COSMIC100_MAG_FINAL_for yumpu

“This means that only 75 paintings can ever be available for collectors and
investors. Art is a great hedge against currency devaluation and is truly
portable wealth. Armstrong’s art is uniquely based on his ownership of the
magical Black Star Sapphire of Queensland and is destined to rise sharply
in value in the near future”.
This magazine is the first and only catalogue of the amazing 100 paintings of Cosmic ‘X’ artist and art rebel Jack
Armstrong. No other printed hard copy catalogues all his art and it is an essential compendium and reference work for
any collector or art investor. Cosmic ‘X’ 100 includes letters by the artist regarding his 3 seminal pieces, his Triptych. It
also includes critiques and other information which will help the reader gain a better insight to the artist and his special
form of art. Star Global has been promoting Armstrong’s art since 2010 when I conceived the Million Dollar Harley
Davidson as a branding tool, similar to Warhol’s soup can. My aim was to connect with a larger and more current
generation and this rocketed Armstrong to super art star status. Our clients have over 30 original paintings and we are
committed to continue promoting these valuable works. Their value will, without doubt, surpass the astronomical prices
recently paid for the works of his friends and contemporaries such as Warhol, Basquiat and others.
Armstrong, now in his sixties and in declining health, is still as outspoken as he has been since his early years as
a model in New York, where he befriended such iconic artists as Andy Warhol, Jean Michel Basquiat, and Keith Haring.
Indeed, Warhol gave him the name “The Last Wizard”. Despite his brashness he has a deep passion for art and the
millions of unknown artists who never break through the wall of the “art cartel”, his name for the major art galleries
and auction houses. They alone decide who is to be or not to be the celebrated and wealthiest artists and promote
them through encouraging factories that copy rather than produce original art. Armstrong has shown that an artist can
break through this cartel wall with self-promotion and persistence. Armstrong’s Cosmic Starship Harley continues to
receive world wide publicity some 8 years after its launch. It is now well entrenched in the public psyche. Armstrong has
never participated in an auction or gallery showing yet has made high-value private sales.
As a young boy on a visit to the Smithsonian Museum with his mother, Armstrong was fixated by a unique
stone, the largest known black star sapphire (733-carat ), the Black Star Sapphire of Queensland. He promised his
mother that one day he would buy the stone and he did. The stone spoke to him and told him he would be a famous
artist and to paint only 100 paintings and never another. Whilst there are numerous media articles, Armstrong is not as
famous as his astronaut relative, Neil Armstrong. He is, nevertheless, the subject of “The Last Wizard” a movie, starring
Damian Chapa and Eric Roberts, due for release in 2020. Damian met Armstrong, in the 1980s at a Warhol party,
introduced by Details Magazine’s brilliant writer Stephan Saban. The trailer is available on You Tube –THE LAST WIZARD.
With only 100 paintings in the entire world these colorful, multilayered, acrylic on canvas paintings, are tightly
held by savvy collectors who bought directly from the artist himself or through Star Global International. The art has
Armstrong’s finger prints, thumb prints, hand prints, and DNA in all of the 100 paintings, a process cleverly devised by
the artist to thwart forgeries and each owner has a specially signed certificate of authenticity. However, Star Global
worked closely with the artist for 12 years and authenticate all of Armstrong’s paintings. 25 paintings are destined to
form the basis of a museum which the artist will open soon. This means that only 75 paintings can ever be available for
collectors and investors. Armstrong aims to help other talented artists showcase their works.
About 80 of his paintings are 24” x 36” before framing and the others are larger and vary in size. Prices in
2017 range from $1,950,000 rising steeply to $50,000,000, the price of his largest piece “The Last Wizard”. Alice
Walton, billionaire owner of Crystal Bridges Museum of American Art, architect Narenda Patel, French superstar Michel
Polnareff, Donny York of iconic pop group Sha Na Na, and Eric Roberts are listed among his famous collectors.
A 4-page interview with Armstrong recently appeared in “Art & Museum”, the insert magazine in The Family
Office Elite magazine for HNWI’s, and is reproduced inside this magazine. This was submitted by Derek Culley, the artist
who first discovered Damien Hirst. Since there can only ever be 100 Cosmic X originals, owning an original Armstrong is
not only exclusive but also beautiful to have in one’s home. Art is a hedge against currency devaluation and is truly
portable wealth. Armstrong’s art is uniquely based on his ownership of the magical Black Star Sapphire of Queensland
and is destined to rise sharply in value in the near future.
2

