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ESeffinga

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  1. Over the course of the last week, so many artists I follow have either announced work they have made NFTs for, or that they are currently exploring how they will also be entering the NFT world. This is amazing. Meanwhile, the last month, I’ve been pondering how to best pull back from buying art, and just the internet in general. I’ve said for years, I was trying to get back to some kind of semi-permanent contentment, as I’d had for a few years in the past. Not buying more, just being happy with the art I have. But every year I buy a few things, I sell a couple. But the bulk has seemed to settle in for the long haul. And so I’ve decided to just kind of pull back on all of it. Social media, discussion boards, following along with artist’s every whims and seeing every new thing they share. Reading the posts of who flipped what, and what auction results came back as. I’m gonna pull the plug on most of it. The folks that have become more friend than artist I’ll still hang in there with, but the vast majority I’m just hitting pause on. Less time on the computer, and reading things I find less and less interest in. More time in the world and with the art I already have. Why mention it in this thread? Seems as relevant as any other, and this isn’t worth a new topic. Because I’m genuinely happy for anyone that makes art and can get someone to pay them for it. With NFTs, or cash, or in trade for things they want or need. Whatever way they can make a living doing the thing they love, is amazing. But the NFT craze has also driven home something I’ve been feeling for years. I don’t care about the token part of art. That commerce part. That monetary value part. I’ve never bought a single thing hoping it would go up. Or to wave it in anyone’s face. I really truly just love the stuff. Like a wonderful meal, or a vacation that never ends. Owning art to me is an experience, not an asset. It brings me joy. I put up a CAF gallery to share that joy. Though some weeks it feels more like folks only view it as a store where I have stated things are not for sale, but they must try anyway. I have always felt a pleasure in sending money direct to artists especially, because I love their work more than the money I give up for it. I think early on, most collectors did, or why buy it? But the time spent talking about money has finally bored me to tears. And right now it is just everywhere. And good on those who delight in it. It’s just not for me and never has been. And all this just kind of dovetails together. I’ve hit a point where I don’t need these things anymore. The round and round conversations. The picking apart of minutia, or speculating on where the future will be, or what it will look like if I decide to totally “get out” and sell my art someday. I’m glad people are interested in art, but more for the folks that are finally able to monetize their creativity, in a world that often treats it like frivolity. Anyhow, maybe I’ll check in, in a few weeks and find I can’t stay away, or maybe I’ll truly discover the joys of less monitor in my life? Who knows. But I like you all, and didn’t just want to totally disappear without hinting why. I hope Felix, and Jason’s guys do well for themselves with NFTs. Likewise, any creator that goes on to mint some piece of work of theirs, and reaps some windfall from it. That is amazing. I keep thinking back to NFTs and the correlation to wealth as it came to David Choe via Facebook. Painting that mural for the Facebook office and being given a choice of a significant (for the time) cash payment, or just taking some stock shares. Most artists would have said gimme that cash. Dave did it for the experience and said he’d take the stock. Which could have turned out to be worthless in 6 months. And at the time Dave truly would not have cared. Instead, they went public and he went multimillionaire overnight. I hope more artists get to enjoy that ride. Even if it is short lived. Or it “mints” a new wealth class that no one ever saw coming. Weirder things have happened. Maybe one day in the distant future I’ll see a few of you at a comic show, when visiting other friends not seen in years. Wouldn’t that be nice? Keep out of trouble, -e.
  2. https://news.artnet.com/exhibitions/crypto-art-show-ucca-beijing-1949592?utm_content=buffer3d506&utm_medium=social&utm_source=facebook.com&utm_campaign=news&fbclid=IwAR1O-CEDu-hGl96dFT43hATsjJrtAAfS-e0oucDS9sASuunKOlNLVY80IW0
  3. https://kiddfamilyauctions.liveauctiongroup.com/QTY-OF-ARTISTS-STORY-BOARDS-FOR-A-COMIC-STRIP_i37771975 Looks like someone paid $30 for a big old stack of them.
