SG MAG APRIL 2019 MAIN_2

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Coming soon will be the ul mate luxury hyper-car – the $100 million Armstrong-Buga . World renowned ar st Jack Armstrong has plans to paint the most expensive car in history with a Buga It will offi ally be named “Armstrong- Buga Cosmic X” or also known as the “Cosmic Dream Star.” This rare blend of exo c auto and crea ve art will truly become a Masterpiece!” The Armstrong-Buga will easily become the world’s most expensive Art-Car. Jack Armstrong stated, “I will break the World Record with an Art-Car, the same way I broke the world price records for the Most Expensive Motorcycle, Bicycle and Cowboy Boots on Earth.” The Life of Luxury is proud to announce that the Armstrong-Buga supercar will be exhibited in China in 2020. The custom art-car will feature Armstrong’s special, “cosmic” blue paint. Can you imagine the overwhelming interest that industry lovers will have? Once unveiled, the Armstrong-Buga will be seen in Macau, by millions of car and art fans. There have been rumors prior to this announcement that Jack Armstrong would feature a Rolls-Royce as his Art-Car. Well, we can confir directly from Mr. Armstrong that he has chosen to feature a Buga . The reason he gave is, “I will paint a Buga out of respect: for the family of ar sts, which is Buga ” But what Buga will be used? We can confirm that a top secret, new model Buga model will be announced at the Macau exhibit opening. How exciting is t at? The Galaxy Macau casino resort is a luxurious property located on the Cotai Strip in Macau, China. It opened in 2011 with much fanfare. As a result, this opulent hotel quickly become the place to stay in Macau. This vibrant city is a short one hour ferry ride from nearby Hong Kong. Macau features a UNESCO World Heritage site city centre. Visitors will experience a rich blend of both Chinese and Portuguese culture. In addi on, Macau is widely known as a world-leading gaming and entertainment locale. Over 30 million visitors arrive every year to take part in non-stop actio . Gambling revenues are incredible and even dominate what Las Vegas brings in each year. Armstrong says “Modern art is more free than anything on earth and cannot be controlled by any historic system’s of art, that have been put into place, to control arti ts and markets with ‘curated – art’ that destroys the ‘originality.’ That is the essence of great art and vision.” 14
I’m used to hearing older Sha Na Na fans say “That was my era” about the early rock n’ roll years. I’ve understood in a limited way, but now that I’m old enough to savor my own coming of mature age and its historical se ng, the ripening of post-World War Two American con dence and our winning the Cold War sit more solidly as de ning elements than the overly revered Woodstock fes val or the classic movie Grease, both of which I performed in. More than cultural landmarks like those, the defi ing impression I have of “my era” has turned out to be the freewheeling exuberance of expression that I witnessed in New York City and Los Angeles as the century ripened. There was never a lack of remarkable crea ve characters in either of the towns where I spent most of my me. I had bought into the hippy sandals earthiness of the 60s completely enough to nd myself repulsed by the “me decade” garishness that came prancing in with the disco gli er of the 70s. Yet the 1970s turned out to be the decade for television stardom and peak earnings for me and my rock n’ roll group ShaNaNa. It was also when the “misery index” worsened for my countrymen so as to bring their rejecti g Jimmy Carter’s presidency and favoring Ronald Reagan’s claim that big government was “the problem.” Then followed the “morning in America” 1980s with their economic growth and the disintegra on of Soviet Communism, and it was evident that “the American century” could turn out to be, despite all the sporadic heartbreak and disorder, actually a valid TULE<strong>MAG</strong>IC descrip ve phrase. Freewheeling ambi on, excess, spiritual revivalism, and controversy were so common that we hardly took no ce, and the flam oyance in the art of a young Jack Armstrong (even in the entourage of a celebrated Andy Warhol) could go un-no ced too. It caught my no ce as a compelling embodiment of the spirit of the unfolding age that is “my era” only here in the new century. Seems to me, what we collect in art should refl ct the frivolous side of ourselves along with the more pensive. I fi d both, to my surprise, in Jack Armstrong’s work. His pain ngs’ stunning richness of hue, before we knew computer graphics would be able to mimic it ever in our life me, typifi d our late-cold-war-era brashness. His casually hiding his own name in plain sight, and hiding some li le-understood names of other things in plain site- - it’s a playful permissiveness that’s just bulls-eye on that brashness. And in my pain ng, tled “Tulemagic,” I fi d a glimpse of it that requires a gaze, again and yet again. I enjoy how it always provokes friends’ reac ons, and for my own part, I’ve even recorded a song about it. 15
Page 2 and 3: Copyright. All material appearing i
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Page 6 and 7: Nino barre e is an art dealer, cri
Page 8 and 9: The biopic about the modern cosmic
Page 10 and 11: A POLICE REPORT WAS FILED EARLY MAY
Page 12 and 13: THIS SIGNATURE PAINTING, THE LARGES
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Page 22 and 23: ALL ENQUIRIES 1 (888) 647-8274 or o
Page 24 and 25: ALL ENQUIRIES 1 (888) 647-8274 or o
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Page 32 and 33: Welcome to the summer issue of Art
Page 34 and 35: Extensionalism Painti gs coupled wi
Page 36 and 37: how many layers of paint & lacquer
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Page 40 and 41: These 3 pieces listed above are my
Page 42 and 43: The third and fi al piece of the pu
Page 44 and 45: Legendary arti t Cosmic Jack Armstr

SG MAG APRIL 2019 MAIN_2

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