Bob's ART du Jour
Hi, I'm Bob Eggleton and this is my painting and "life in general blog" but mostly paintings. Usually they're for sale. Anyway, if you like something contact me at email@example.com and ENJOY!!
- Name: Bob Eggleton (Zillabob)
- Location: New England, United States
I am a Hugo award-winning fantasy/SF artist who works on both publishing projects and film concept work(such as Jimmy Neutron and most recently, The Ant Bully) but I have a passion for landscape work, small paintings and exploring the properties of paint. This blog will mostly showcase my "painting-for-the-day" as kind of a personal voyage. I'll also be inserting sketches,photos and ideas of projects I am working on, that I can, when I can, so look for those every so often(usually as paint is drying!)
Wednesday, August 26, 2015
Monday, August 10, 2015
Some Brian Lumley covers for sale!!!!
detail. Subterranean Press
Tuesday, August 04, 2015
First, in the 1970s, many artists brought their work with them, even on the plane as I was told that Kelly Freas, Rick Sternbach and others did, as carry on. It's doable but the size is always an issue esp now with smaller planes and size limits on carry on.
One idea... limit the size of the work. IF I was to attend a future Worldcon, that I had to fly to, my solution would be to bring small work, 8x10, 9x12, that sort of thing. Many of the best pieces of classic SF art are actually small works. Lessen the panel space, to say 4x4 foot and a limit of two. You won't get the artist's epics but so what, you'll get art....and to their credit a few artists actually do this size limit(John Picacio is one I can think of). It is not practical to think of it as some "gallery" show. Lighting is often terrible, hangings bad as well. So don't try. Think of it as a way artists can offer budget works, smaller sketches and so forth for anyone. And let auctions do the rest.
The problem as I see it, started in the 80s when certain artists started bringing large, vast paintings that required shipping and LOTS of panel space. In Japan in 2007 I brought onboard the aircraft(and granted it was a 777 )a bag that contained about 10 framed, small paintings. 8x10, 9x12. I had my work hung in about 30 mins, it was that easy. They all went up in the small but VERY high quality artshow that Elayne Pelz and friends from LA managed SKILLFULLY to run as almost an independent entity from the con itself. That was a smart move because the convention was a financial disaster, but benefited somewhat from a 10% commission on sales and, a "charity" auction of works created on site by Michael Whelan, Noriyuki Kato and myself which total generated $27,000 to the convention. I recall being paid in record time, and when it all added up, I made quite a profit considering I'd been gifted by a friend two memberships(he was not going and simply gave them to me), a free flight and a greatly discounted hotel room. I had a lot of luck on that!! (One of my 8x10s wound up selling for over $1200 in the auction to a woman who loved Godzilla and saw the original as a child in her father's arms in a theater.)
I said to myself then, "Why can't it be THAT easy all the time?"
The thing is too, each year the Worldcon is held in a different place. As former Worldcon chair Tom Veal told me once "It's a million dollar corporation run by amateurs and fans, we're dead lucky anything goes remotely right!!!". Meaning, to me, my art is my living, and the Worldcon is an avocation.Nothing wrong with that avocation but, keep in mind the dichotomy going on. As it is run in a different place it winds up being a different bunch of people with their own ideas of how an art show should be, sometimes rejecting successful models of previous Worldcon art shows simply out of, egos:"I know THEY ran it THAT way...we run it OUR way!". I have seen and been told that on occasion.
In 2008 at Denvention I had, combined with private sales, one of my most successful Worldcons in recent memory. And BTW this was as the economy was nose-diving. I still managed to make close to $10,000 in sales there and privately. Fed Ex shipping ate into that but, happily there was not much to ship back.
I skipped 2009 due to a death in the family. Then there was Aussiecon in 2010 it was a non-show basically. Something I will add to that: When it became evident that the lady running the Aussiecon show was going to be bedbound by a pregnancy complication, at that time, my own wife, an Australian herself, got an email asking her if she would run a "American styled" artshow there. We HAVE the emails to show for this exchange. She responded saying she would think about it IF the con comped us a room, gave us back our memberships and IF they picked up a cost of one flight. No go. So, no show. We're business people.Not martyrs.
Something else happened: there was supposed to be some money that was donated for some kind of reception, get-together, etc. It wound up being enough for several cans of coke and some potato chips. The "money" was allocated "elsewhere". Further underlining how little the committee cared about an art show.
Some side thoughts here:
There was something else that happened there at Aussiecon that was for me, personally insulting and demeaning, a "situation" wherein I was asked to "play along" with some people politics going and, I refused to. Basically high school BS. It left me with such a bad taste in my mouth, it was hard to think about the Reno Worldcon.
I knew my Hugo days were behind me thanks to a nasty campaign directed at me some years earlier about winning too many Hugos. But it was also nice to see OTHERS winning, so there was a good feeling in that. If you think the whole "controlling the Hugos" started with this most recent dust-up, THINK AGAIN, it's been going on quietly by professional parties with agendas, for some time. I finally, at last fell off my attrition in 2013, after 24 years straight of nominations, 30 total(in various categories) and 9 wins. Not bad. I did well. Let others do well now. I had fun when it counted and I moved on.
