Cheeming Boey

Link to Cheeming Boey's Flikr

THE PRICE OF MINT CONDITION

The world is divided into those who seal their comic books in mylar containers and those who do not. This division is more fundamental than politics, race, religion or gender.

At last week's San Diego Comic-Con, collectors with the foresight to preserve their comics in mint condition reaped huge economic benefits. Comic books that had been hermetically sealed, unread, in climate controlled environments sold for hundreds of times the price of battered, well read comics.

Still, I'm baffled by those who moaned, "if only I had kept my comics in mint condition I could be rich now." I've never seen any comic book, no matter how perfect its condition, sell for enough to buy back those missed hours spent reading comics under a shady tree during our childhood.

In fact, as we become older and richer, and our pleasures become more complex, that youthful form of ecstasy slips further and further away. Its distance in the rear view mirror seems to increase exponentially in proportion to the value of the car we are driving. We can't take it with us, even in that Mint 10.0 copy of Detective Comics no. 27 vacuum sealed in a lucite block on the front seat next to us.

Still, you have to respect the fact that people collect comic books, like they collect other art, for all kinds of reasons. I took good care of my own comics because I respected their magic pictures and stories and wanted to visit them again and again. Today they are no longer in mint condition but they do have the additional glow that all things acquire from being seasoned by love over a long period of time.

I was particularly interested by the numerous comics business services at Comic-Con. Rating and scoring experts. Insurers. Appraisers. Economic consultants promising to fit your comic book "inside an archival-quality interior well, which is then sealed [through a combination of compression and ultrasonic vibration] within a transparent capsule" where you can no longer see the drawings.

This may make economic sense for some. For me, the best economist remains the great Ralph Waldo Emerson who said, "economy does not consist in saving the coal but in using the time while it burns."

Brett Manning

http://www.brettisagirl.com/

Lapidating Modern Art

A few days ago I witnessed an excessively sad event. A huge group of merchants was thrown out (by the police) of a hall in the center of Warsaw (which they had been renting for several years), and the events turned violent and nasty, with throwing of stones and fights and tear gas and general havoc.
Although it did look like some sort of incomprehensible flash mob or other performative party, one could hardly squeeze it into the “new art” category, were it not for one significant detail: the commercial hall is to be substituted by the Museum of Modern Art. Of course, the city authorities claim the undoing of this most hideous hall is necessary for the construction of a second line of the metro, but the fact is: the temple of 90’s-style small, bad quality commerce will be replaced by the temple of contemporary art.
The obvious implication of this week’s events is: the Museum of Modern Art will arguably be the most despised building in Poland. So far, the only (extremely heated) debates about its character, name (Contemporary or Modern?), and, of course, its shape, interested only fairly elite circles. The building itself raised most controversy, with its austere, “modernist”, or, as some put it, uninspired look. But all this was nothing compared to what happened last Tuesday: the masses moved. There was naturally no talk of the museum. Yet sooner or later, the topic will appear. The Museum will be built, and the tens of thousands of people around the country who considered what happened an act of injustice will have a surprizingly clear symbolic enemy: Modern Art.

But the hundreds of people gathered at the hall entrance would not be customers anyway. Meaning, they don’t fit the profile. Not the current one, and not any potential profile of someone “we” seem to want to educate into (our) art, into (our) culture. Why? Because the social differences are so big, it is still unimaginable for the common art curator/cultural agent to think of these people as spectators, art amateurs, partners. Just as they were hardly a partner for negotiating a new commercial deal (they rejected several offers and refused to participate in further negotiations). We will hear: They are outside of the reach of... of us, the cultural people, the elites, the-educated-ones. They are a lost case.

This is obviously the moment when the conflict becomes helpless. Each party is convinced that the others are barbarians, their entire world is wrong, corrupt, and unworthy of any contact.

