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3:13 am
March 22, 2010
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D_Evans;7703 wrote: I love the scorpion so much I saved the pic and will try one. I don't understand what makes it so aggressive looking, but it SCREAMS 'Go ahead, MAKE my day'. Just some bent up steel- wow. Thanks for posting.
Hey Dave, Here is a pic of Spikes back... His hide is made from 3/8"s nuts welded and squished in the hammer...
I made a bowl the same way I rather like, the bottom of the bowl is a 4" hex nut dished in the press and then the liner is the 3/8's nuts welded and squished..
Whatever you are, be a good one.
Abraham Lincoln
3:16 am
March 22, 2010
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I made this guy today, He is based on a keychain my wife gave me... his head started out as a 8" sphere bought from King..
His name is Mr Pinhead (or just Pinhead if you rather)
Whatever you are, be a good one.
Abraham Lincoln
12:59 pm
May 15, 2010
Offline3:32 pm
March 22, 2010
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WHAT!!! 15 million? Thats got to be Kronar or something right? that cant be 15 million dollars? I mean its not only bad, its ugly....
Whatever you are, be a good one.
Abraham Lincoln
3:47 pm
March 22, 2010
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That second video, those are my folks there, I could build machines that where scary and tear shit apart:redface::redface: and be a happy camper... I dont think people in Seattle would be as open to ripping meat apart with a mechanical psychopath as they are in LA though...
Whatever you are, be a good one.
Abraham Lincoln
5:08 pm
May 15, 2010
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The first two guys are a joke IMO but SRL has been around a long time based out of S.F. lot of good RESEARCH!:devil:
Michael Dillon
http://dillonforge.com/
5:12 pm
March 22, 2010
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A joke that sold a wad of metal for 15 million or was that all just part of the joke? Cuz if that's part of the joke I really dont think its all that funny...
Whatever you are, be a good one.
Abraham Lincoln
5:12 pm
May 15, 2010
Offline5:21 pm
March 22, 2010
Offline6:32 pm
August 4, 2010
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Larry L;7721 wrote: WHAT!!! 15 million? Thats got to be Kronar or something right? that cant be 15 million dollars? I mean its not only bad, its ugly....
This could actually be real. Edward Tufte is a well known and respected writer on aspects of the visual display of numerical information. As for sculpture....
http://www.edwardtufte.com/tuf...../sculpture
There is his page with pictures of his work. Is he a good smith? I'll hold comment.
Brian
7:22 pm
December 19, 2010
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you'd have to be a complete fuckwit to pay 15 million for one of those pieces. Then again some people have more money than sense, if you were worth 50 billion then its all relative.. I guess art is more about the maker than the actual piece, which is unfortunate. I think it should be about the complexity of the material and the difficulty in making. In the art world, not alot makes sense to me. i guess its all about how some thing makes you feel. One of the best college courses i took was an art history course with a practicing artist. Fascinating.
2:08 am
NWBA Member
Board Member
April 26, 2010
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While I wouldn't pay millions for one of Tufte's abstracts (or anyone else's for that matter) even if I were loaded, I would certainly pay him for marketing lessons!
No matter where you go... there you are.
2:53 am
NWBA Member
April 26, 2010
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Sure makes you look at your scrap pile in a whole new light. It's all a matter of how it's framed and a good P.R. rep. Wonder what all we'll see at the next conference gallery.
3:00 am
December 19, 2010
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It isn't just marketing. Some guys just get lucky. I mean Edward Tufte is no Buckminster Fuller, he's not designing geodesic domes. I can market till the cows come home, it doesn't mean i'm gonna gain notoriety and become an established artist, someone HAS to take you under their wing and help it along. I guess if you kiss enough ass and beg for shows and such (is that marketing?), you could get seen. Sure would be nice though, to be able to go throw something under the powerhammer for five minutes, smack it a few times on the anvil, tig weld it to a stand, and sell it for 15 million? Man that is like hitting the lottery.
4:56 am
ironstein;7746 wrote: It isn't just marketing. Some guys just get lucky. I mean Edward Tufte is no Buckminster Fuller, he's not designing geodesic domes. I can market till the cows come home, it doesn't mean i'm gonna gain notoriety and become an established artist, someone HAS to take you under their wing and help it along. I guess if you kiss enough ass and beg for shows and such (is that marketing?), you could get seen. Sure would be nice though, to be able to go throw something under the powerhammer for five minutes, smack it a few times on the anvil, tig weld it to a stand, and sell it for 15 million? Man that is like hitting the lottery.