Nino barrette is an art dealer, critic and lecturer
with over 20 years of experience curating
international exhibits and museum collections.
The art of Jack Armstrong is fascinating to many and the question commonly asked of all pure abstract
expressionist painters is “what makes this special?”
Well of course, the response to that question is complicated and different for everyone as art is
subjective so there is no right or wrong answer when interpreting the artist’s work.
Jack Armstrong’s “Cosmic Extensionalism” is a new step forward in the evolution of art forms and it is
often compared to the style that many associate with Jackson Pollock or his peers of the day. Is that a
fair comparison?
In my opinion, the two artists share a commonality in that they both are very deliberate in their
technique with nothing random or accidental occurring in their paintings. Furthermore, the works have a
rhythmic dance of intertwining paint and they share an audacity and boldness to break new ground
separating themselves from the masses. Accepting those similarities, one next has to recognize the
significant differences between the artists’ works to gain an understanding and appreciation of the
unique art style that Jack Armstrong has created.
Jacks “Cosmic Art” is driven by a mystical force that emanated from the “Black Star Sapphire of
Queensland.” That force compelled him to create a very specific number of paintings in a very specific
manner. Each of the 100 works is deliberately constructed with the lines, figures and movements
creating the appearance of an accidental, non-compositional technique. The mysterious messages and
words found in the lines of the painting are purposefully and strategically placed to deliver the cosmic
energy within the painting to the viewer.
The few owners of Jack’s “Cosmic Art” have a common experience in that they all mention an
indescribable energy that seemingly vibrates from the paintings as they get near for viewings. This
energy washes over them and creates a feeling of rejuvenation and vibrancy.
With Pollack, it was likely a motivation to create artwork that separated him from the traditional style of
the day and to that end he created his signature “drip and splash” or “action painting” technique, which
was very avant-garde and revolutionized what was considered “fine art”.
Regardless of opinion on what is and what is not “art”, Jack Armstrong is an exceptionally talented artist
that has developed a unique body of work that is extremely finite and cannot be repeated or duplicated.
The fact that collectors, investors, other artists and critics value the works in the millions speaks volumes
to the current value and future speculative value of the artwork. All past fame and accolades aside,
Jack’s art speaks for itself and much like it’s brash creator… it speaks very loudly to those that can hear
its message.
3

PAGE
DESCRIPTION
1 FRONT COVER - WARHOL NAKE - SEMINAL PIECE
2 FROM THE CEO OF STAR GLOBAL. INTERNATIONAL INC.
3 ART CRITIC NINO BARRETTE
4 CONTRIBUTIONS & CONTENTS
5 THE EDITOR - TIMES SQUARE, NY BELEVE IT OR NOT
6 LIFE OF LUXURY - $100 MILLION ARMSTRONG BUGATTI
7 ALICE WALTON - FOUNDER CRYSTAL BRIDGES MUSEUM
8 DONNY YORK - COLLECTOR
9 “THE LAST WIZARD” - DAMIAN CHAPA & ERIC ROBERTS
10-38 COSMIC X PAINTINGS OF JACK ARMSTRONG
39 COLLAGE OF ARMSTRONG’S HATTRICK NEW YORK
40-44 ART & MUSEUM INTERVIEW WITH DEREK CULLEY
45 ORIGINAL HARLEY DAVIDSON PROMO 2010
46-73 COSMIC X PAINTINGS OF JACK ARMSTRONG
74-77 TRIPTYCH - JACK ARMSTRONG COSMIC ‘X’ ARTIST
78 NEW BOOKS - THE PHILOSOPHY OF A UNIVERSAL BEING
79 NEW BOOK CODE X LANCH 2020
80-82 THE LAST WIZARD - $50 MILLION DOLLARS
Copyright. All material appearing is
Cosmic 100 is copyright and may not be
reproduced without permission in writing
from the editor.
83 STAR GLOBAL MAIN PROMOTIONS
84 BACK COVER – HUMANITY_COSMIC
4

There can’t be many artists
who can boast a retrospective
in New York’s Times Square!
Jack Armstrong, creator of
Cosmic ’X’ art, who only ever
painted 100 canvasses, and
can never paint another, is
now digitally exposed big
time, right above the main
entrance of Ripley’s, Times
Square. He eschewed the
galleries and auction houses
and demonstrated to the art
world that an artist can make
it to the top on his own. He
bypassed their high fees and
used modern technology to
show his exquisitely colorful
work to the world. Like his uncle Neil who took that daring first step on the moon and famously said
“One small step for man and one giant leap for mankind”, Jack has taken one giant leap for artists. His
message is in the true spirit of the American dream. “He who dares wins.” This retrospective follows his
Million Dollar Harley Davidson, the most expensive motorcycle in the world. A few years later his Cosmic
ARTbike, caused a $3 million sensation, in Dubai at the Big Boys Toys prestigious exhibition. He then
firmly put his footprints on the world to complete his hattrick, when he painted his very own Tony Lama
Cowboy Boots and launched them at a whopping $6 million. He plans to open his own museum and
support only artists who produce their own work and not art reproduced by factory artists. He has also
announced an art car at $100 million for 2020. Jack claims that one day his works will sell at prices that
surpass the recent record prices paid for Warhol and Basquiat. Jack was friends with both artists in the
80’s and was named “The Last Wizard” of art by Warhol. A movie about his life staring Damian Chapa
and Eric Roberts, is due for release in 2020.
Thierry Ehrmann founder and CEO of Artprice said, “The attractive returns on art over the last few years
have outperformed many other investments and the Art Market has become an independent, liquid
and efficient market on all continents.”
This is reassurance that Art is truly portable wealth and a hedge against monetary devaluation. Over 50 of
Jack’s paintings are in the private hands of savvy collectors and investors. Scarcity equals value and the
acknowledged value of his art is destined to soar over the next few years.
5

