Hey everybody,
Thanks again for all of your thoughtful responses to this thread. And, I VERY much appreciate the kind things you've said about me and my work.
Let me also say that I'm glad I read Frank's comment about nude Hall of Famers after I woke up the next morning - a frightening thought, indeed.
Gary, I do like the idea of a class thing. I have a feeling that the logistics would be a bit complicated to set up, so I think I'd have to leave that to Dean, but in the end, I feel like it could really be a great experience. I know that at some engagements, Charles Fazzino does workshops with kids where they're able to create their own pieces of Pop Art, so he would be a great person to chat with about it, I'm sure. I would just find myself wondering if the big-wigs at the National would even allow that kind of thing in their space?
Mike, the studies are actually available to anyone at any time. I have a bunch listed on my website now, plus a few more that will go up in a few days. I usually just end up putting them on the website as I get them out of storage. I'm pretty sure Dean allows other portrait studies to be commissioned as well, but since what we have in possession were initially done for my own purposes and not to be sold, I think he wanted to charge $699 for those.
Rob, I actually do like Dean very much. I think it might come across that I don't through some of my comments, but I guess it's just my way of giving him sh*t (even though I don't think he reads these message boards). He really is a great guy and a wonderful agent, and I do consider him a friend. Of course, like any business relationship, there can be disagreements here and there, but we're definitely in this journey together, and hopefully the long haul. So yeah, I'm sorry if I gave the impression that we don't have a good thing going. (Does that sound weird to anybody else?)
Also, it's not so much that I'm not creating images that require licensing. Technically, we could license all of the images that I paint, but it comes down to getting everything in order legally to do so, and then of course, how to do it so that it doesn't diminish my 'brand.' I think when it comes to the whole reproduction thing, the latter is the absolute most important thing to me.
I think in the end, that's why I agreed to let Dean sell the smaller studies. At first, like I mentioned before, they were just made as prep-work. I hadn't intended on ever selling them, as they've just been sitting in a storage space for years (which constantly gets restocked, as I continue to do them). But the fact is, I do like being able to offer them up for sale, especially to those who might not be able to afford a larger painting, especially since the whole print thing is seemingly a far-off destination. The fact is, you guys have all been so wonderful and supportive of me on this whole journey, and it's nice to be able to feel like I'm giving something back. I feel like the raffle was an attempt at that idea, as well.
When it comes down to it, I just don't want anyone to think that my part in all of this is completely based on what I'm hoping can be achieved financially. Of course it does have to play somewhat of a role in my decision-making, but the main priority for me is to do the best work that I possibly can. And when it comes to my relationship with Dean, we're both trying to find as many ways to get it to you guys in as many tasteful ways as possible.
Regardless, I will definitely be exhibiting at the National at some point in the future, with all sizes of work available. And like I did before Cleveland in '09, I'll be looking forward to the experience like nobody's business.
Thanks again, y'all.
Graig
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