In 2011 I had decided to basically retire. It was getting too much. Once again the specter of shipping my art a great distance became daunting. Elayne Pelz ran an excellent show(she always does). I made money, in fact a private sale was downpaid there and that made it very profitable. Elayne however was hampered by the fact that the con had poor security for said show. And there was an attempt at a theft of a piece from the Ken Moore collection on display, that was intervened by the person overseeing this display. There was an attempt at doing an "art night" and it was done well but few came because it was in the convention center and everyone else had vacated it to party elsewhere.
There was also some blowback of the incident that happened before in Australia, and we found that this clique stuff, effectively people acting like they were in high school was wearing thin. They weren't artists BTW but they were a coterie of pros and fans. I'd had enough.
2012 was in Chicago and I had some reticent feelings about it thanks to Chicon 2000. But, chair Dave McCarty kindly offered my wife and I free memberships, and a free hotel stay IF we wanted it. It was a kind effort. The reality was that time was vastly becoming a harder and harder item for me to justify so I declined, but always remember that kind offer which makes me think well of the fans overall.
Illuxcon had risen in 2008 and, it started being for many pro artists the model for such a quality artshow. Security, professional hangings, a sense of overall quality to the show and one where artists, art fans and art collectors could come and be treated all well. No politics or stupidity or getting caught in some "fan" feud or political battle. Everyone gets on. Everyone does fairly well. Spectrum Live also fills a similar need.
So maybe there is hope, but it requires a new and consistent sustainable model for such shows.
Sunday, August 02, 2015
We LOVE Worldcon....but here's what happened...
I can speak on behalf of most of the Professional Artists I know, and it comes down to costs.
We love the fans, the Worldcon, which we realize takes A LOT of work to put on.
Back in the 1980s, it was commonplace for us Pro Artists to schlep or ship our work to the convention. The 80s was a great time, SF looked good, major authors were doing major works, the covers were the best they'd ever been. Costs were low. Even in the 90s it was still viable. I can remember in 1996 shipping 3 large boxes of artwork to the LACon of that year in Anaheim. It was a lot of fun, I won a Hugo in fact. The boxes cost me something like $300.00 each way for a total of $600 and change. I made something like $4500 in the show, so including everything, I still made money.
Occasionally if a Worldcon was close to drive to, I'd do that too. Rent a larger car and bring down the works that way. In 2004, the Boston Worldcon was but 50 odd miles away. I still had to rent a larger vehicle and bring all that work there, the hotel was a lot more in cost, then add to that the parking of said vehicle. Fortunately I made something like $5000 and change in the show from sales. But I found I spent close to $3400 in costs overall. Prices were going up.
I did a few more after that, including the Japanese Worldcon in 2007 where all the planets lined up in terms of costs.We got a free frequent-flyer trip for two on Continental Airlines. We went through a Korean travel bureau, their version of Priceline, in effect and got a convention hotel at MUCH LESS than the convention rate. I brought all my art for the tiny artshow(small paintings!), as hand-carry on luggage. I sold every single painting-the Japanese love to buy US artists' work- and it more than paid for the trip. It was actually CHEAPER for me to go to Japan for a Worldcon than it was for me to go to Boston for one, 50 miles away.
More and more, Federal Express and other reliable carriers have increased their rates, box size prices and so on. And more and more, the return in terms of sales at the convention has been less and less. Thanks to luggage inspections at airports, "bringing art with me" has become a risky and reckless idea. The work is un-insurable.
In 2010, the cover story was a "vague" Australian tax law(which may or may not have been applicable if the show's sales topped $50,000 AUD which was unlikely) on non-profit events such as the Australian Worldcon, but the reality was a lack of manpower. The upshot negated any formal artshow from being held. Instead an "art display" 80% of which was from the collection of a Sydney-based collector who graciously lent them the works he purchased over the years so there was something to look at and not a bunch of blank panels. This collector also spent much of his time, sitting with and looking after his valuable collection as there was no security to speak of, nor was there as I was told, insurance. I didn't blame him for largely spending his time there. Also, some artists(including AGoH Shaun Tan) opted to put up and sell their own works much in the same way dealers might sell their wares, cash and carry basically.
It's the shipping costs that it all comes down to vs the return in sales that are not always congruent. So while people ask "What happened to all the name artists?"....it's simply cost that we can't do this anymore. My personal view is also that, Worldcon has changed and few people are interested in the physical art like they used to be, with all the interest in digital media. And it has become a lot of work to prepare for these events. My memories are long and I will always remember the good times, but, they've passed. I see a future of an artshow-less Worldcon, due to insurance costs and lack of manpower and, as digital art becomes the mainstay, a lack of physical art.