Do these people need us to defend them? I believe this is not a question of need. It is a question of true access to culture. Of initiatives, or rather, structures, which would allow for a potential integration of all citizens.
The Museum of Modern Art has already had many great exhibitions. But these initiatives are clearly focused on a prestigious audience, they are intellectually sophisticated, but beyond that, they don’t seem to reach out to a “larger” audience. This reaching out has been happening in many museums around the world (take the Brooklyn Museum, with their great program of interactive activities where once a month visitors can have a totally different experience of art, which includes, for instance, making their own art prints and parties with known DJs).
In Warsaw, we have a truly outstanding exhibition relating to the great Alina Szapocznikow, an artist whose work is largely unknown outside of Poland, yet here is already considered as a crucial reference for anyone interested in modern art (the exhibition ends Sunday). Her works combine eroticism with power, femininity with a great understanding of structure and drama. Possibly the most impressive among the works presented at the show is the huge female belly sculpted in marble (actually it's a double-belly), which impresses, attracts, scares, and ultimately leaves us at a (as always unbearable) distance. What is made to counteract this distance in terms of programming? Some lectures, discussions, guided tours, and a new documentary film. All this is great for me or you. Interesting indeed.
But what about the reaching out? The search for new, active audiences?
Well, many of the women present during the events at the commercial hall were convinced to join in the creative thinking about stone – they reached out, grabbed the pavement stones, and threw them at the police. I claim they did it not only because they were “part of the mob”, but also, because they were hardly ever offered any serious alternatives.
Isn’t it time we thought about those others as true potential consumers of culture, who can be sought just as we seek the already accustomed artsy amateurs?

A friend of mine suggested that the 2000 salesmen thrown out on Tuesday be hired at the Museum Store.
Beyond this ironic (and hilarious) take lies the feeling that something is going terribly wrong in the way we are approaching the idea of social change.
I have been often showcasing projects with social agendas. They were more out-going, accessible, they were social sculptures or other initiatives which claimed a different approach to the audience-connection.
But at such instances, I wonder: can't social sculpture strive for effectiveness? Isn't it terribly passé to hide behind our we-are-only-poor-artists shields?


PS. The Museum of Modern Art does attempt to create a social space of dialogue, as in the initiative of a Park of Sculpture in a poor part of Warsaw. One can see the idea. Yet paradoxically even an artist like Rirkrit Tiravanija seems to have transformed of his relational aesthetics here into a... well... esoteric sculpture.
Hopefuly, this cube, and tens of other artcubes, can make a difference. Yet for the moment its futuristic, mirror-like shape seems all but ironic.

Lapidating Modern Art

A few days ago I witnessed an excessively sad event. A huge group of merchants was thrown out (by the police) of a hall in the center of Warsaw (which they had been renting for several years), and the events turned violent and nasty, with throwing of stones and fights and tear gas and general havoc.
Although it did look like some sort of incomprehensible flash mob or other performative party, one could hardly squeeze it into the “new art” category, were it not for one significant detail: the commercial hall is to be substituted by the Museum of Modern Art. Of course, the city authorities claim the undoing of this most hideous hall is necessary for the construction of a second line of the metro, but the fact is: the temple of 90’s-style small, bad quality commerce will be replaced by the temple of contemporary art.
The obvious implication of this week’s events is: the Museum of Modern Art will arguably be the most despised building in Poland. So far, the only (extremely heated) debates about its character, name (Contemporary or Modern?), and, of course, its shape, interested only fairly elite circles. The building itself raised most controversy, with its austere, “modernist”, or, as some put it, uninspired look. But all this was nothing compared to what happened last Tuesday: the masses moved. There was naturally no talk of the museum. Yet sooner or later, the topic will appear. The Museum will be built, and the tens of thousands of people around the country who considered what happened an act of injustice will have a surprizingly clear symbolic enemy: Modern Art.

But the hundreds of people gathered at the hall entrance would not be customers anyway. Meaning, they don’t fit the profile. Not the current one, and not any potential profile of someone “we” seem to want to educate into (our) art, into (our) culture. Why? Because the social differences are so big, it is still unimaginable for the common art curator/cultural agent to think of these people as spectators, art amateurs, partners. Just as they were hardly a partner for negotiating a new commercial deal (they rejected several offers and refused to participate in further negotiations). We will hear: They are outside of the reach of... of us, the cultural people, the elites, the-educated-ones. They are a lost case.

