[Date Prev][Date Next][Thread Prev][Thread Next][Date Index][Thread Index][Subject Index][Author Index]
Re: The Knight analogy
No one would "force" a budding paleoartist to charge "huge amounts of
money" ( and Luis, you let me know when any paleoartist - budding or
veteran gets "huge amounts of money", ok?) But it stands to reason
that if, as a young artist, you intend a career as a professional
working artist - you have to charge a reasonable amount for your time.
On Mar 19, 2011, at 9:05 AM, Luis Rey wrote:
On 18 Mar 2011, at 03:42, GSP1954@aol.com wrote:
Let’s do a little historical thought analogy here.
Some have claimed that it is not right for me to civilly insist
(see my 3/3
posting) that others not use my regular side view skeleton and
Not all mind you, a number have kindly agreed with the request.
I don't think Greg you should fear that anybody will not heed your
request from now on.
I think this discussion has arisen mostly based on a confusion.
Your work can be neatly differentiated to my eyes: your "art"
pieces and your "referential" scientific work. And the definition
of what is art comes also to the fore.
Most (if not all) never considered that your skeletal restorations
were quite "art", they were "science", It was not to be considered
"art" even if some people find the diagram of a skeleton
"artistic" and despite all the admittedly important and consuming
work that it entails to do the reconstructions.
Now we learn that they are really to be taken as "art" and we all
should be careful to take them for granted at the scientific level.
Granted that they were never taken as "watertight, sealed,
unquestionable science" but you yourself claimed so many times
that you were teaching people how to reconstruct accurately
dinosaurs that everybody took your word for it. Bad move!
But remember that in the early 90's when people like Feduccia and
other academics try to deride your work because you were "just an
artist" (the reasons were obviously >other<) for many of us you
were a scientist FIRST and then an artist, and we based our defense
of your work in your referential pieces and your zeal for accuracy.
Scientific work is normally considered a bit like "maps"... for
most people use maps and follow them and copy them (keeping eyes
open of course) but not thinking of the maps as Picasso's
paintings. That is the "mistake" most have done in good faith .
Just like I said about Mike Taylor's work (and so many others)...
neither of them claim to have the monopoly of their restorations of
of their technical work, but alas, they don't >also< do oil or
acrylic originals, or graphite pieces that must be considered
unquestionably your artwork and your artwork only.
So I think if this discussion has been healthy to the extent that
should exclude the release of generalized paranoia, arrogant tone
and insults that it has unleashed. With reason and without.
One thing that I do not agree at all with is the pinning of the
guns versus the young artists... who can think that young artists
>have the duty< to charge huge amounts of money for their work...
what is pretended by that? Keep the competition at bay so the
veteran or star paleoartists can reclaim their mastery by
The main advice to novices and would-be paleoartists is not putting
them off saying: "you are going to starve" or "you are going to
take my job copying me and doing the jobs cheap" but more: "what
new do you have to say?" "what do you have to contribute to the
field?" I never started getting into paleontology because I wanted
to get rich, but because I had the passion and interest or it.
It would be interesting to do an own profile: if one's aims as an
artist or as a paleontologist start by thinking of "what is
marketable" and then follow a career of pretended "lucre" in
Paleoart(?), well, we deserve all we get in a market-based society.
Some might be lucky of course, but you are nothing but a merchant
or a producer of commodities; and the regulations there are simply
depending on the market value, nothing else. A bit of what is
happening to music and so many other art forms these days...
But if one's follow his or her passion or true interest to the best
of our abilities, have something to say, and are convinced that
their labour is something else than simple mercantilism, we might
(be loved or be hated by it) carve a niche. To create could also
mean a lot of the time a good deal of suffering unfortunately.
Obviously you cannot carve a niche without a reasonable economic
support. Yes, the fact that we have to pay the bills and have to
compete in a world that is brutal (and we know for a fact that all
the best jobs are most probably going to go to the best "political"
manipulators, not even the "best" in the field) should be secondary
to pursuing your passions... if not, you better go on and be a
banker, a politician, a celebrity or a member of the mafia.
But personally, my guns are pinned against all those companies
that really act as tyrants, exploit us and under-pay us, hijack our
work and even modify it without permission... NOT against genuine
budding paleoartists that might suddenly become "competition" (that
in the long term is inevitable... although if you are original and
liked enough, your own style is what publishers will be after...
that is if you are still reasonable with your prices and not have
"Star" pretensions or status). I'm also against those companies
that do not allow the artistic freedom necessary for developing
your own kind of dinoart, you niche. I'm against all those
companies that demand you follow or copy the style of other
artists... and I'm obviously against those companies and
institutions that take for granted that you are going to work for
free just because they want you to (or just because it seems like
an honour to publish in one of their publications).
It is mandatory that paleoartists receive at least reasonable
economic support for their efforts. At the same time, it is
impossible and castrating that the veteran, more established
artists demand that newcomers start charging huge amounts of money
for their works... penalizing them for taking >their< jobs and
accusing them of "selling themselves cheap"...
It is also important for the veteran artists that all the
passionate, talented young paleoartists get carved their own niche.
Why? Because uncomfortable overlapping becomes less an issue and
>variety< and >originality< may become the norm. Copycats and
"overlapping" competing styles may be inevitable as has always been
in all the arts I know, but maybe quality and survival skills can
be combined and we all can find that elusive niche where
competition is kept to a minimum or at least to a healthy level.
There's room for everybody if we manage to act with some
intelligence. And I'm not going to include any social-darwinist
Greg... you created a science graphic platform, a school from
where an >informed< variety of artists could arise. And that was
going to be always risky...
Visit my website