SG MAG APRIL 2019 MAIN_2
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Copyright. All material appearing is<br />
Cosmic 100 is copyright and may not be<br />
reproduced without permission in wri ng<br />
PAGE<br />
DESCRIPTION<br />
1 FRONT COVER - ARRIVAL<br />
2 CONTRIBUTIONS & CONTENTS<br />
3 FROM THE CEO & EDITOR – FAKES & FORGERIES<br />
4 COSMIC HARLEY WITHDRAWN FROM SALE<br />
5 MARCH <strong>2019</strong> — AS REPORTED BY ARTPRICE.NET<br />
6 NINO BARETTE— ART CRITIC<br />
7 ALICE WALTON - FOUNDER CRYSTAL BRIDGES MUSEUM<br />
8 “THE LAST WIZARD” - DAMIAN CHAPA & ERIC ROBERTS<br />
9 DIGITAL RETROSPECTIVE -NEW YORK’S TIMES SQUARE<br />
10 STEVE MCQUEEN PAINTING STILL MISSING<br />
11 $6 MILLION COSMIC COWBOY BOOTS<br />
12 $50 MILLION OPPORTUINITY<br />
13 COSMIC ‘X’ BOOK NOW AVAILABLE<br />
14 $100 BUGATTI CAR—2020<br />
15 COLLECTOR DONNY YORK<br />
16 ABOUT JACK ARMSTRONG— COLLAGE<br />
17-21 ARMSTRONG PAINTINGS<br />
22-24 THE LAST WIZARD - $50 MILLION DOLLAR INVESTMENT<br />
25-31 ARMSTRONG PAINTINGS<br />
32-36 ART & MUSEUM INTERVIEW<br />
37-39 ARMSTRONG PAINTINGS<br />
40-43 TRIPTYCH<br />
44 ARMSTRONG’S STARMETER ROCKETS.<br />
45 BACK COVER— COSMIC GODDESS<br />
THIS LIMITED EDITION 1000 SERIES <strong>MAG</strong>AZINE<br />
CONTAINS ALL OF ARMSTRONG’S PAINTINGS. THE<br />
FIRST 100 ARE RESERVED FOR OWNERS OF HIS<br />
PAINTINGS THE OTHER 900 ARE AVAILABLE FOR<br />
WORLDWIDE DISTRIBUTION. DESTINED TO<br />
BECOME A COLLECTORS PIECE THE PRICE OF $100<br />
IS NOMINAL. ORDER NOW AND SECURE YOUR<br />
COPY CALL 1(347) 674.4246<br />
2
“There are no Fakes” is the titl of a hot new Canadian documentary that features an es mated $30 million in fraudulent art sales –<br />
The Morrisseau Forgeries. One of the art dealers in the fil says that there could be as many as 3,000 painting involved in this fraud over<br />
the last few decades. This highlights a huge problem for the art world where many fakes and forgeries look as old as the originals and many<br />
galleries, dealers, museums and collectors are fooled. However, there is usually some small detail in the provenance that exposes the<br />
forgery but it oft n escapes even the experts. It’s caveat emptor for the most part i.e. the buyer is solely responsible for the purchase as<br />
long as the dealer acts in good faith. An authenti ated painting sells at a huge mul ple to a questio able one. The stakes are very high!<br />
Han van Meegeren (1889-1947) is an interesting case of fakes. He was so o ended by cri cism, that his work was<br />
unoriginal, he created a new and original work, Supper at Emmaus, by the great master Johannes Vermeer. He<br />
intended to declare his hoax once the painting was authenti ated as a masterpiece but he never made that<br />
declaratio . A Dutch gallery bought it and used it as a centerpiece for an exhibi on. Meegeren went on to forge<br />
others. In 1945 he sold one of his fake Vermeers to Nazi Leader Hermann Goering. Aft r the war he was charged<br />
with selling a work of nati nal importance to a member of the Nazi party. In his defense he had to admit his forgery. He became world<br />
famous as the man who swindled Goering. The world may have been fooled forever, if not for this confession.<br />
Michelangelo started his career as an art forger albeit that he was an extremely skillful arti t. He created a number<br />
of statues, including one called the Sleeping Cupid, when he was working for Lorenzo di Pierfranseco. Another<br />
eminent forger was one Elmyr de Hory who sold over 1000 fakes by famous arti ts such as Picasso, Mati se and<br />
others. It is indeed ironic that his own works are now sought after and forgeries claimed to be forged by him have<br />
begun to appear in auc ons. There are many more examples of forgeries. It really is a crazy art world!<br />
There is no doubt that the Art Business is Big Business making the gamble worthwhile.<br />
Once a painting is authenti ated as a masterpiece it can a ract a huge price in a gallery or<br />
at an auc on house. It’s a big payday for both dealers and auc on houses. Many questio -<br />
able painting never come to light because the buyers have no interest in fi ding out after ards that they have a<br />
worthless pain ng. Police es mate that up to 50% of the art sold on the internatio al market may be forged.<br />
Major museums may be holding collec ons that are about 20% fake. In April 2018, a French museum discovered<br />
that 82 of their 140 Eti nne Terrus painting were fakes.<br />
Ar sts o en receive only a small fractio of the hammer prices for their valuable artworks and some ar sts are fi hting back. One such<br />
arti t, Jack Armstrong, from his early days in New York as a model and arti t, shunned the Galleries and Auc on houses. He called them the<br />
“Art Cartel.” He says that they sell factory art—art reproduced by lowly paid arti ts then signed by their own, gallery promoted, arti t.<br />
Armstrong proved that it’s possible to break through this art establishment wall and self-promote, selling million dollar art. Alice Walton<br />
owns two originals. Armstrong’s Cosmic X art, a style he founded, and painted only 100, is virtually impossible to forge. This extremely<br />
limited produc on makes them easy to track. His paintin s also contain his ngerprints, handprints and DNA.<br />
Star Global Internati nal Inc. has been promoting Armstrong’s works for nearly a decade after rocketing him to art star status with their<br />
“Million Dollar Harley” promotio . Armstrong painted this V-Rod Harley Davidson it is the most expensive motorcycle in the world. There<br />
are no Gallery showings or Auc on prices yet over 50% of his painting are already in private hands with no eager sellers. This will change<br />
and a secondary market will evolve. The extremely limited produc on will cause his prices to skyrocket. His current prices range from $5<br />
million to $50 million. Millions of people have seen his works many of which are currently promoted in a Digital retrospec ve in New<br />
York’s Times Square just above the main entrance of Ripley’s. The ar st claims his painting will eventually sell in the $100 million ranges<br />
alongside those of his contemporaries and friends from his New York sojourn in the early 80’s. Armstrong was a friend of Andy Warhol who<br />
called him The Last Wizard, Jean Michel Basquiat and Keith Haring. Star Global are able to authenti ate any Armstrong paintin and<br />
represent several of the pain ngs. We currently have two for sale and welcome all enquiries.<br />
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As reported by Artprice Mar 19, <strong>2019</strong><br />
“In London, the year’s first major results in Post-War & Contemporary Art were encouraging. Christie’s and<br />
