From: Gildas Bourdais <bourdais.gildas.nul> Date: Fri, 11 Feb 2011 11:14:44 +0100 Archived: Fri, 11 Feb 2011 07:06:31 -0500 Subject: Re: Budd Hopkins >From: Carol Rainey <csrainey2.nul> >To: post.nul >Date: Thu, 10 Feb 2011 12:09:01 -0500 >Subject: Re: Budd Hopkins >>From: Gildas Bourdais <bourdais.gildas.nul> >>To: <post.nul> >>Date: Thu, 10 Feb 2011 15:47:39 +0100 >>Subject: Re: Budd Hopkins >>>From: Carol Rainey <csrainey2.nul> >>>To: post.nul >>>Date: Wed, 9 Feb 2011 13:54:35 -0500 >>>Subject: Re: Budd Hopkins <snip> >>Carol, >>Your answer amazes me again. Of course you talked about Budd >>Hopkins and you did all you could to destroy his crediblity. You >>even made a pejorative remark about his artistic career! >Mr. Bourdais, >I don't know you and you don't know me. >But I do hope your UFO work is supported by something >substantially better than the deductive powers you reveal in >drawing sweeping conclusions from a single, factual sentence. >It's like being certain that one light in the sky is The >MotherShip. >Your assumptions about my motives were blatantly emotional, >personalized and, forgive me, thoroughly ignorant. >In my Paratopia article, I stated one specific fact you took >exception to and have raised _twice_ now - that the pinnacle of >Budd Hopkins' art career occurred many years earlier. <snip> >On the walls of my apartment, by my choice, are many, many of >Budd's works of art, two of them life-sized and in the living >room. They are bold, powerful and evocative. I have total >respect for Budd's art and always have. <snip> >Since you are unaware of the structure of the art world, I'll >just briefly say that the career trajectory of any aspiring >artist (who, in this case, began his career in the 1950s) is >primarily determined by the power brokers in art capitals like >NYC, London, Paris, etc. They are the major galleries, major >dealers, collectors and museum curators - as well as the whim of >the public and its ever-shifting tastes in art. Combined, they >determine the level of fame, number of one-man shows, and >auction value of an artist's work. >I stand by my statement of fact. If you want details, look them >up. >I hope you enjoy getting to know the art world. Carol, Yes, you don't know anything about me. Just a couple of informations: I lived three years in New York, from 1967 to 1970. I went there to better study the art scene, and see if I had any chance to become an artist myself (after having studied business administration in France!). I was a student for a while at the Art Student's League (Stamos class: do you know him?) and at the School of Visual Arts. I had some paintings on deposit in a gallery not far from the MOMA (East Hampton gallery) but the art dealer, and some others (like Roy Lichtenstein, whom I visited) told me gently that I did not have a chance there. I also studied film production at NYU, before going back to France. I kept doing painting, had several shows in Paris, but I would not align myself on the the ruling official "avant-garde" of the time. So, little success again. I kept studying modern art and wrote a book on it, published in 1990, with some 450 color plates (entitled The Modern And The Others). Some good reviews this time, and 6,000 copies all sold. You see, I do know a bit about modern and contemporary art. To tell the truth, I am quite aware that Budd Hopkins is not among the biggest names in the field. But, like many others, he is a good, serious, almost austere artist. So, I keep thinking it was quite unfair and out of place to make that pejorative remark on his artistic career, in your harsh critique of him. Gildas Bourdais Listen to 'Strange Days... Indeed' - The PodCast At: http://www.virtuallystrange.net/ufo/sdi/program/ These contents above are copyright of the author and UFO UpDates - Toronto. They may not be reproduced without the express permission of both parties and are intended for educational use only.
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