Coming soon will be the ultimate luxury hyper-car – the $100 million Armstrong-Bugatti. World renowned
artist Jack Armstrong has plans to paint the most expensive car in history with a Bugatti. It will officially be
named The Armstrong-Bugatti Cosmic X or also known as the “Cosmic Dream Star”. This rare blend of
exotic auto and creative art will truly become a Masterpiece!. The Armstrong-Bugatti 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-Bugatti 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-Bugatti 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 confirm directly from Mr. Armstrong that he has chosen to feature a Bugatti. The
reason he gave is, “I will paint a Bugatti, out of respect for the family of artists, Bugatti.” But what Bugatti
will be used? We can confirm that a secret, new model Bugatti model will be announced at the Macau
exhibit opening. How exciting is that?
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 center. Visitors will experience a rich blend of both Chinese and Portuguese
culture. In addition, 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 action. 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
systems of art, that have been put into place, to control artists and markets with ‘curated – art’ that
destroys the ‘originality.’ That is the essence of great art and vision.”
6

7

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 setting, the ripening of post-World War Two
American confidence and our winning the Cold War sit
more solidly as defining elements than the overly
revered Woodstock festival or the classic movie Grease,
both of which I performed in. More than cultural
landmarks like those, the defining 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 creative characters in either
of the towns where I spent most of my time.
I had bought into the hippy sandals earthiness of
the 60s completely enough to find myself repulsed by
the “me decade” garishness that came prancing in with
the disco glitter 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 rejecting 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
disintegration 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 descriptive phrase. Free-wheeling ambition, excess, spiritual revivalism, and controversy were so
common that we hardly took notice, and the flamboyance in the art of a young Jack Armstrong (even in the
entourage of a celebrated Andy Warhol) could go un-noticed too. It caught my notice 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 reflect the frivolous side of ourselves along with the more
pensive. I find both, to my surprise, in Jack Armstrong’s work. His paintings’ stunning richness of hue, before
we knew computer graphics would be able to mimic it ever in our lifetime, typified our late-cold-war-era
brashness. His casually hiding his own name in plain sight, and hiding some little-understood names of other
things in plain site - - it’s a playful permissiveness that’s just bulls-eye on that brashness. And in my painting,
titled “Tulemagic,” I find a glimpse of it that requires a gaze, again and yet again. I enjoy how it always
provokes friends’ reactions, and for my own part, I’ve even recorded a song about it.
8

The biopic about the modern cosmic artist is entitled “The Last Wizard” (A nickname given to Jack by
his close friend the world renowned artist Andy Warhol). Chapa said Details Magazine's brilliant writer
Stephan Saban introduced him to Warhol in New York during the 80’s. "It was there I also met a young
up-and-coming model, Jack Armstrong."
Jack Armstrong later became a very wealthy and controversial artist.
Chapa also stated, “When I heard of the recent tragic but compelling story of Jack Armstrong’s
controversial life, and my memories of Warhol/Armstrong in the 80’s, I began to get impassioned by
the project.”
Controversial filmmaker Damian Chapa also produced 'El Padrino' in which Chapa directed Academy
Award winners Faye Dunaway, Jennifer Tilly, and Gary Busey, along with Academy Award nominee
Brad Dourif. Chapa is no stranger to biopics; Chapa is the only filmmaker in the world who has
produced and directed films on the life of Marlon Brando and Roman Polanski.
Chapa won the best director and best drama awards for "Brando Unauthorized" at the New York
International Film/Video Fest 2010. He also won the Best Production Award for his "Polanski
Unauthorized" at Indy Fest. Recently, he was nominated for two NAFCA awards for his film "The DSK
Story".
In an interview, Chapa said, "Alleged felon/artist Jack Armstrong is right up my biopic alley."
Star Global International, who was the creative force behind the “Million Dollar Harley” (painted by
Armstrong), has been hired as a consultant for the movie.
Many people don’t know that Jack Armstrong was the nephew of the famous astronaut Neil
Armstrong, the first man to walk on the moon.
Chapa said, "The film will be surreal at moments surrounding the strange story of how Jack Armstrong
as a child spoke to the "Black Star of Queensland," a black, sapphire jewel that was in the Smithsonian
Museum for years. The Black Star spoke back to Jack Armstrong telling him he was going to be the
most famous cosmic artist ever." Chapa said he, "won’t shy away from the rape allegations that led to
the arrest of the artist Jack Armstrong." The production begins on November 22nd, 2016, in New York
City.
9