  4. I watch so many documentaries, I just let them run in the background anymore.
  5. I keep a spreadsheet as well. Not for 10-20 years down the line, but for right now. No guarantee any of us makes it through the current year. I try to update my lists every year with more current data. Removing sold pieces, and adding newer ones. I include thumbnail photos, so it’s not just down to a text list. I don’t bother with what I paid, or who the art came from. In a lot of cases the current values are so far away from their start point it’s silly. And a lot of the sellers are gone from the hobby, or do t really matter anyway. And much originated with the artist anyhow. What I do include is current market value estimations real-world ranges so they know what’s “high” and what’s “fire sale” pricing. Along with recommended sources of who to contact when selling. Names, numbers, email and/or social media info. I also keep a list of people that have shown serious interest in any given piece that are also known CAF players, so they can be contacted for potential direct sales. I don’t bother listing all the strangers, but when a serious collector sniffs around, I take note. I do this so the Mrs (or whoever else in my family) is not left stranded with wondering what to do, or worried about being taken advantage of on comic or any other art sales. AND maybe more importantly, I also have a list of OA friends and acquaintances that I trust, who I also list for purposes of getting up to date advice, should it be needed. Certain ones for certain things. This is where all those friendships in the OA world with artists and other collectors really come into their own. I’ve been asked to do the same for a couple friends. We all just look out for each other, and all gain a little extra peace of mind. In essence my main approach is to look at everything objectively, and ask myself what I know that they don’t, and then try to create easy informative ways of answering questions that haven’t been asked yet. That to me is the biggest goal. Some art will sell itself. Others you have to have a more focused pipeline for. Know which is which. I’ve been thinning down as of late. No other reason than it all just feels like too much sitting around. I for one think it feels great to pare down to personal “necessities” from time to time.
  6. I found it dull. There are much better forger documentaries out there, and the prosecution part felt weakly handled to me. I couldn’t help feeling like there was more they knew, but threat of lawsuits of their own might have made them air a less pointed version of what they dug up. Its fine as a time killer, but it wasn’t all that, IMO. I’d Watch Art and Craft, There are No Fakes, and Beltracci for a start.
  7. It's all about the Chewbacca Defense... And I for on LOVE that it has become a thing in real life. Hahahaha. https://en.wikipedia.org/wiki/Chewbacca_defense
  8. The whole contract to kick back $ to the artist is very much the BWS agreement all over again, but the modern web-equivalent. We all saw how well that went over. But the kids don’t give two chits, what us old timers think. They will do what they will do. Like CGC, this could prove a sea-change in time, at least for modern OA. But for a while at first, there will be plenty of old guys saying no way, never. Just like the early CGC years. For the record, I’ve never had anything slabbed and never would. And the irony is not lost on me, that I spend as much time as I do on a CGC run board. I think I’m kinda over comic OA anyway, so it’s not a big deal to me. I’d be more by the prospect if I was a collector that was all in on the stuff. For new digital OA, who here genuinely cares though, right? I feel like 99% of the folks on this board were never in the market for that stuff, and few ever let the opportunity go by to take a figurative dump on digital OA as often as they could. So if some digital guys make bank selling their stuff, no harm no foul. More power to them. In theory, doesn’t devalue your fat stacks of Itoyas. Not right now anyway. You do you. Live and let live.
  9. For what it’s worth, McKean already sold all the digital Sandman covers, back in the 90s. At least from the main series. Those were all monoprints. Four Color Gallery in NY had a show with them, and they were sold one by one. A few can be found on CAF. Many have changed hands over the years. The prices always rise, but nothing quite like the physical cover art he made, or interior pages by various series artists. Who knows though. In the face of NFTs, perhaps these pieces find a second wind? -e. https://www.comicartfans.com/GalleryPiece.asp?Piece=281584 https://www.comicartfans.com/GalleryPiece.asp?Piece=204144
  10. DC has been publisheing their own version of AE books for a while now, called Gallery Editions. I do confess, I often use the term Artist Editions, the way a lot of people will say they want a Coke, rather than the general term soda. A bunch of companies make similar type books, or have in recent years. Jumping on the coattails of the AE, which in and of itself always seemed to me to have stemmed from the way Ashley Wood was producing HIS art books at IDW before the AE editions ever came along. Which is to say, showing all the artwork (whiteout, corrections and all), as close to the actual original as possible. The AE’s published by IDW just seemed like a fantastic progression of what Ash had bees doing for a few years. Wonderful development for the hobby. I’m not aware of anyone in comics that was shooting and printing books of their work that way prior to Ash doing it at the beginning of the 2000s. Granted, DC also try’s to get scans for other types of books as well. They had me send them a scan of a Jill Thompson t-shirt piece for one of the Absolute Sandman editions. They later tried to get me to scan my comic pages for an AE (or knockoff volume) that was to come, but I forgot about it and missed their file deadline.
  11. As has been stated, the comp USED to be common practice, but as DC is in the toilet these days, and printing and shipping costs continue to rise, especially for short run publications like artist editions... it is totally unsurprising. So why send them a scan at all? IF you are of the sort that believes having the art you own in print, gets more eyes on it, and more exposure = more buyers down the road... It seems to me you are just stoking the potential list of would-be buyers down the road. Another print location for your art’s resume if you will. So your time could be an investment in a future sale. If you think people seeing your art devalues it in the marketplace later, I guess you should bury it in the backyard until you are ready to sell. Seems to me that if DC can’t afford to send comps out for every page of a book they get a scan for, people stop sending them scans. Without the scans, they don’t publish these books. People that like artist edition books lose both ways. Chicken/egg.
  12. Too analog. But you could sell sections of a super high priced NFT as distinctive NFT if you like. Everybody gets a unique centimeter. Like a stock split.