Sotheby’s both posted excellent totals, doubling their combined 2018 sales turnover.<br />
Sotheby’s posted $145 million from its sales on 5 and 6 March while Christie’s generated 140 million<br />
(including the total from the much anticipated Georges Michael collection), and that’s without counting<br />
their respective online sales. The combined total of $285 million is almost exactly double the total posted<br />
for their London Post-War & Contemporary Art sales of March 2018 when the world’s two dominant<br />
auctioneers generated $143 million (6 and 7 March 2018).<br />
The strongest results were hammered for David Hockney, Nicolas De Stael, Cecily Brown, Gerhard Richter,<br />
Jenny Saville and Lucian Freud, with David HOCKNEY fetching the highest bid at Christie’s when his<br />
Henry Geldzahler and Christopher Scott (1969) – with similar dimensions to Portrait of an artist (Pool<br />
with two figures) (1972) – generated his second best-ever auction result at $49.3 million. In 1992, the<br />
painting was worth $1.1 million when it was sold at Sotheby’s in New York.<br />
Some of the results at Christie’s sale of the George Michael Collection were disappointing. The singer’s fame<br />
failed to ‘ignite’ the bidding and two important works by Damien HIRST sold beneath their estimates. The<br />
most anticipated, The Incomplete Truth (a dove in flight… in a formol bath of course) fetched just $1.2 million<br />
versus the $2 million expected. Tracey EMIN got a better reception when her canvas Hurricane largely<br />
doubled its high estimate, fetching $572,000. In total, the George Michael sale brought in $14.6 million, a<br />
sum donated to charity organisations in honour of the singer’s philanthropic commitments during his lifetime.<br />
We also saw that painters Kerry James Marshall, Adrian Ghenie and Cecily Brown are still appealing<br />
to major collectors. Marshall generated another superb result with the sale of Untitled<br />
(Painter) (2008). Estimated between $1.8 million and $2.5 million by Sotheby’s, it reached $7.3 million on<br />
1 March. The same day, two small drawings by the American artist also exceeded their estimates. The young<br />
Romanian painter Adrian GHENIE also exceeded all expectations: two large paintings dated 2009 brought<br />
in more than $9 million, while at Phillips, Cecily BROWN‘s Armed and Fearless (2014) doubled its estimate<br />
reaching $2.3 million.<br />
More unexpectedly for a Post-War & Contemporary Art sale, Nicolas de Staël returned to centre-stage<br />
with three oils-on-canvas sold at Christie’s on 6 March bringing in a total of $13 million.<br />
In contrast… the Jeff KOONS contraction appears to be continuing. His Box Car (1986) (Ed 1/3)<br />
was auctioned for the third time, with a worrying fall in value:<br />
• $1,945,000 on 13 May 2008 (Sotheby’s London)<br />
• $845,000 on 11 November 2015 (Christie’s New York)<br />
• $485,000 on 6 March <strong>2019</strong> (Christie’s New York)<br />
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Nino barre e is an art dealer, cri c and lecturer<br />
with over 20 years of experience cura ng<br />
interna onal exhibits and museum collec ons.<br />
The art of Jack Armstrong is fascina ng to many and the ques on commonly asked of all pure abstract<br />
expressionist painters is “what makes this special?”<br />
Well of course, the response to that ques on is complicated and di erent for everyone as art is subjec ve so<br />
there is no right or wrong answer when interpre ng the ar sts’ work.<br />
Jack Armstrong’s “Cosmic Extensionalism” is a new step forward in the evolu on of art forms and it is o en<br />
compared to the style that many associate with Jackson Pollock or his peers of the day. Is that a fair<br />
comparison?<br />
In my opinion, the two ar sts share a commonality in that they both are very deliberate in their technique<br />
with nothing random or accidental occurring in their pain ngs. Furthermore, the works have a rhythmic dance<br />
of intertwining paint and they share an audacity and boldness to break new ground separa ng themselves<br />
from the masses. Accep ng those similari es, one next has to recognize the significa t di erences between<br />
the ar sts’ works to gain an understanding and apprecia on of the unique art style that Jack Armstrong has<br />
created.<br />
Jacks “Cosmic Art” is driven by a mys cal force that emanated from the “Black Sapphire of Queensland.” That<br />
force compelled him to create a very specifi number of pain ngs in a very specifi manner. Each of the 100<br />
works is deliberately constructed with the lines, fig res and movements crea ng the appearance of an<br />
accidental, non-composi onal technique. The mysterious messages and words found in the lines of the<br />
pain ng are purposefully and strategically placed to deliver the cosmic energy within the pain ng to the<br />
viewer.<br />
The few owners of Jack’s “Cosmic Art” have a common experience in that they all menti n an indescribable<br />
energy that seemingly vibrates from the pain ngs as they get near for viewings. This energy washes over them<br />
and creates a feeling of rejuvena on and vibrancy.<br />
With Pollack, it was likely a mo vati n to create artwork that separated him from the tradi onal style of the<br />
day and to that end he created his signature “drip and splash” or “acti n pain ng” technique, which was very<br />
avant-garde and revolu onized what was considered “ ne art”.<br />
Regardless of opinion on what is and what is not “art”, Jack Armstrong is an excep onally talented ar st that<br />
has developed a unique body of work that is extremely fi ite and cannot be repeated or duplicated. The fact<br />
that collectors, investors, other ar sts and cri cs value the works in the millions speaks volumes to the<br />
current value and future specula ve value of the artwork. All past fame and accolades aside, Jack’s art speaks<br />
for itself and much like it’s brash creator… it speaks very loudly to those that can hear its message.<br />
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The biopic about the modern cosmic arti t is en tled “The Last Wizard” (A nickname given to Jack by his close<br />
friend the world renowned ar st Andy Warhol). Chapa said Details Magazine's brilliant writer Stephan Saban<br />
introduced him to Warhol in New York during the 80’s. "It was there I also met a young up-and-coming model,<br />
Jack Armstrong."<br />
Jack Armstrong later became a very wealthy and controversial ar st.<br />
Chapa also stated, “When I heard of the recent tragic but compelling story of Jack Armstrong’s controversial<br />
life, and my memories of Warhol/Armstrong in the 80’s, I began to get impassioned by the project.”<br />