10

11

12

13

14

15

16

17

18

19

20

21

22

23

24

25

26

27

28

29

30

JACKZEN
2

3

4

5

JACKZEN
6

7

8

9

Welcome to the summer issue
of Art & Museum Magazine.
This publication is a supplement
of Family Office Magazine, the
only dedicated Family Office
publication with a readership
of over 46,000 comprising some
of the wealthiest people in the
world and their advisors. Many
have a keen interest in the arts,
some are connoisseurs, other
are investors.
Many people do not understand
the role of a Family Office.
This is traditionally a private
wealth management office that
handles all of the investments,
governance and legal regulation
for a wealthy family, typically
those with over £100m assets.
Art & Museum is distributed with Family Office Magazine and will also appear at many of the largest finance,
banking and Family Office Events around the World.
Media Kit. - www.ourmediakit.co.uk
We recently formed several strategic partnerships with organisations including The British Art Fair and
Russian Art Week.
Prior to this we have attended and covered many other international art fairs and exhibitions for our other
publications.
We are very receptive to new ideas for stories and editorials. We understand that one person’s art is
another person’s poison, and this is one of the many ideas we will explore in the upcoming issues of ‘Art &
Museum’.
www.familyofficemag.com
www.art-museum.com
10

INTERVIEW WITH JACK ARMSTRONG submitted by
DEREK CULLEY printed in Family Office magazine
ART & MUSEUM summer 2017 edition. Derek Culley
discovered world famous artist ‘DAMIEN HIRST’.
by Derek Culley
Jack Armstrong has been painting since
he was five years old. After arriving in
NYC in 1979, he became friends with
Andy Warhol, Jean-Michel Basquiat and
Keith Haring. In 1984, after turning
down a solo exhibition with Castelli
Gallery in New York City, Armstrong has
maintained his revolutionary anti-dealer
stance and has never been represented
by a dealer. Between 1994 and 1997,
Armstrong repurchased his early work
and destroyed all paintings, vowing to
create a new style for Modern/
Contemporary Art. The years 1999 and
2000 witnessed Armstrong founding
“Cosmic Extensionalism” revolutionizing
Modern/Contemporary art. Armstrong’s
use of extreme colour, texture and light
with words magically appearing at
different angles in the paint, allow
viewers to experience the universal
cosmic energy (Cosmic ‘X’), coexisting
with Armstrong’s long held belief In
inter-planetary and multi-dimensional
Extensionalism. This is the foundation of
Armstrong’s revolutionary work.
Armstrong’s total canvas output to date
features 100 Cosmic Extensionalism
Paintings
11

coupled with the most valuable
motorcycle and art bicycle in the
world. Plans for 2019 include the
introduction of the most expensive art
automobile in the world. Other
projects include the staging of the
“Cosmic Firebird Ballet” Dance
Concert choreographed by Valerie
Mahabio. In addition to the acrylic on
canvas paintings Armstrong himself
published 3 limited edition coffee
table art books.
A & M:
How did growing up in Midwestern
United States form and inform your
ambitions and dreams?
Jack Armstrong:
Growing up in Omaha in the 1960’s
made you dream. You dreamed of
California, Paris, Rome, Sydney, New
York, London and all the Islands you
saw in travel magazines. Rio to Bali to
Asia.. The dreams took me to the most
beautiful beaches in the world and the
greatest cities with their finest art
museums. I dreamed to paint what
my hero Van Gogh did not have time
to achieve, in the ten year period in
which he worked. Omaha was a cattle
stockyard town on the Missouri River
with one gem of a museum named
“The Jocelyn” Museum of Art. It was
a pink granite palace that shone in the
sun, given to the city by one famous
local family that changed my life. I saw
the old west masterpieces of Charles
Russell and Frederic Remington and
the treasures of the Pharaoh “King
Tut.” But Van Gogh changed my life
when I viewed his self-portrait and
discovered myself. The golden mask of
the “boy” King of Egypt seen through
the eyes of a seven-year-old boy was
12

