HELLO AGAIN - I am very pleased and excited to announce that the Hello, Darkness My Old Friend coffee-lovin' art print, which sold out in March, is back in print in a second edition of 180. I encourage you to buy one, because I like your money. Order now and I'll chuck in a free Hello, Darkness sticker. Available for sale on the BUY STUFF page, ETSY, and the Gigposters.com classifieds. If you'd like to see a few printing process photos from Andy MacDougall, click here.
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13 Comments:
As a collector, why should i buy from you again? Re-prints? give me a break. It's a lazy artists approach to generating revenue at the expense of those who have enabled him to work in the first place! my $.02
Tom is an amazing artist. Reprints = PROLIFERATION OF AWESOME
Many artists do reprints. As long as they are clearly marked as such, the artist is reputable and hardly lazy. Particularly when a reprint allows more people to own and enjoy a print.
Private blog profiles for critical posters...now that's suspect.
I think that poster designing has disabled much more than enabled my ability to make a living... I do it because I enjoy doing it, and I probably lose more money than I make from it. So for a self-identified collector to come into my virtual living room and claim that he (Wait, is it sexist to assume that chicks don't give a shit about Zappa?) is somehow "enabling me to work" is laughable, at best. At worst, he might owe me an apology for the sub-par poster-making career he has so graciously enabled for me. DAMN YOU, ZAPPAISALIVE!! [shakes fist, etc].
Also, thank you for writing.
Look folks, there are a couple of different basic principles at play here.
The first is the issue of dilution. If you have collectors who buy prints, run numbers matter. The result of new prints of the same image being issued by an artist is that they diminish the percent of ownership represented by previously existing prints.
If suddenly the artist decides to wholesale whore out the image through multiple printings (regardless of any small changes to dimensions, colors etc.) it dilutes the collectibility of that image.
Second is ethics. There is a reason there are the terms "Limited Edition" and "Open Edition" to describe prints. In this era, business, like politics, should be all about transparency. If you are going to have additional variants, scratch and dents, AP's, whatever, just disclose them up front when you release the original image for sale and let the market decide the value of your image based on facts. I have nothing against the artist controlling the image or making money but for God's sake, call it what it is! Limited means limited, period. Open Edition means you can print them all day long.
Carry on!
The print is a second edition, and it's called a second edition: full disclosure. Dude, seriously. There are disreputable artists out there, this artist isn't one of them.
If it were an open edition, each printing wouldn't be numbered because the print run & runs have the possibility of being infinite, therefore a second edition is not an open edition.
Personally? I think you need to back the hell up.
Some folks are collectors, but a great many more are simple consumers who buy artwork because they like it and wish to live with it, rather than only seeing it's Ebay-able flipping value.
I am not interested in the market that may or may not exist around my work after it is sold. It is not my desire to quantify and categorize "specialness" for an obsessive minority so they can assess and assign value to my work for a market that I'm not even involved in.
I make an art print about coffee for people who like coffee. I make a Neko Case poster for Neko Case fans... etc. etc. It's not that I don't like poster collectors or appreciate their purchases - It's just that I honestly don't give a damn about their insular little subculture.
I made an edition and it sold out. I made a second edition, and "normal" people (no offense) have been quite happy for the opportunity to buy something they missed the first time around. If this behavior causes a collector to not want to purchase a poster, then I am absolutely fine with that. Instead, I will sell that poster to a non-collector who will hang it up in their home (with pushpins?!? Tape?!? Trimmed and put into a cheap frame?!!? THE HORROR!!!!) and enjoy it for what it is: A cool thingamajig they bought on the internet.
Thank you again for sharing your thoughts.
Whoring himself out has enabled Tom to buy his fabulous vehicle.
I agree with Frank Zappa's underling.
Ima collector AND a normal person. Depends on what the item is. Right now, I'm a collector of medications that help me breathe. Hoping none of them are second editions. As for Tom's stuff, I guess I'm just normal about it. Poor me. I like, I buy.
Ok, as I stated, I have no problems with Tom's work (obviously I bought it) and for the record I do enjoy coffee! I have not called Tom a whore (do not know him that intimately)and I am not into "flipping prints" although I have sold a piece from time-to-time. Tom's work, while wonderful, certainly is not flippable for what its worth. I was merely upset that he chose to do a second edition of a print that I own, and to be honest, my first comment came out in the heat of the moment and could be viewed as a weee bit inflamatory. That having been said, if as you state you are "not interested in the market that may or may not exist around my work after it is sold. It is not my desire to quantify and categorize "specialness" for an obsessive minority so they can assess and assign value to my work for a market that I'm not even involved in" then why create a limited edition? Why not have every edition open and available to everyone as you see fit? Why go to the trouble of hand numbering and signing the pieces if there is no intrinsic value? Certainly the "normal" people who buy your prints would not care?
You know, "Why?" is a very good question. Why.
Fantastic design! Very well done.
"I am not interested in the market that may or may not exist around my work after it is sold. It is not my desire to quantify and categorize "specialness" for an obsessive minority so they can assess and assign value to my work for a market that I'm not even involved in."
That my friend, was perfectly said. Putting food on the table and paying rent is way more important than worrying about how much your art may be worth in the secondary market.
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