This is obviously the moment when the conflict becomes helpless. Each party is convinced that the others are barbarians, their entire world is wrong, corrupt, and unworthy of any contact.

Do these people need us to defend them? I believe this is not a question of need. It is a question of true access to culture. Of initiatives, or rather, structures, which would allow for a potential integration of all citizens.
The Museum of Modern Art has already had many great exhibitions. But these initiatives are clearly focused on a prestigious audience, they are intellectually sophisticated, but beyond that, they don’t seem to reach out to a “larger” audience. This reaching out has been happening in many museums around the world (take the Brooklyn Museum, with their great program of interactive activities where once a month visitors can have a totally different experience of art, which includes, for instance, making their own art prints and parties with known DJs).
In Warsaw, we have a truly outstanding exhibition relating to the great Alina Szapocznikow, an artist whose work is largely unknown outside of Poland, yet here is already considered as a crucial reference for anyone interested in modern art (the exhibition ends Sunday). Her works combine eroticism with power, femininity with a great understanding of structure and drama. Possibly the most impressive among the works presented at the show is the huge female belly sculpted in marble (actually it's a double-belly), which impresses, attracts, scares, and ultimately leaves us at a (as always unbearable) distance. What is made to counteract this distance in terms of programming? Some lectures, discussions, guided tours, and a new documentary film. All this is great for me or you. Interesting indeed.
But what about the reaching out? The search for new, active audiences?
Well, many of the women present during the events at the commercial hall were convinced to join in the creative thinking about stone – they reached out, grabbed the pavement stones, and threw them at the police. I claim they did it not only because they were “part of the mob”, but also, because they were hardly ever offered any serious alternatives.
Isn’t it time we thought about those others as true potential consumers of culture, who can be sought just as we seek the already accustomed artsy amateurs?

A friend of mine suggested that the 2000 salesmen thrown out on Tuesday be hired at the Museum Store.
Beyond this ironic (and hilarious) take lies the feeling that something is going terribly wrong in the way we are approaching the idea of social change.
I have been often showcasing projects with social agendas. They were more out-going, accessible, they were social sculptures or other initiatives which claimed a different approach to the audience-connection.
But at such instances, I wonder: can't social sculpture strive for effectiveness? Isn't it terribly passé to hide behind our we-are-only-poor-artists shields?


PS. The Museum of Modern Art does attempt to create a social space of dialogue, as in the initiative of a Park of Sculpture in a poor part of Warsaw. One can see the idea. Yet paradoxically even an artist like Rirkrit Tiravanija seems to have transformed of his relational aesthetics here into a... well... esoteric sculpture.
Hopefuly, this cube, and tens of other artcubes, can make a difference. Yet for the moment its futuristic, mirror-like shape seems all but ironic.

Point Break: a Califorina Beach theme cruise (official poster)

DANGER IN THE PATH

A mediocre painter who wants to portray danger on the road ahead is likely to spell out the danger, perhaps even highlighting it with some corny lightning bolt.

But more talented artists achieve far more powerful results using a diverse array of imaginative solutions to the same problem:

In the following illustration, all that the brilliant Bernie Fuchs requires to create a sense of melancholy is a dangerous bend in the road and forlorn colors. This is the site where a football hero committed suicide by stepping in front of an onrushing truck. Fuchs' depiction of the merciless road is subtler than painting a body lying in the road or an ambulance speeding away, but it is far more effective and universal.



Here is how the illustration looked when published as a double page spread in Sports Illustrated (teamwork by Fuchs and famed art director Richard Gangel).



Next, rather than spotlight the danger (or illuminate it with a lightning bolt), the ingenious Phil Hale understands that it is far more frightening to speculate about what waits in the darkness, just beyond the reach of the beam of light:

Below, the talented Greg Manchess takes a different approach: look at how effectively he uses fog and shadow and eerie light to cast a sinister aura on an otherwise normal road.