Magical, inside a Greek Temple, on the Plains of
Nebraska, this Museum became my center of magic
and wonder, that would inspire my journey to find the
“center” of my own magic, and somewhere, somehow,
inside of myself, create a revolution of light and color
that would shine as brightly in modern art, as Tut’s
golden and turquoise mask, shone in his time.
A&M:
Andy Warhol, Keith Haring, Jean-Michel Basquiat are
modern icons and readily recognised major artists. As
a contemporary and friend of above artists; you have
shunned Galleries and destroyed early works, focusing
on producing the “100 Paintings”. Please discuss.
Jack Armstrong:
Having finished the 100 paintings in 2010, that I
promised myself would be my total output as an artist
after I repurchased my early work in the 1990’s and
burned all of the paintings, I was re-imagining my early
dream of painting a Harley Davidson. My early works
were no different than what had been achieved by
thousands of artists, even though I was the only artist
ever in NYC, that explained to the most important
Modern Art Dealer on the planet, Leo Castelli, that I
was “not” ready for the solo show he offered me, in
his Castelli Gallery in New York (1984). My friend Andy
Warhol did not speak to me for months. Only Larry
Rivers and Keith Haring understood. Roy Lichtenstein
and Jean-Michel Basquiat were in their own world, and
I went deeper into my own non-dealer, non-gallery
experience.
A&M:
Did this route to independence affect your ability for
artistic recognition and successful sales?
Jack Armstrong:
It depends on which yard sticks one uses to measure
success. Nicknamed “The Last Wizard” by Andy
Warhol; who saw my work as more alchemy than art; I
have followed “a true” path in the execution of my
dreams and works. Amongst my peers and critics, I am
respected. Collectors have acknowledged my work. For
example, Walmart’s Alice Walton, Narendra Patel and
Michel Polnareff, are internationally known collectors
of my art works. My work is among the highest and
fastest appreciating artwork in the world. My paintings
have been sold for 700 thousand dollars to Six million
dollars. As I point out above, my no-dealer and fully
independent approach to collectors and critics have
increased the value and uniqueness of my “100
Paintings”. Cosmic Extensionalism is my religion.
A&M:
I am intrigued as to what inspires you and what
“Cosmic Extensionalism” is about.
Jack Armstrong:
My goal and my muse, which is really the child still lost
in wonder among paintings: in the “Muse”- ums of my
youth, was to create something that people had never
experienced before. “Cosmic Extensionalism” (founded
1999 – 2000) which I named the style I paint in, is
more than a new school of art. It is everything I
dreamed possible long ago. Art dealers, gallery
personnel, curators and art history experts today
speak in gibberish. This is what they have been taught.
Vincent Van Gogh taught us thru his life and work that
the “Essence of life itself” only becomes visible when
we believe in the power of our “own” creation. So all
the theories of people who do not create “anything”
except meaningless words to try and explain the
“meaning” in many paintings that have no meaning
and are hung on walls in the great dealer galleries and
museums of the world, supported by “words” to
somehow validate their “worth” in terms of price and
significance seems absurd when considering Van Gogh.
For me “Cosmic Extensionalism” is universal magic, a
cosmic connection to the energy of trillions of galaxy’s
and Channeling that power to everything we do or
create. It is a universal essence of life, colour, magic
and light.
A&M:
Why did you choose to immortalise the Harley
Davidson to feature among your art signatures of a life
time’s work?
Jack Armstrong:
Seeing my first Corvette’s in 1963-1966 was the same
for a young boy, as looking at masterpieces in art
museums. American dreams, on wheels. Exotic bright
coloured paint, the fastest, most beautiful cars I
thought, in the world. Listening to “Engines” that
sounded like thunder-gods became our religion. Harley
Davidson’s from that period were radical icons of lust.
The ultimate, piece of motor art. In the annual custom
auto and motorcycle shows in the Omaha Coliseum,
the velvet ropes surrounding these wondrous
machines became my friends, as I clung to the soft
ropes with small hands and large dreams, I whispered
to myself, “someday I will paint the finest art motor
cycle and Sports car, in the world.” Gazing at those
incredible machines, it seemed to me then, and still
today, which everyone who ever painted no matter
how high the level of perfection that they always went
deep, in the sense of thickness of paint. No matter
how many layers of paint and lacquer that were
applied, in the end, no matter what style and colour or
pattern, all the same technique. Flat surface, without
any texture, surface height or “explosion” of madness.
13