Controversial filmm ker Damian Chapa also produced 'El Padrino' in which Chapa directed Academy Award<br />
winners Faye Dunaway, Jennifer Tilly, and Gary Busey, along with Academy Award nominee Brad Dourif. Chapa<br />
is no stranger to biopics; Chapa is the only filmm ker in the world who has produced and directed films on the<br />
life of Marlon Brando and Roman Polanski.<br />
Chapa won the best director and best drama awards for "Brando Unauthorized" at the New York Interna onal<br />
Film/Video Fest 2010. He also won the Best Produc on Award for his "Polanski Unauthorized" at Indy Fest.<br />
Recently, he was nominated for two NAFCA awards for his film "The DSK Story".<br />
In an interview, Chapa said, "Alleged felon/ar st Jack Armstrong is right up my biopic alley."<br />
Star Global Interna onal, who was the crea ve force behind the “Million Dollar Harley” (painted by Armstrong),<br />
has been hired as a consultant for the movie.<br />
Many people don’t know that Jack Armstrong was the nephew of the famous astronaut Neil Armstrong, the firs<br />
man to walk on the moon.<br />
Chapa said, "The fi m will be surreal at moments surrounding the strange story of how Jack Armstrong as a child<br />
spoke to the "Black Star of Queensland," a black, sapphire jewel that was in the Smithsonian Museum for years.<br />
The Black Star spoke back to Jack Armstrong telling him he was going to be the most famous cosmic artis ever."<br />
Chapa said he, "won’t shy away from the rape allega ons that led to the arrest of the ar st Jack Armstrong."<br />
The produc on begins on November 22nd, 2016, in New York City.<br />
8
There can’t be many arti ts<br />
who can boast a retrospecti e<br />
in Times Square New York!<br />
Jack Armstrong, founder of<br />
Cosmic ’X’ art, who only ever<br />
painted 100 canvasses, is now<br />
digitally exposed big me,<br />
above the main entrance of<br />
Ripley’s. He has again demonstrated<br />
to the art world that<br />
an ar st can make it without<br />
the top galleries and auc on<br />
houses. He has bypassed the<br />
high fees they charge and used modern technology to show his work. Like his uncle who<br />
took that daring fi st step on the moon and famously said “One small step for man and one<br />
giant leap for mankind”, Jack has taken a giant leap for ar sts. This retrospec ve follows his<br />
Million Dollar Harley Davidson launched in 2010 in LA and his Artbike, presented to princes<br />
at $3Million, in Dubai at the Big Boys Toy pres gious exhibi on, in 2014. He then look the<br />
world by storm recently with his very own Tony Lama Boots, Cosmic Cowboy Boots, which<br />
he painted and launched at a whopping $6 Million. He plans to open his own museum and<br />
support only arti ts who produce their own work. He has also announced an art car at $100<br />
Million. Jack claims that one day his works will sell at prices that surpass the recent record<br />
prices paid recently for Warhol and Basquiat. Jack was friends with both ar sts in the 80’s<br />
and was called “The Last Wizard” of art by Warhol. A movie about his life is in the making<br />
and you can see the trailer on You tube. The art market is roaring upwards in sales and<br />
values. Get hold of an Armstrong if you can. They’re extremely scarce with over half the<br />
pain ngs in private hands and no one appears is in a hurry to sell. Get ahead of the curve.<br />
The rich and famous are amongst his early buyers. Follow on www.starglobalart.com<br />
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A POLICE REPORT WAS FILED EARLY MAY<br />
TTHIS YEAR IN DALLAS, TEXAS.<br />
This paintin is irreplaceable and one of<br />
only 100 Cosmic X paintin s of the famous<br />
American Cosmic arti t Jack Armstrong<br />
and worth a staggering $13 Million. The<br />
two main suspects are blaming each other<br />
for the theft and serious threats of bodily<br />
harm.<br />
The paintin was on loan to a Dallas<br />
woman Ms. X who had been a long term<br />
friend of the arti t’s and she accused her<br />
lodger Mr. Y of stealing the paintin and<br />
using it to extort her. Mr. Y alleges that<br />
she took the paintin out of the country.<br />
Ms. X mysteriously failed to report the<br />
theft to the police at the me and several<br />
months later, when the arti t asked for his<br />
paintin back, as he had donated it to a<br />
children’s charity based in New York, she<br />
informed him that his paintin had been stolen. Both suspects claim that they are<br />
completely innocent. The Dallas police have a reputation for being thorough and<br />
together with the FBI we have every confide ce they will recover the paintin . In<br />
the mean me the arti t has generously donated another of his 100 only Cosmic X<br />
paintin s to the charity.<br />
The arti t’s fin erprints and DNA are in all of his 100 originals so I doubt it will<br />
appear on the market for sale as it is easily authenti ated. The arti t who no longer<br />
resides in the USA o en left paintin s with various people he knew. This paintin<br />
which is unique from the others as it references a Hollywood icon will hopefully be<br />
returned to the arti t soon.<br />
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THESE BOOTS, AS WITH HIS 100 COSMIC ‘X’<br />
PAINTINGS ARE ROCKING THE WORLD!<br />
Interna onally renowned charisma c<br />
and rebel American ar st Jack<br />
Armstrong, who founded the modern<br />
art style “Cosmic “x”, has created the<br />
world’s most expensive boots; the<br />
“Cosmic Cowboy Boots” with a price<br />
tag of $6M. He painted on his own<br />
pris ne 1968 Tony Lama boots, a<br />
brand worn by Harry S. Truman and<br />
favoured by many other Presidents.<br />
Armstrong’s latest Cosmic X project<br />
follows the successes of his “Cosmic<br />
Starship Harley”, the world’s most<br />
expensive Harley Davidson V-Rod,<br />
unveiled and sold for over $3M in 2010<br />
and now back on the market for $10M,<br />
and his “Cosmic Star Cruiser”, a bicycle<br />
launched in 2014 at the pres gious Big<br />
Boys Toys, Dubai. With a price tag of<br />
$3M it att acted the wealthiest people<br />
in the world and huge media coverage.<br />
Jack called “The Last Wizard” by his friend Andy Warhol proved it is possible to sell<br />
million dollar art without the top galleries and auc on houses he railed against for years.<br />
Around 50% of all art is sold privately today because of the high costs of these<br />
establishments. His ‘sti king the boots in’ is perhaps his ul mate statement against<br />
what he called the art cartel. The majority of talented ar sts never break through the<br />
establishment wall while those few favoured ar sts become mul -millionaires. He<br />
has promised to help more talented ar sts break through this barrier.<br />