It's not that difficult to paint realistically; it must have been far harder for Manchess to decide when to deviate from the safety of realism in order to disorient the viewer. He had to be selective in order to make us feel that the scene is taking place in an otherwise normal world where something is coming unglued. That is the point where an artist has to rely upon judgment and imagination, leaving behind technical manuals on perspective and lighting.

Each of these artists recognized the inadequacy of a literal approach for conveying menace. Each of them used ambiguity and restraint to draw the viewer's imagination into the creative process. Each of them had the technical skill to master a variety of elements to craft just the result they wanted.

Point Break Logo

The official poster. Props to Nate Cousin (LE Designer) Everyone is freaking out because what the hell is Point Break right? More information coming soon.....be easy

The Renuion Saturday at LIFT

Point Break: Promo Poster

a California Summer Beach cruise coming to the Spirit of Ethan Allen 3 Friday August 7th.
More details and the official poster coming soon....

ILLUSTRATORS ARE WAY SMARTER THAN EINSTEIN

Everyone thinks Albert Einstein was such hot stuff because he shattered Isaac Newton's classical model of an objective universe in which all matter conforms to quantifiable laws of physics.

In his Philosophiae Naturalis Principia Mathematica (Mathematical Principles of Natural Philosophy) and other works, Newton postulated a universe that operated much like a giant mechanical clock governed by mathematical formulae for time, space, gravity and motion. For centuries Newton's explanation seemed to work just fine.

Then along came Einstein who demonstrated that no matter how accurate Newton's laws appeared on the surface, they failed to account for the behavior of matter at either the subatomic or cosmic ends of the spectrum. His special and general theories of relativity transformed our perception of light, energy, time/space and gravity. Together with Planck, Heisenberg, Bohr and others, Einstein established the foundations of quantum mechanics which opened our eyes to an unpredictable universe of quarks and neutrinos. We now know that classical concepts of causation are an illusion; that light can simultaneously be a particle and wave; that a subatomic particle can move from point A to point B without passing through the space in between; that under the principle of complementarity, matter can have two or more mutually inconsistent characteristics.

Well, I say big deal.

Illustrators, with their sharp eyes and keen powers of observation, already detected many of the same phenomena for which Einstein now claims credit.

For example, Einstein uprooted Newton's concept of gravity by explaining that gravity is not a universal "force" but only the movement of objects along paths in space/time that have been curved by the presence of matter. Below we see how theoretical physicist Art Frahm recorded an event contrary to the rules of Newtonian gravity:



Obviously, this young woman curved the path of space/time. It is likely that Einstein stole his theory from Frahm, whose numerous observations of this phenomenon were well documented as The Falling Panties Collection. Yet, to this day Frahm is ignored by the history books.

Illustrators were similarly prescient about the physical properties of light. The history books would have you believe that Einstein's Equivalence Principle first showed that light is not straight but bends around masses as a result of the curvature of space/time. But look at the aura of light that physicist Frank Frazetta discovered bending around these masses as a result of the curvature of space/time:



Once again, the scientific community has conspired to deny an illustrator the credit he is due.

As another example, illustrators were the first to discover that Newton's explanations for the properties of matter were inadequate to account for the behavior of flowing cloth on beautiful women. Only cloth engineered at the subatomic particle level using the latest nanotechnology could simultaneously flow so freely and yet cling so tightly:





Sadly, it is probably too late for illustrators to receive the credit they deserve for their important contributions to theoretical physics. The history books have been written and there are too many jealous scientists standing in the way.

But illustrators have identified other anomalies in the physical world that could affect other scientific disciplines. For example, note the following unusual behavior of plants that seems to contradict all known rules of classical botany:

Durer

Harold von Schmidt

Could we be far from a quantum theory of botany? And when that day comes, will illustrators finally get the credit they deserve?