Come on...it's all about marketing. If you choose to make the gallery scene your livelihood, then that is your life/livelihood , you have to play it well, and all the work that you produce is dictated by and marketed by the galleries that represent you. To produce new work outside the realm of what the galleries have marketed your work to their clients is anathema to them. They want consistency and sales from the work you have done and what they have spent money marketing your work to their clients. They expect a return and they want consistency. Galleries want to see bodies of work to support sales and the continuing "growth" of their artists.
You may be able to put something under the power hammer and smack it a few times, but you better have a good name in the art world, and/or have patrons to pull it off financially.
Again, it's all about marketing...
JE
5:20 am
December 19, 2010
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I guess what i was talking about didn't seem like marketing. When a gallery decides to snap you up, of course they are gonna market you. They are gonna expect a body of work catering to their, and their clients tastes. I guess i'm beating a dead horse. It is all marketing, i'm splitting hairs! The thing that is so astonishing is it seems to me like winning the lottery. You really have to get some good luck to be placed where the big money is made. I suppose when i see some of the prices paid for what i just don't understand, a bit of jealousy course through my veins. What i'm not thinking about is how much of their soul the artist had to sell to become a big name.
5:32 am
ironstein;7754 wrote: I guess what i was talking about didn't seem like marketing. When a gallery decides to snap you up, of course they are gonna market you. They are gonna expect a body of work catering to their, and their clients tastes. I guess i'm beating a dead horse. It is all marketing, i'm splitting hairs! The thing that is so astonishing is it seems to me like winning the lottery. You really have to get some good luck to be placed where the big money is made. I suppose when i see some of the prices paid for what i just don't understand, a bit of jealousy course through my veins. What i'm not thinking about is how much of their soul the artist had to sell to become a big name.
You're right about that. I was part of that for awhile, not in metal, but photography. Two years after I quit photographing, I still had a gallery calling me to make more work. It was really good $, but my heart was in metal, and that's where all of my creative effort was focused.
I think you have to follow your heart. A little creativity and some good karma can go a long way. Being in the right place at the right time doesn't hurt either...
I have to say that I've always liked pretty much calling my own shots though. Life is good. 🙂
JE
12:32 pm
May 15, 2010
Offline5:40 pm
NWBA Member
April 22, 2010
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Look, I like a lot of Paley's work, and respect him a lot as an artist and blacksmith- but boy, is there a lot of BS in that video.
One person creating a movement?
Not hardly- Paley was one of many artists in the late 60's and early 70's who rediscovered forging and its artistic possibilities, and many of them were doing work independently of each other- there wasnt no internet then.
But certainly Brent Kington should get at least equal credit with Albert, but there were a lot of other people who helped create the rebirth of blacksmithing, and they werent all standing around waiting for Paley to tell them what to do.
And when he says the only thing in common with Art Noveau in his work is "the line"- well, this is why you dont ask artists about their work- or, maybe, way back in 1982, he really hadnt seen much Mazzucatelli? Because virtually everything Paley uses in his work was explored by the greats at the turn of the century- the Belgians, the French, the Catalans, the Dutch, and the Italians.
This is not to take anything away from his creativity and originality- but, as Isaac Newton said, we all stand on the shoulders of giants- and anyone who looks can see there were quite a few real giants in the years of the industrial revolution.
I maintain that everything has been done before, and that claiming true originality is a lot of hot air- instead we should be looking to re-use existing ideas in a way that is true to ourselves.
6:41 pm
May 15, 2010
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I believe the interviewer was proclaiming Paley started a movement not Paley, hard to say what control he had in that. I'm sure he did know of Mazzucatelli as many smiths that have researched Art Noveau have, his work alone inspired the headboard I sleep under ever night. I believe he just points out that it was the natural form as an interest.
If everything has been done before how do you get from cavemen to spacemen? Most technological, mechanical, medical, etc. advancement has came from a creative mind not someone following out of a textbook.
I think it is easy to copy an object that of a known perception, blow it up big and call it art, but I don't really see that in much of Paley's work?
I also think Larry's idea was how to price his objects, and if they should be considered art, not if they were original.
Michael Dillon
http://dillonforge.com/
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