He vowed to paint only 100 canvases in his life me. His unique Cosmic X style of art<br />
combines extreme colors and textures with words that magically appear throughout<br />
each pain ng when viewed at di erent angles, his bold signature o en in the center.<br />
Around half of his collecti n is already in private hands. Listed amongst his collectors<br />
are such names as Alice Walton the Walmart Billionaire, Narenda Patel, a world-famous<br />
architect, Donny York of the group Sha Na Na and Michel Polnareff the famous French<br />
singer. His collectors are not eager to sell. This scarcity factor guarantees an<br />
ever-increasing price.<br />
A movie and a PBS documentary are already planned about his life and in 2020<br />
Armstrong is set to launch the world’s most expensive automobile with a price tag of<br />
$100M along with a line of fashionwear. There really is no stopping him!!<br />
These ‘Cosmic Cowboy Boots’ may not be to everyone’s taste and you may ask why<br />
paint them in the fi st place? “Well Van Gogh painted boots but never his own. Not<br />
many people know that”. These boots may not be meant for walking but are certainly<br />
meant for talking! Armstrong has defin tely scored another FIRST!<br />
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THIS SIGNATURE PAINTING, THE LARGEST MASTERPIECE BY<br />
COSMIC X ARTIST JACK ARMSTRONG, MAY WELL BE THE BARGAIN<br />
OF THE 21st CENTUARY WHEN COMPARED WITH BASQUIAT,<br />
POLLACK, PICASSO OR ROTHKO. WITH ONLY 100 PAINTINGS IN THE<br />
WORLD, THIS SIGNATURE PAINTING COULD EASILY SURPASS THE<br />
$110.5 MILLION PRICE PAID FOR A BASQUIAT.<br />
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Coming soon will be the ul mate luxury hyper-car – the $100<br />
million Armstrong-Buga . World renowned ar st Jack<br />
Armstrong has plans to paint the most expensive car in<br />
history with a Buga It will offi ally be named “Armstrong-<br />
Buga Cosmic X” or also known as the “Cosmic Dream<br />
Star.” This rare blend of exo c auto and crea ve art will truly become a Masterpiece!” The<br />
Armstrong-Buga will easily become the world’s most expensive Art-Car. Jack Armstrong<br />
stated, “I will break the World Record with an Art-Car, the same way I broke the world price<br />
records for the Most Expensive Motorcycle, Bicycle and Cowboy Boots on Earth.”<br />
The Life of Luxury is proud to announce that the Armstrong-Buga supercar will be<br />
exhibited in China in 2020. The custom art-car will feature Armstrong’s special, “cosmic”<br />
blue paint. Can you imagine the overwhelming interest that industry lovers will have? Once<br />
unveiled, the Armstrong-Buga will be seen in Macau, by millions of car and art fans.<br />
There have been rumors prior to this announcement that Jack Armstrong would feature a<br />
Rolls-Royce as his Art-Car. Well, we can confir directly from Mr. Armstrong that he has<br />
chosen to feature a Buga . The reason he gave is, “I will paint a Buga out of respect: for<br />
the family of ar sts, which is Buga ”<br />
But what Buga will be used? We can confirm that a top secret, new model Buga model<br />
will be announced at the Macau exhibit opening. How exciting is t at?<br />
The Galaxy Macau casino resort is a luxurious property located on the Cotai Strip in Macau,<br />
China. It opened in 2011 with much fanfare. As a result, this opulent hotel quickly become<br />
the place to stay in Macau. This vibrant city is a short one hour ferry ride from nearby Hong<br />
Kong. Macau features a UNESCO World Heritage site city centre. Visitors will experience a<br />
rich blend of both Chinese and Portuguese culture.<br />
In addi on, Macau is widely known as a world-leading gaming and entertainment locale.<br />
Over 30 million visitors arrive every year to take part in non-stop actio . Gambling revenues<br />
are incredible and even dominate what Las Vegas brings in each year.<br />
Armstrong says “Modern art is more free than anything on earth and cannot be controlled<br />
by any historic system’s of art, that have been put into place, to control arti ts and markets<br />
with ‘curated – art’ that destroys the ‘originality.’ That is the essence of great art and<br />
vision.”<br />
14
I’m used to hearing older Sha Na Na<br />
fans say “That was my era” about the early rock n’ roll<br />
years. I’ve understood in a limited way, but now that I’m<br />
old enough to savor my own coming of mature age and<br />
its historical se ng, the ripening of post-World War Two<br />
American con dence and our winning the Cold War sit<br />
more solidly as de ning elements than the overly<br />
revered Woodstock fes val or the classic movie Grease,<br />
both of which I performed in. More than cultural landmarks<br />
like those, the defi ing impression I have of “my<br />
era” has turned out to be the freewheeling exuberance<br />
of expression that I witnessed in New York City and Los<br />
Angeles as the century ripened. There was never a lack<br />
of remarkable crea ve characters in either of the towns<br />
where I spent most of my me.<br />
I had bought into the hippy sandals earthiness of the 60s<br />
completely enough to nd myself repulsed by the “me<br />
decade” garishness that came prancing in with the disco<br />
gli er of the 70s. Yet the 1970s turned out to be the<br />
decade for television stardom and peak earnings for me<br />
and my rock n’ roll group ShaNaNa. It was also when<br />
the “misery index” worsened for my countrymen so as to<br />
bring their rejecti g Jimmy Carter’s presidency and<br />
favoring Ronald Reagan’s claim that big government was<br />
“the problem.” Then followed the “morning in America”<br />
1980s with their economic growth and the disintegra on<br />
of Soviet Communism, and it was evident that “the<br />
American century” could turn out to be, despite all the<br />
sporadic heartbreak and disorder, actually a valid TULE<strong>MAG</strong>IC<br />
descrip ve phrase. Freewheeling ambi on, excess, spiritual revivalism, and controversy were so common that<br />
we hardly took no ce, and the flam oyance in the art of a young Jack Armstrong (even in the entourage of a<br />
celebrated Andy Warhol) could go un-no ced too. It caught my no ce as a compelling embodiment of the<br />
spirit of the unfolding age that is “my era” only here in the new century.<br />
Seems to me, what we collect in art should refl ct the frivolous side of ourselves along with the more<br />
pensive. I fi d both, to my surprise, in Jack Armstrong’s work. His pain ngs’ stunning richness of hue, before<br />
we knew computer graphics would be able to mimic it ever in our life me, typifi d our late-cold-war-era<br />
brashness. His casually hiding his own name in plain sight, and hiding some li le-understood names of other<br />
