Digital BW, The Print

Folks

I don't know if I can add much to the subject referred to but I can tell you that being an old bebop saxophone player from the early '50,s on was not an easy road. The established jazz community hated us because they were intimidated by something new. Eventually the final product was proved valid. In fine arts and music ( jazz ) the methodology is only a means to an end. The end , of course, is creating with your own special voice. Communicating is never easy. After all, these are abstract fields----we never know what anyone else really sees or hears. We can only hope they get something from any of our work, that their sensitivity is on the same level--someplace. The labeling of the work is really not important to me. It's a freaking print! I don't have to tell any person what kind of saxophone I'm playing or the reed I'm using or the mouthpiece I'm blowing through. I might discuss it at another musician's house but that's a kind of esoteric shop talk. The audience doesn't know. I'll tell them what the tune is and that's about it. The key I play it in is not relevant to them. I don't think having to explain to someone what the method for making a print has to do with the quality of the composition. I owned an art gallery for about 5 years and it was an experience. I sold stuff done on masonite, burlap etc. Oh yeah, canvas too. Just remember that people also buy Elvis on velvet---never sold any of that stuff. Bo, have patience. The common denominator is just common. Everybody in a particular field is intimidated by change. Sorry for rambling on but I got Bo by 10 years--that means 67++ and the mind gets strange. BTW, I use an 1160, MIS-VM CFS, PS 6. a PC and got my first computer in my 60's. Now that didn't tell anybody a thing about the prints I do. Isn't that interesting?

Barry Schaffer    now you know why I lurk ( disgusting word ) and don't write anything.  


[Non-text portions of this message have been removed]