Beauty without magic.
I saw the possibility then, (in 1963) which was
still true in 2010 when I finally achieved my
childhood dream of painting what I believe to
be, the most revolutionary art motorcycle in
history. In 2009 I painted one shining new,
Harley V-Rod that would become my art
signature, of a lifetime’s work, and planning
that could take me into Vincent’s cosmic
world and beyond. Van Gogh was the first
artist in history to create Revolutionary art.
A&M:
The Cosmic Starship Harley Davidson sold for
$3million (2012) and was followed by the $3
Million Cosmic Star Cruiser ARTBike. What
are your plans for the future?
Jack Armstrong:
I am in the planning stage to create the most
expensive car in history, A “COSMIC ROLLS
ROYCE” To be released for 2019, model to be
announced, but it will be “a cosmic star cloud
convertible, price $100M. U.S. Dollars, with
its own “English made” - 2019 “Cosmic
Triumph” Motorcycle, (model also to be
announced.) Additionally, this $6 Million Art
Motorcycle will be mounted on its own
custom clear plastic trailer and attached to
the car. I choose to open this final exhibition
of my career, combining the Classic British
Marks of Rolls & Triumph, which will be an
“Artistic Triumph” for the public and for art.
Creating magic things change when positive
things are done. Art is the most powerful
force of change in the world as is love.
Triumph and Rolls are pieces of art, and after
they are magically transformed into rolling
art objects through the vision of “Cosmic
Extensionalism”, perhaps I can then change
the life of other’s who need assistance. I
would also mention that 1/2 of the sale price
of the Rolls and the Triumph will be donated
to children’s charity of our choice to be
announced. Because children are truly the
world’s future.
Source of Biographical Data & answers:
“Cosmic Dream Machine”
www.jackarmstrongartist.com
14

15

16

17

18

19

20

21

22

23

24

25

26

27

2

3

4

5

6

7

8

9

10

11

12

13

14

15

16

These 3 pieces listed above are my personal Triptych of Art, as the Cosmic Harley Davidson was
completed in 2010, exactly 500 Years after the famous "Garden of Earthly Delights" triptych was
completed by Bosch; in about 1510, now in the Prado Museum, Madrid. "Hieronymus Bosch,
The Garden of Earthly Delights, oil
on oak panels, 220 cm × 389 cm
(87 in × 153 in), Museo del Prado,
Madrid. Each of the 3 objects listed,
were the seminal moments in the
history of my art form ‘Cosmic
Extensionalism’. I feel the same
way about the Cosmic Starship
Harley, and the Cosmic Firebird
Painting, works of art standing
alongside Warhol Naked that will
always define me, and my art
creation, ’Cosmic Extensionalism’.
All 3 objects of my art, are each the
reflection of the same dream, and the same artistic truth. Through Warhol, and all the visionary
artists that came before him, I understood that to be the best, you simply could not conform or
alter your vision, to please a dealer or a buyer of my work, because the conformity would have
destroyed the unique imagination behind the masterpiece. Once imagination is removed, there
is no masterpiece. This is true in all the arts, from the Individual art masterpiece, to film, music,
and poetry-No Passion, No Imagination, No Fire, No Art. There is nothing of value In any object
that was created without passion. There have been millions of paintings created and sold
throughout time, and the few, that achieve the highest amounts at auction, become
extraordinary examples of the artist's work, and the most uniquely powerful objects in our
time.
The rarest ones, most reflective of the artist's life and style, become famous. When you say the
words, Van Gogh, you think of Starry Night, or Yellow, Sun Flowers. The art would not exist
without Vincent's creation. But Vincent would not have existed, as we now understand him,
had he not created the seminal piece of his "new" style of art, which is his masterpiece, "Starry
Night." Today, at auction it would bring 1 Billion Dollars or more, because it is painting that most
closely defines and identifies the artist in the art he created.
17

There are many rare things in the world, that have rarity yet are similar to other things of the
same type. My art and my life have only one meaning, and it can be discovered my passion for
my work, which is reflected in my writing about my art. My art is not rare because there are few
things like it available on the market, but is rare because there is nothing else on earth like it.
When I’m dead and when my art will sell for 1 Billion Dollars each, for Warhol Naked, The
Cosmic Firebird, or the Cosmic Harley, people that want to own a piece of the artist's soul, who
created the masterpiece,
will gladly exchange money
for that rare thing that can
never be duplicated, the
original masterpiece that is
most closely associated
with the artist in question,
and the pieces that will
always reign supreme at
auction.
These 3 art objects, will
continue to define my art
and my life's work, Cosmic
Extensionalism, long after I
am gone, and my triptych is
written about. If I had not
imagined and then created
these 3 objects, I strongly
feel, my work as an artist
would still be unknown, as
my connection with cosmic
energy, had not been
completely realized, before
2001, and my creation of
Warhol Naked. In the time period of 2001-2010, every great painting including the Cosmic
Motorcycle, was produced. The Cosmic Firebird Painting Created in 2007, my middle period of
Cosmic Extensionalism, for which I later produced 2 ballets done for film, is the culmination of
everything I realized in my cosmic connection to the universal magic in art. It is nothing like any
painting, before or after, and that is what places it exactly in the same category as Warhol
Naked. Indeed there will never be anything like either one of these originals.
18