things in plain site- - it’s a playful permissiveness that’s just bulls-eye on that brashness. And in my pain ng,<br />
tled “Tulemagic,” I fi d a glimpse of it that requires a gaze, again and yet again. I enjoy how it always<br />
provokes friends’ reac ons, and for my own part, I’ve even recorded a song about it.<br />
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ALL ENQUIRIES 1 (888) 647-8274 or outside USA +1(347) 674-4246<br />
‘The Last Wizard’, American ar st Jack Armstrong's largest and most complex pain ng<br />
measuring 6 . X 4 . is not only his grandest pain ng in scale but also in the complete mastery<br />
of the Cosmic X art form he founded in 1999. ‘Cosmic X’ requires the ar st to become the art<br />
they are crea ng by feeling no separa on between the art and the ar st.<br />
Armstrong said, “When I saw Basquiat's huge blue red & yellow skull in 1982, at it's comple on,<br />
I knew it would be regarded as one of his best works, and it later sold for $110.5M Dollars. The<br />
Last Wizard pain ng is approx. the same dimensions as Jean-Michel's ‘Un tled’”. Armstrong<br />
adds, “I feel the same way about ‘The Last Wizard’ as Pollock must have felt about his pain ng<br />
‘Blue Poles’, ‘Guernica’ to Picasso, ‘Orange’ by Rothko, and ‘Un tled’ by Basquiat.”<br />
Completed in 1952, Blue Poles was acquired by the Na onal Gallery of Art In<br />
Australia in 1973, amid much outcry among the Australian public that the<br />
government would purchase, a modern abstract pain ng at just over 1 Million<br />
dollars in Australian currency. Today the pain ng is conserva vely es mated at<br />
300 Million to over 1 Billion Dollars.<br />
h ps://en.wikipedia.org/wiki/Blue Poles,<br />
22
ALL ENQUIRIES 1 (888) 647-8274 or outside USA +1(347) 674-4246<br />
Picasso's Guernica could guarantee 1 Billion Dollars today at<br />
auction. htt s://en.wikipedia.org/wiki/Guernica_(Picasso)<br />
1961"Orange Red Yellow,"<br />
Rothko sold for $87M. in 2012.<br />
Rothko maintained the social<br />
revoluti nary ideas of his youth<br />
throughout his life. In particul r<br />
he supported arti ts' total<br />
freedom of<br />
expression, which<br />
he felt was compromised by the<br />
market. This belief o en put him<br />
at odds with the art world<br />
establishment, leading him to<br />
publicly respond to criti s, and<br />
occasionally refuse commissions,<br />
and sales exhibi ons.<br />
23
ALL ENQUIRIES 1 (888) 647-8274 or outside USA +1(347) 674-4246<br />
JEAN-MICHEL BASQUIAT (1960-1988),<br />
“Un tled,” 1982 (acrylic, spray paint and oil<br />
s ck on canvas, 72 1/8 x 68 1/8 inches).<br />
Bids began at $57 million. Sold for<br />
$110,487,500 (including fees)<br />
“Tonight, Jean-Michel Basquiat entered the<br />
pantheon of ar sts whose works have<br />
commanded prices over $100 million,<br />
including Picasso, Giacome<br />
htt s://en.everybodywiki.com/Cosmic_Extensionalism_%22X%22<br />
, Bacon, and<br />
Warhol,” said Grégoire Billault, head of the<br />
Contemporary Art Dept. at Sotheby’s NY.<br />
“This extraordinary canvas from 1982 has<br />
broken so many benchmarks …but those of<br />
us lucky enough to have been in it’s<br />
presence will only remember it’s awesome<br />
power. To think that it was created by a<br />
virtually unknown 21-year old & was<br />
dismissed by cri cs, is humbling.”<br />
SOLD $110.5 MILLION<br />
"In the future "The Last<br />
Wizard" will break the<br />
records of his peers, but<br />
the power of all these<br />
larger than life works will<br />
remain as the signposts<br />
that signaled the future<br />
of art." - Jack Armstrong<br />
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Welcome to the summer issue of<br />
Art & Museum Magazine. This<br />
publica on is a supplement of<br />
Family O e Magazine, the only<br />
dedicated Family O e<br />
publica on with a readership of<br />
over 46,000 comprising some of<br />
the wealthiest people in the<br />
world and their advisors. Many<br />
have a keen interest in the arts,<br />
some are connoisseurs and other<br />
are investors.<br />
Many people do not understand<br />
the role of a Family O e.<br />
This is tradi onally a private<br />
wealth management o e that<br />
handles the investments, governance<br />
and legal regula on for a<br />
wealthy family, typically those<br />
with over £100m+ assets.<br />
Art & Museum is distributed with Family O e Magazine and will also appear at many of the largest fi ance,<br />
banking and Family O e Events around the World.<br />
Media Kit. - www.ourmediakit.co.uk<br />
We recently formed several strategic partnerships with organisa ons including The Bri sh Art Fair and<br />
Russian Art Week.<br />
Prior to this we have a ended and covered many other interna onal art fairs and exhibi ons for our other<br />
publica ons.<br />
We are very recep ve to new ideas for stories and editorials. We understand that one person’s art is<br />
another person’s poison, and this is one of the many ideas we will explore in the upcoming issues of ‘Art &<br />
Museum’.<br />
www.familyoffice g.com<br />
www.art-museum.com<br />
32
INTERVIEW WITH JACK ARMSTRONG submitted by<br />
DEREK CULLEY printed in Family Office magazine<br />
ART & MUSEUM summer 2017 edition. Derek Culley<br />
discovered world famous artist ‘DAMIEN HIRST’.<br />
by Derek Culley<br />
Jack Armstrong has been painti g since<br />
he was ve years old. A er arriving in<br />
NYC in 1979,he became friends with<br />
Andy Warhol, Jean-Michel Basquiat &<br />
Keith Haring. In 1984, a er turning<br />
down a solo exhibition with Castelli<br />
Gallery in NYC, Armstrong has<br />
maintained his revolutiona y an -dealer<br />
stance and has never been represented<br />
by a dealer. Between 1994 & 1997;<br />
Armstrong repurchased his early work<br />
and destroyed all painti gs, vowing to<br />
create a new style for Modern /<br />
Contemporary Art. The years 1999 &<br />
2000 witnessed Armstrong founding<br />
“cosmic Extensionalism” revolutioni ing<br />
Modern / Contemporary Art.<br />
Armstrong’s use of extreme colour,<br />
texture and light with words magically<br />
appearing at di erent angles in the<br />
paint, allow viewers to experience the<br />
universal cosmic energy, coexisti g with<br />
Armstrong’s belief In inter-planetary<br />
and mul -dimensional Extensionalism.<br />
This is the foundation of Armstrong’s<br />
revolu onary work. Armstrong’s total<br />
output to date features 100 Cosmic<br />
33
Extensionalism Painti gs coupled with<br />
the most valuable motorcycle and art<br />
bicycle in the world. Plans for <strong>2019</strong><br />
include the introduc on of the most<br />
expensive art automobile in the world.<br />
Other projects include the staging of<br />
