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issue visual artists are
the only ones who are
required by arcane
marketing tactics to
limit how much they
can make from
reproductions from their
originals. The practice
grew out of physical
and financial limitations
imposed by printmaking
techniques that dictated
only a certain number of
quality prints can be
produced. Now in the
age of digital printing,
those constraints no
longer apply, but the
marketers still believe
they need the crutch of
limited editions to be
able to effectively sell
pieces. I say have the
courage to rid the
industry of this practice
and take the lid off
Posterity or Prosperity (continued from Page 1)
Page 5
earnings for artists
selling digital or offset
prints.
A photographer recently
said he expects his
prints of the same
images to get better
over time. He reasons
he’ll be constantly
improving his printing
techniques and that
software; inks,
substrates and printers
will improve in time as
well. This makes sense
to me. It reverses the
concept of the first
prints in an edition will
be the best. Think about
that alone as a reason
why not to limit digital
prints.
Back in the days when
rock n’ roll was still
relevant, the idea of a
band having a corporate
sponsor for a tour was
one way to get uncool
with the fans fast.
Somewhere along the
way, bands were co-
opted by the money and
took the chance their
fans would understand.
So, the likes of the
Rolling Stones and
virtually every other top
recording act now has
tours sponsored by beer
companies and credit
cards, etc. Neil Young
with his then
controversial 1988 hit,
This Notes For You,
famously satirized this
change in attitude
toward corporate
sponsorship,
"Ain't singin' for Pepsi
Aint singin' for Coke
I don't sing for nobody
Makes me look like a
joke."
I can’t say definitively,
but I believe Neil still
tours without
sponsorship. If there
were one popular rock
artist to evade
sponsorship, it would be
the mercurial Young.
He has eluded all efforts
to define him or his
music. So, it shouldn’t
be surprising if he has
steered clear of
sponsorship.
Posterity or Prosperity (continued from above)
Still the bands that have
given over to the power
of corporate dollars
were right; their fans
forgave them for taking
the dough. And, it was
more than just money
for many artists, they
found getting radio
airtime increasingly
harder to get and
sponsorship and
advertising was another
channel to expose their
music to their fans. Can
you believe it’s been 10
years since the Stones
allowed Microsoft to
use “Start Me Up” as
the anthem for
Windows 95? I
ultimately think most
fans knew in their heart
of hearts they wouldn’t
turn down millions
either so they even
begrudgingly forgave
them when the ticket
prices skyrocketed to
more than $100 for
many acts.
Likewise, no one feels
Dustin Hoffman who
made a measly $17,000
for his starring role in
“The Graduate” became
a sellout because he
went on to become a
multimillionaire by
continuing his
successful feature film
actor career. Yet, when
visual artists seemingly
mismanage their careers
by becoming “too
commercial,” they can
be assured the art world
“I wish this book was
available when I started
in the print business. It
would have saved me
time and money.” —
Ralph Burch, Top selling
print and licensing artist
“Barney delivers
comprehensive
knowledge and insight
about every aspect of
what publishing your art
really entails. He gives
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putting their dreams and
potential careers in a
business perspective. His
wisdom has had a major
positive impact on my art
career.” — Jeffrey Paul
Burger, Artist
“Barney Davey has
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print market performance
guide by defining the
ABC’s of the
business. How to Profit
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Market will help guide
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market knowledge." —
Larry A. Bauman, Ph.D.,
CMC –Consultant to
leading art & picture
framing companies
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