Anthill sculpture

It's my birthday, so today I'm leaving you with some new art that was not meant to be art, made by a scientist in collaboration with ants... (Don't mind the off-screen commentary and enjoy the visual ride).



(If you're interested in the ant-not-art part of it, you can see the 6-minute documentary episode here)
(Thanks Pusty!)

Anthill sculpture

It's my birthday, so today I'm leaving you with some new art that was not meant to be art, made by a scientist in collaboration with ants... (Don't mind the off-screen commentary and enjoy the visual ride).



(If you're interested in the ant-not-art part of it, you can see the 6-minute documentary episode here)
(Thanks Pusty!)

mcbess

stripes from mc bess on Vimeo.

Link:

http://blog.mcbess.com/page/2

Audrey Kawasaki

Link:

http://www.audrey-kawasaki.com/index.php

Surfacing

Remaining on the surface is challenging.
Going deep means losing the precious cristalline equilibrium of form.
Going indepth means losing the surface tension, the attractive property, as Wikipedia nicely put it.

Picture one is Leak, from an ongoing project by the G&V (with credits to Matthew Chokshi) The second picture is called Z. and is by Lin Zhipeng, aka "No.223".

Surfacing

Remaining on the surface is challenging.
Going deep means losing the precious cristalline equilibrium of form.
Going indepth means losing the surface tension, the attractive property, as Wikipedia nicely put it.

Picture one is Leak, from an ongoing project by the G&V (with credits to Matthew Chokshi) The second picture is called Z. and is by Lin Zhipeng, aka "No.223".

SKIN

Andrew Wyeth

There may be no better test of what's inside an artist than their response to what's on our surface.

The drama of human flesh has inspired a variety of artistic reactions. As John Updike noted, "the menace of and the sadness of naked flesh have impressed artists as much as its grandeur and allure."

At the same time that skin inspires such reactions, it also provides artists with a broad and complex language for expressing feelings, thoughts and desires. Here are just a few samples:

Toulouse Lautrec brilliantly captures the weight of flesh


In this detail from his watercolor of a weary stripper backstage, Burt Silverman distinguishes between the color of flesh that has been exposed to the sun and flesh that has never seen the light of day.


The ultra-cool Bob Peak lowers the temperature of skin to the level of liquid nitrogen


Gustav Klimt excelled at finding mythical eroticism in flesh


Andrew Wyeth puts flesh under his microscope and finds it radiant

Contrast these rich portrayals of our mortal envelope with the abject poverty of popular technicians such as Vargas or Olivia:





The disparity between these artistic treatments shows that for artists with searching eyes, skin offers clues, promises and temptations about inner life and personality. These are the fuel for true eroticism. On the other hand, lesser artists find that skin blocks any inquiry beneath the surface and ultimately leaves them with a shallow and boring caricature of sexuality.

Artists such as Vargas and Olivia excel at painting flesh firm like sausage casing, but they seem oblivious to the cosmic significance of the freckles that they thoughtlessly airbrush from a bare shoulder.

I was reminded of the artistic importance of skin last week when artist Kim Smith sent me an mpeg about the Omo river people in Africa who paint their skin in wondrously beautiful ways using natural pigments from the world around them.





If you can overlook its annoying quotes from Picasso, you may find this slide show about the Omo people as inspiring as I did:

We Like Art: Phoebe.

Phoebe. is a Burlington focused, arts and culture magazine founded in the spring of 2008 by a group of UVM students. phoebe. seeks to showcase the people, places, groups and events that make Burlington and the greater Burlington area so unique (from website)

Spot Light: LMFAO

LMFAO is a electro-hop group from Hollywood that consists of DJ/rappers Redfoo and Sky Blue. Recently signed to interscope, the duo is scheduled to release their freshman album Party Rock by the end of the month!

Music Video Of The Month: The Roots "Dont feel right"

The Roots playing at the Water Front Burlington presented by BCA July 5th! Right after, Quest Love will be hosting and DJing an after party at LIFT.