the “Cosmic Firebird Ballet” Dance<br />
Concert choreographed by Valerie<br />
Mahabio plus 3 limited editio coffe<br />
table art books published by<br />
Armstrong.<br />
A & M:<br />
How did growing up in Midwestern<br />
United States form and inform your<br />
ambition and dreams?<br />
Jack Armstrong:<br />
Growing up in Omaha in the 1960’s<br />
made you dream. You dreamed of<br />
California, Paris, Rome, Sydney, New<br />
York, London and all the Islands you<br />
saw in travel magazines. Rio to Bali to<br />
Asia.. The dreams took me to the most<br />
beautifu beaches in the world and the<br />
great citie with the fin st art<br />
museums. I dreamed to paint what<br />
my hero Van Gogh did not have me<br />
to achieve, in the ten year period in<br />
which he worked. Omaha was a ca le<br />
stockyard town on the Missouri River<br />
with one gem of a museum named<br />
“The Jocelyn” Museum of Art. It was a<br />
pink granite palace that shone in the<br />
sun, given to the city by one famous<br />
local family that changed my life. I saw<br />
the old west masterpieces of Charles<br />
Russell and Frederic Remington and<br />
the treasures of the Pharaoh “King<br />
Tut.” But Van Gogh changed my life<br />
when I viewed his self-portrait and<br />
discovered myself. The golden mask of<br />
the “boy” King of Egypt seen thru the<br />
eyes of a seven-year-old boy was<br />
34
magical. Inside a Greek Temple, on the Plains of<br />
Nebraska, this Museum became my center of magic &<br />
wonder, that would inspire my journey to nd the<br />
“center” of my own magic, & somewhere, somehow,<br />
inside of myself, create a revolu on of light and color<br />
that would shine as brightly in modern art, as Tut’s<br />
golden & turquoise mask, shone in his me.<br />
A&M:<br />
Andy Warhol, Keith Haring, Jean-Michel Basquiat are<br />
modern icons and readily recognised major ar sts. As<br />
a contemporary and friend of above ar sts; you have<br />
shunned Galleries and destroyed early works, focusing<br />
on producing the “100 Pain ngs”. Please discuss.<br />
Jack Armstrong:<br />
Having fi ished the 100 pain ngs in 2010 that I<br />
promised myself would be my total output as an ar st<br />
a er I repurchased my early work in the 1990’s and<br />
burned all of the pain ngs, I was re-imagining my early<br />
dream of pain ng a Harley Davidson. My early works<br />
were no di erent than what had been achieved by<br />
thousands of ar sts, even though I was the only ar st<br />
ever in NYC, that explained to the most important<br />
Modern Art Dealer on the planet : Leo Castelli, that I<br />
was “not” ready for the solo show he off red me, in<br />
his Castelli Gallery in New York (1984). .“My friend<br />
Andy Warhol did not speak to me for months. Only<br />
Larry Rivers & Keith Haring understood. Roy<br />
Lichtenstein and Jean-Michel Basquiat were in their<br />
own world, and I went deeper into my own<br />
non-dealer, non-gallery experience.”<br />
A&M:<br />
Did this route to independence a ect your ability for<br />
ar stic recogni on and successful sales?<br />
Jack Armstrong:<br />
It depends on which yard stic s one uses to measure<br />
success. Nicknamed “The Last Wizard” by Andy<br />
Warhol; who saw my work as more alchemy than art; I<br />
have followed “a true” path in the execu on of my<br />
dreams and works. Amongst my peers and cri cs, I am<br />
respected. Collectors have acknowledged my work. For<br />
example, Walmart’s Alice Walton, Narendra Patel and<br />
Michel Polnare , are interna onally known collectors<br />
of my art works. My work is among the highest and<br />
fastest apprecia ng artwork in the world. My pain ngs<br />
have been sold for 700 thousand dollars to Six million<br />
dollars. As I point out above, my no-dealer and<br />
independent approach to collectors and cri cs have<br />
increased the value and uniqueness’ of my “100<br />
Pain ngs”. Cosmic Extensionalism is my religion.<br />
A &M:<br />
I am intrigued as to what inspires you and what<br />
“Cosmic Extensionalism” is about.<br />
Jack Armstrong:<br />
My goal and my muse, which is really the child s ll lost<br />
in wonder among pain ngs: in the “Muse”- ums of my<br />
youth, was to create something that people had never<br />
experienced before. “Cosmic Extensionalism” (founded<br />
1999 – 2000) which I named the style I paint in, is<br />
more than a new school of art. It is everything I<br />
dreamed possible long ago. Art dealers, gallery<br />
personnel, curators and art history experts today<br />
speak in gibberish. This is what they have been taught.<br />
Vincent Van Gogh taught us thru his life and work that<br />
the “Essence of life itself” only becomes visible when<br />
we believe in the power of our “own” crea on. So all<br />
the theories of people who do not create “anything”<br />
except meaningless words to try and explain the<br />
“meaning” in many pain ngs that have no meaning &<br />
are hung on walls in the great dealer galleries and<br />
museums of the world, supported by “words” to<br />
somehow validate their “worth” in terms of price and<br />
significa ce seems absurd when considering Van Gogh.<br />
For me “Cosmic Extensionalism” is universal magic, a<br />
cosmic connecti n to the energy of trillions of galaxy’s<br />
and Channelling that power to everything we do or<br />
create. It is a universal essence of life, colour, magic<br />
and light.<br />
A&M:<br />
Why did you choose to immortalise the Harley<br />
Davidson to feature among your art signatures of a life<br />
me’s work?<br />
Jack Armstrong:<br />
Seeing my firs Corve e’s in 1963-1966 was the same<br />
for a young boy, as looking at masterpieces in art<br />
museums. American dreams, on wheels. Exo c bright<br />
coloured paint, the fastest, most beau ful cars I<br />
thought, in the world. Listening to “Engines” that<br />
sounded like thunder-gods became our religion. Harley<br />
Davidson’s from that period were radical icons of lust.<br />
The ul mate, piece of motor art. In the annual custom<br />
auto and motorcycle shows in the Omaha Coliseum,<br />
the velvet ropes surrounding these wondrous<br />
machines became my friends, as I clung to the so<br />
ropes with small hands and large dreams, I whispered<br />
to myself, “someday I will paint the nest art motor<br />
cycle and Sports car, in the world.” Gazing at those<br />
incredible machines, it seemed to me then, and stil<br />
today, which everyone who ever painted no ma er<br />
how high the level of perfecti n that they always went<br />
deep, in the sense of thickness of paint. No ma er<br />
35
how many layers of paint & lacquer that<br />
were applied, in the end, no ma er what<br />
style and colour or pa ern, all the same<br />
technique. Flat surface, without any<br />
