
AFTER
"I couldn't tell what it was," said Cochran, "But now I think it was air conditioning ducts. I love that you don't get it at first."
This comment, I think, fairly summarizes the story of my life. :-)
]]>
]]>]]>
Almas En El Fuego - Souls On Fire
24"x36" on Museo archival paper
A commission piece for Fern and Jerre Santini, integrating photographs of the couple into a period Mexican movie poster.
]]>
Ok, I don't know shit from Shinola most of the time, and I'll be the first to admit it. I'm certainly no music critic, but I know what I like and I like this Austin band's debut, "Shut Up". These are musicians who have crafted an intelligent and emotive work of art combining a diversity of musical ideas into an album with a big sound. Music with meat on the bone. I have no idea if they'll hit big (if that's even possible anymore) but I do hope they enjoy considerable success. Craftsmanship at this level deserves to be rewarded.
A BOOK ABOUT DEATH : ARTISTS CONTRIBUTE 500 POST CARDS EACH TO CREATE AN UNBOUND BOOK ABOUT DEATH. EXHIBITION AT THE EMILY HARVEY FOUNDATION GALLERY IN NEW YORK CITY. OPENING: THURSDAY 10 SEPTEMBER 2009. EXHIBITION: 10 - 22 SEPTEMBER 2009.
In the spirit of Ray Johnson, among others, this massive open call exhibit and art card give-a-way is assembling both online and at the Emily Harvey Foundation Gallery in New York. Principal organizer, collage artist Matthew Rose, lives and creates in Paris and somehow manages to get around. I admire his work.
I've waited till the last minute to submit my take on the theme, and now I'm breathing hard to meet the deadline. I wanted to create a simple design that would work on a postcard. I liked the anatomical skeleton kneeling in a prayerful pose. As I was looking at it as a thumbnail in my random images folder, I noticed next to it a thumbnail of a pair of old Everlast boxing gloves I'd taken a picture of several years back but had never used for anything. Once I'd made the association between the two images in my mind, I didn't look for any other options. The power in combining them I think, lies, not only in the resulting contradictory pose, both reverential and combative at the same time, but in the various existentional interpretations one can draw from it.