The third and final piece of the puzzle of my Art Triptych, symbolizing the completion of my
cosmic art journey of discovery, and celebration, happened; when the painting became alive in
the lights of hundreds of photographers from
around the world. The most iconic art motorcycle
in history, the "Cosmic" Harley Davidson, literally
came to life on Oct. 21, 2010, In Los Angeles. It
has never been duplicated by any artist, or any
corporation, and it will remain iconic as long as
people continue to value original concepts that
were unique, in capturing the attention of the
entire world, and not singularly only the artistic
world. I believe the bold and exotic coloring and
shading of paint used in the creation of these
three individual pieces, actually become one, “A
Triptych”, when viewed with the Harley in the
center of the other originals. By channeling this
unlimited cosmic energy into my work, and in
creating cosmic extensions inside my art, is the
true foundation of cosmic X, a kind of art magic,
that Warhol recognized when he said my work
was more alchemy than art, thus dubbing me,
“The Last Wizard of art," in 1985. I had been
experimenting with this energy and magic my
entire life until it formed into a cognitive reality
late in 1999, with "The Cosmic Style of Art," that I
am known for today.
Vincent Van Gogh painted for the last ten years of
his life and died at 37 years old. His seminal
paintings were done in the last 2 years of his life. My work has taken over forty years to reach
my peak. The best were created between 2000-2010. Exactly ten years, like Vincent.
"These 3 pieces are the rarest in symbolic "essence," of art and artist, and each contain the
meaning inside Cosmic Extensionalism Art, 1. Imagined, 2. Defined, and 3. Created, in the 21st
Century. When you see them, you will believe in them also. This is my Triptych of Cosmic Art,
and its Extensionalism into the cosmic magic, discovered in my work, by Warhol.
19

This original painting displayed on the front cover and opposite page is acrylic on canvas was
painted in 2001. "WARHOL NAKED" is my seminal piece in the creation of Cosmic
Extensionalism a technique of art I founded in 1999, and is individually exclusive to myself.
Mr. Warhol taught me that individuality can overcome all opposition in life and in art. When you
create something so unique and different from the norm, it takes years for the critics and the art
world to catch up with proper recognition and pricing, and embrace the new concept. But as
with all great artists as Van Gogh, Gauguin, Modigliani and Warhol, the pricing rises with the
rarity and uniqueness, of the process used. This is what makes the creation of a masterpiece
possible. The boldness to paint a vision that has never been painted before of something so
different and rare, that it becomes iconic, and represents the essence of the artist; and his work.
"Warhol Naked" is my vision of a man who created "soup-cans" as art, and was laughed at by
the critics of his time, until he transformed himself into the most iconic-figure in the art world.
Most of the soup cans did not sell when they were first exhibited in 1962 at $100. The lack of
sales did not deter Warhol, in 1962, as it did not deter Van Gogh or Modigliani earlier.
Visionaries are free from the false concept of acceptance or non-acceptance of themselves, in
their ideas, or in their creations, which limits all non visionaries into accepting conventional
thinking instead of creating revolutionary ideas and artistic invention.
By the time of his death in 1987 Warhol was the most famous artist in the world. The bright,
bold, deeply shaped red, shining surface of the painting over the blue graffiti cosmic art written
with the word “Warhol”, in "bright-white" acrylic paint, symbolizes Warhol's triumph over the
art system of his time.
Now everything is considered art, and everyone an artist, because of Andy's work, in art and
film. Now everyone is a film maker. The freedom to be human, and try everything is the most
basic human right in the world. Warhol was the liberator, of the human artistic experience. He
was my friend, and this painting symbolizes my breakthrough in my own process of becoming
the best individually unique artist of my time, and shunning all art systems. Cosmic
Extensionalism Art is a direct result of the freedom I experienced when discussing art and
technique, with the most famous pop artist in the world, Andy Warhol.
WARHOL NAKED IS MY FINEST WORK, AND IN THE FUTURE WILL BE A LASTING ICON OF THIS
CENTURY'S MOST APPRECIATED, NEW ART. EVERYTHING IS POSSIBLE FOR THE VISIONARY
WHO BELIEVES IN THEIR OWN WORK, AND THEIR OWN VISION. MOST PEOPLE AND ARTISTS
IN THE WORLD ARE TAUGHT TO BELIEVE IN THE VISION OF OTHERS. THE ORIGINAL PAINTING
"WARHOL NAKED" IS MY FINEST VISION.
ARTIST JACK ARMSTRONG, September 14, 2017
20

“WHEN LOVE IS PRACTICED AS A RELIGION ON EARTH, THE
UNIVERSE WILL SHOW ITS TRUE PARADIGM AND THE MATRIX
YOU ARE CONDITIONED TO BELIEVE IN WILL VANISH WITH
THE FEAR IT CREATES ON EARTH AND IN THE MIND.”
21