texture, surface height or “explosion” of<br />
madness. Beauty without magic. I saw<br />
the possibility then, (in 1963) which was<br />
still true in 2010 when I fi ally achieved<br />
my childhood dream of pain ng what I<br />
believe to be, the most revolu onary art<br />
motorcycle in history. In 2009 I painted<br />
one shining new, Harley V-Rod that<br />
would become my art signature, of a<br />
life me’s work, & planning that could<br />
take me into Vincent’s cosmic world and<br />
beyond. Van Gogh was the firs ar st in<br />
history to create Revoluti nary art.<br />
A&M:<br />
The Cosmic Starship Harley Davidson sold<br />
for $3million (2012) and was followed by<br />
the $3 million Cosmic Star Cruiser ART-<br />
Bike. What are your plans for the future?<br />
Jack Armstrong:<br />
I am in the planning stage to create the<br />
most expensive car in history, A “COSMIC<br />
ROLLS ROYCE” To be released for <strong>2019</strong>,<br />
model to be announced, but it will be “a<br />
cosmic starcloud-conver ble, price<br />
$100M. U.S. Dollars, with its own “English<br />
made” - <strong>2019</strong> “Cosmic Triumph” Motorcycle,<br />
(model also to be announced.)<br />
Addi onally, this $6 Million Dollar Art<br />
Motorcycle will be mounted on its own<br />
custom clear plasti trailer and a ached<br />
to the car. I choose to open this fi al<br />
exhibi on of my career, combining the<br />
Classic Bri sh Marks of Rolls & Triumph,<br />
which will be an “Ar s c Triumph” for<br />
the public and for art. Crea ng magic<br />
things change when positive things are<br />
done. Art is the most powerful force of<br />
change in the world as is love. Triumph<br />
and Rolls are pieces of art, and a er they<br />
are magically transformed into rolling art<br />
objects through the vision of “Cosmic<br />
Extensionalism”, perhaps I can then<br />
change the life of other’s who need<br />
assistance. I would also men on that 1/2<br />
of the sale price of the Rolls and the<br />
Triumph will be donated to children’s<br />
charity of our choice to be announced.<br />
Because children; are truly the world’s<br />
future.<br />
Source of Biographical Data & answers:<br />
“Cosmic Dream Machine”<br />
www.jackarmstrongar st.com<br />
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These 3 pieces listed above are my personal Triptych of Art, as the Cosmic Harley Davidson was<br />
completed in 2010, exactly 500 Years a er the famous "Garden of Earthly Delights" triptych was<br />
completed by Bosch; in about 1510, now in the Prado Museum, Madrid. "Hieronymus Bosch,<br />
The Garden of Earthly Delights, oil<br />
on oak panels, 220 cm × 389 cm<br />
(87 in × 153 in), Museo del Prado,<br />
Madrid. Each of the 3 objects listed,<br />
were the seminal moments in the<br />
history of my art form ‘Cosmic<br />
Extensionalism’. I feel the same<br />
way about the Cosmic Starship<br />
Harley, and the Cosmic Firebird<br />
Pain ng, works of art standing<br />
alongside Warhol Naked that will<br />
always defin me, and my art<br />
creation ’Cosmic Extensionalism’.<br />
All 3 objects of my art, are each the<br />
refle tion f the same dream, and the same arti ti truth. Through Warhol, and all the visionary<br />
arti ts that came before him, I understood that to be the best, you simply could not conform or<br />
alter your vision, to please a dealer or a buyer of my work, because the conformity would have<br />
destroyed the unique imagination behind the masterpiece. Once imagina on is removed, there<br />
is no masterpiece. This is true in all the arts, from the Individual art masterpiece, to fil , music,<br />
and poetry-No Passion, No Imagination No Fire, No Art. There is nothing of value In any object<br />
that was created without passion. There have been millions of painti gs created and sold<br />
throughout ti e, and the few, that achieve the highest amounts at auc on, become<br />
extraordinary examples of the arti t's work, and the most uniquely powerful objects in our<br />
ti e.<br />
The rarest ones, most refl cti e of the arti t's life and style, become famous. When you say the<br />
words, Van Gogh, you think of Starry Night, or Yellow, Sun Flowers. The art would not exist<br />
without Vincent's creation. But Vincent would not have existed, as we now understand him,<br />
had he not created the seminal piece of his "new" style of art, which is his masterpiece, "Starry<br />
Night." Today, at auction it would bring 1 Billion Dollars or more, because it is pain ng that most<br />
closely defin s and identifie the arti t in the art he created.<br />
40
There are many rare things in the world, that have rarity yet are similar to other things of the<br />
same type. My art and my life have only one meaning, and it can be discovered my passion for<br />
my work, which is refle ted in my writi g about my art. My art is not rare because there are few<br />
things like it available on the market, but is rare because there is nothing else on earth like it.<br />
When I’m dead and when my art will sell for 1 Billion Dollars each, for Warhol Naked, The<br />
Cosmic Firebird, or the Cosmic Harley, people that want to own a piece of the arti t's soul, who<br />
created the masterpiece,<br />
will gladly exchange money<br />
for that rare thing that can<br />
never be duplicated, the<br />
original masterpiece that is<br />
most closely associated<br />
with the arti t in questio ,<br />
and the pieces that will<br />
always reign supreme at<br />
auction<br />
These 3 art objects, will<br />
conti ue to defin my art<br />
and my life's work, Cosmic<br />
Extensionalism, long a er I<br />
am gone, and my triptych is<br />
wri en about. If I had not<br />
imagined and then created<br />
these 3 objects, I strongly<br />
feel, my work as an arti t<br />
would still be unknown, as<br />
my connection with cosmic<br />
energy, had not been<br />
completely realized, before<br />
2001, and my crea on of<br />
Warhol Naked. In the ti e period of 2001-2010, every great painti g including the Cosmic<br />
Motorcycle, was produced. The Cosmic Firebird Pain ng Created in 2007, my middle period of<br />
Cosmic Extensionalism, for which I later produced 2 ballets done for film is the culmination of<br />
everything I realized in my cosmic connecti n to the universal magic in art. It is nothing like any<br />
painti g, before or a er, and that is what places it exactly in the same category as Warhol<br />
Naked. Indeed there will never be anything like either one of these originals.<br />
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The third and fi al piece of the puzzle of my Art Triptych, symbolizing the completio of my<br />
cosmic art journey of discovery, and celebration happened; when the painti g became alive in<br />
the lights of hundreds of photographers from<br />
around the world. The most iconic art motorcycle<br />
in history, the "Cosmic" Harley Davidson, literally<br />
came to life on Oct. 21, 2010, In Los Angeles. It<br />
has never been duplicated by any arti t, or any<br />
corporation and it will remain iconic as long as<br />
people conti ue to value original concepts that<br />
were unique, in capturing the a ention of the<br />
enti e world, and not singularly only the arti ti<br />
world. I believe the bold and exotic coloring and<br />
shading of paint used in the creation of these<br />
three individual pieces, actually become one, “A<br />
Triptych”, when viewed with the Harley in the<br />
center of the other originals. By channeling this<br />
unlimited cosmic energy into my work, and in<br />
creati g cosmic extensions inside my art, is the<br />
true foundation of cosmic X, a kind of art magic,<br />
that Warhol recognized when he said my work<br />
was more alchemy than art, thus dubbing me,<br />
“The Last Wizard of art," in 1985. I had been<br />
experimenti g with this energy and magic my<br />
enti e life until it formed into a cogniti e reality<br />
late in 1999, with "The Cosmic Style of Art," that I<br />
am known for today.<br />
Vincent Van Gogh painted for the last ten years of<br />
his life and died at 37 years old. His seminal<br />
painti gs were done in the last 2 years of his life. My work has taken over forty years to reach<br />
my peak. The best were created between 2000-2010. Exactly ten years, like Vincent.<br />
"These 3 pieces are the rarest in symbolic "essence," of art and arti t, and each contain the<br />
meaning inside Cosmic Extensionalism Art, 1. Imagined, 2. De ned, and 3. Created, in the 21st<br />
Century. When you see them, you will believe in them also. This is my Triptych of Cosmic Art,<br />
and its Extensionalism into the cosmic magic, discovered in my work, by Warhol.<br />
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This original painti g displayed on the front cover and opposite page is acrylic on canvas was<br />
painted in 2001. "WARHOL NAKED" is my seminal piece in the creation of Cosmic<br />
Extensionalism a technique of art I founded in 1999, and is individually exclusive to myself.<br />
Mr. Warhol taught me that individuality can overcome all opposition in life and in art. When you<br />
create something so unique and di erent from the norm, it takes years for the criti s and the art<br />
world to catch up with proper recognitio and pricing, and embrace the new concept. But as<br />
with all great arti ts as Van Gogh, Gauguin, Modigliani and Warhol, the pricing rises with the<br />
rarity and uniqueness, of the process used. This is what makes the creation of a masterpiece<br />
possible. The boldness to paint a vision that has never been painted before of something so<br />
di erent and rare, that it becomes iconic, and represents the essence of the arti t; and his work.<br />
"Warhol Naked" is my vision of a man who created "soup-cans" as art, and was laughed at by<br />
the criti s of his ti e, until he transformed himself into the most iconic-fig re in the art world.<br />
Most of the soup cans did not sell when they were fi st exhibited in 1962 at $100. The lack of<br />
sales did not deter Warhol, in 1962, as it did not deter Van Gogh or Modigliani earlier.<br />
Visionaries are free from the false concept of acceptance or non-acceptance of themselves, in<br />
their ideas, or in their creations, which limits all non visionaries into accepti g conventiona<br />
thinking instead of creati g revolutiona y ideas and arti ti invention<br />
By the ti e of his death in 1987 Warhol was the most famous arti t in the world. The bright,<br />
bold, deeply shaped red, shining surface of the painti g over the blue gra ti cosmic art wri en<br />
with the word “Warhol”, in "bright-white" acrylic paint, symbolizes Warhol's triumph over the<br />
art system of his ti e.<br />
Now everything is considered art, and everyone an arti t, because of Andy's work, in art and<br />
film. Now everyone is a fil maker. The freedom to be human, and try everything is the most<br />
basic human right in the world. Warhol was the liberator, of the human arti ti experience. He<br />
was my friend, and this painti g symbolizes my breakthrough in my own process of becoming<br />
the best individually unique arti t of my ti e, and shunning all art systems. Cosmic<br />
Extensionalism Art is a direct result of the freedom I experienced when discussing art and<br />
technique, with the most famous pop arti t in the world, Andy Warhol.<br />
WARHOL NAKED IS MY FINEST WORK, AND IN THE FUTURE WILL BE A LASTING ICON OF THIS<br />
CENTURY'S MOST APPRECIATED, NEW ART. EVERYTHING IS POSSIBLE FOR THE VISIONARY<br />
WHO BELIEVES IN THEIR OWN WORK, AND THEIR OWN VISION. MOST PEOPLE AND ARTISTS<br />
IN THE WORLD ARE TAUGHT TO BELIEVE IN THE VISION OF OTHERS. THE ORIGINAL PAINTING<br />
"WARHOL NAKED" IS MY FINEST VISION.<br />
ARTIST JACK ARMSTRONG, September 14, 2017<br />
43
Legendary arti t Cosmic Jack Armstrong is the last surviving member of the NYC 80s art clique<br />
of Andy Warhol, Basquiat and Keith Haring. It was Andy Warhol who nicknamed Cosmic Jack<br />
"The Last Wizard." Due to his mentor Warhol's friendship with Michael Jackson, Cosmic Jack<br />
had the rare opportunity to spend ti e with the King of Pop and he even taught MJ how to<br />
paint. Warhol connecti g MJ to Cosmic Jack was a natural fit, since Armstrong is related to<br />
moonwalker Neil Armstrong, the fi st man to walk on the moon. As an arti t, Armstrong is<br />
renowned as the creator of the painti g style "Cosmic Existenti lism", a groundbreaking type<br />
of modern art like Picasso's "Cubism" and Warhol's "Pop Art." Armstrong's "Cosmic Harley"<br />
which was hand painted in his cosmic existentialism style, sold for 10 million dollars and was<br />
named "The Most Expensive Motorcycle in the World." Jack is the only modern ar st who is<br />
known to have only 100 painti gs for sale which makes his painti gs extremely rare and<br />
sought a er. Armstrong's painti gs are valued at over 200 million dollars and expected to rise.<br />
The world's richest woman, Alice Walton, (Walmart) owns two of Cosmic Jack Armstrong's<br />
painti gs. Art experts of FOM in London have stated that Cosmic Jack is one of the fin st<br />
arti ts of his genera on; which includes Basquiat, Lichtenstein, Keith Haring and Warhol.<br />
The STARmeter on<br />
imdb is related to<br />
the number of hits<br />
on the imdb page<br />
entry which this<br />
week was up by<br />
some 7.69 million.<br />
An excellent and<br />
phenominal<br />
result. WOW!<br />
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