I graffiti my samo’ Life...in the shadow of nirvana,
Where I exist away from rules and thug life, creating stars on walls.
We dreamed to become one, in NYC, smiling,
For the camera flash, street kid soon; had stacks of cash,
But not cosmic enough for a radiant child from the brightest star.
So, you left us wondering why you hurt more than any other,
Hard you said without your mother, the drugs and the fame, could never smother,
The talent that you knew, just grew.
And now the new kids emulate ya, and ain't never gonna catch ya.
Cause when I used to see ya, that was your dream.
And now your shining down among us, creating magic from above us.
Samo' love you showed us, before you went away.
So, I want you to remember, one winter freezing in December,
As we were painting, with no gloves on, saw Michael Jackson rolling by,
You ran behind his limo and he saw you and smiled.
And now he's dancing and your painting, to create new forms, of rhythm
Samo's now forgiven
You wanted it... this way,
And every time I look up, I shake your hand,
And then begin,to paint all the dreams you left, so far away.
22

ALL ENQUIRIES 1 (888) 647-8274 or outside USA +1(347) 674-4246
‘The Last Wizard’, American artist Jack Armstrong's largest and most complex painting
measuring 6 ft. X 4 ft. is not only his grandest painting in scale but also in the complete mastery
of the Cosmic X art form he founded in 1999. ‘Cosmic X’ requires the artist to become the art
they are creating by feeling no separation between the art and the artist.
Armstrong said, “When I saw Basquiat's huge blue red & yellow skull in 1982, at it's completion,
I knew it would be regarded as one of his best works, and it later sold for $110.5M Dollars. The
Last Wizard painting is approx. the same dimensions as Jean-Michel's ‘Untitled’”. Armstrong
adds, “I feel the same way about ‘The Last Wizard’ as Pollock must have felt about his painting
‘Blue Poles’, ‘Guernica’ to Picasso, ‘Orange’ by Rothko, and ‘Untitled’ by Basquiat.”
Completed in 1952, Blue Poles was acquired by the National Gallery of Art In
Australia in 1973, amid much outcry among the Australian public that the
government would purchase, a modern abstract painting at just over 1 Million
dollars in Australian currency. Today the painting is conservatively estimated at
300 Million to over 1 Billion Dollars.
https://en.wikipedia.org/wiki/Blue Poles,
23

ALL ENQUIRIES 1 (888) 647-8274 or outside USA +1(347) 674-4246
Picasso's Guernica could guarantee 1 Billion Dollars today at
auction. https://en.wikipedia.org/wiki/Guernica_(Picasso)
1961"Orange Red Yellow,"
Rothko sold for $87M. in 2012.
Rothko maintained the social
revolutionary ideas of his youth
throughout his life. In particular
he supported artists' total
freedom of
expression, which
he felt was compromised by the
market. This belief often put him
at odds with the art world
establishment, leading him to
publicly respond to critics, and
occasionally refuse commissions,
and sales exhibitions.
24

ALL ENQUIRIES 1 (888) 647-8274 or outside USA +1(347) 674-4246
JEAN-MICHEL BASQUIAT (1960-1988),
“Untitled,” 1982 (acrylic, spray paint and oil
stick on canvas, 72 1/8 x 68 1/8 inches).
Bids began at $57 million. Sold for
$110,487,500 (including fees)
“Tonight, Jean-Michel Basquiat entered the
pantheon of artists whose works have
commanded prices over $100 million,
including Picasso, Giacometti, Bacon, and
Warhol,” said Grégoire Billault, head of the
Contemporary Art Dept. at Sotheby’s NY.
“This extraordinary canvas from 1982 has
broken so many benchmarks …but those of
us lucky enough to have been in it’s
presence will only remember it’s awesome
power. To think that it was created by a
virtually unknown 21-year old & was
dismissed by critics, is humbling.”
SOLD $110.5 MILLION
https://www.theguardian.com/
artanddesign/2017/may/19/jeanmichel-basquiat-110m-sothebys
https://en.everybodywiki.com/Cosmic_Extensionalism_%22X%22
"In the future "The Last
Wizard" will break the
records of his peers, but
the power of all these
larger than life works will
remain as the signposts
that signaled the future
of art." - Jack Armstrong
25

ALL ENQUIRIES 1 (888) 647-8274 or outside USA +1(347) 674-4246
100/1000
STAR GLOBAL INTERNATIONAL INC. ACKNOWLEDGES
ARTIST JACK ARMSTRONG, FOR HIS EXCELLENT
CONTRIBUTIONS TO THIS SPECIAL MAGAZINE.
26

27