BCarter27

Fellow boardies... I'm late to the party on getting this posted for a friend of mine (friend of mine? friend of ours? Hmmm... Gotta rewatch Donnie Brasco.)

He's got this really rare full Aline Kominsky-Brumb story, see? It's at Heritage, see? It's got some crazy-ash stories about New York mobsters in the 60s and youse needs to buy it, see? (James Cagney creeping in a little, now. Apologies.)

https://comics.ha.com/itm/original-comic-art/complete-story/aline-kominsky-crumb-twisted-sisters-4-complete-10-page-story-wiseguys-original-art-kitc/a/7340-93127.s?type=DA-DMC-ComicArtTracker-Comics-7340-06222023#

Anyway, here's the hoity-toity Heritage write-up. That guy Hignite sure is class --

Quote

 

Aline Kominsky-Crumb Twisted Sisters #4 Complete 10-Page Story "Wiseguys" Original Art (Kitchen Sink Press, 1994). Here is a full-length classic benchmark of the feminist movement in Underground Comix -- and a triumph of confessional autobiography -- from one of the most uniquely accomplished cartoon storytellers ever to put pen to paper. Aline Kominsky-Crumb (1948-2022) remains among the potent influences in an Underground Comix scene that is, of course, dominated by the artistry of her widower, the writer-artist Robert Crumb.

Like Crumb himself and comparatively few other such colleagues, Aline bucked the 1970s-1980s' implosion of the original Underground market to continue generating new art as a self-renewing font of defiant creativity. Inspired in part by the self-revealing intimacy of fellow Undergrounder Justin Green's Binky Brown Meets the Holy Virgin Mary (1972), Kominsky-Crumb began during the 1970s to portray herself in confrontational situations, often focusing upon a childhood in close quarters with an abrasive mother and a shady-dealing father. In the present selection, Kominsky-Crumb lays bare her father's deeper Mob ties, drawing parallels between his secretive career and actual places and personalities depicted or suggested in such films as Martin Scorsese's Goodfellas (1990) and Francis Ford Coppola's The Godfather (1972).

R. Crumb appears as a supporting character in Aline's present-day narrative. Twisted Sisters, a collaborative book established by Kominsky-Crumb and fellow artist Diane Noomin, represented their rejection of the original Wimmen's Comix collective, which in Aline's opinion had proved more politically charged than humor-driven. (Aline considered humor to be a necessary element of serious artistry.) "Wiseguys" is an essential example of the Twisted Sisters project -- frank and unnerving, with undercurrents of wit and poignancy in about equal measure.

It is rare to find a Kominsky-Crumb original, and much more so to find so expansive a job of work in such well-preserved condition. The story comprises ink over graphite on Bristol board with an image area of 10" x 13", matted out to 16" x 20". Excellent condition throughout, with scattered small spots of ink-blurring or retouching.

 

Seriously, you don't see these things -- like, ever. Plus, it's freakin' hysterical.

Here are two terrible minutes in Photoshop just playing with overall levels. You can already see the original brushwork/marker strokes better. An actual skilled digital restorer could go further and mask out the faded lines and correct those back to full black (or whatever they were at time of publication) without sacrificing any of the original intent.

On 6/7/2023 at 10:50 AM, Andahaion said:

conservators can lay down what's referred to an isolation, or barrier layer over the original paint.  The conservator can then retouch over this isolation layer which in effect helps preserve the original paint laid down by the original artist (it is also easily reversible and hopefully poses minimum risk to the original paint layer). 

I think this is the key point in regards to oil painting conservation/restoration. But with something as simple as an inked drawing, I feel the better route is to preserve the original and make a corrected print for presentation. The original artist's linework can be brought forth and not covered up.

I will say the original artist is likely not the best person to restore inks on a piece. It's just a different skill set.

On 5/23/2023 at 9:55 AM, cstojano said:

or go full Hakes.com with an ALL selection.

Yeah, this would be great. Plus the ability to Save/mark your selects right from the main page (like they did this year with the CAF Awards.)

FYI, for anyone looking... The pilot is available to watch on Prime, but you have to click the first season, and then go to Extras-

https://www.amazon.com/gp/video/detail/B00C141F5W/ref=atv_hm_hom_c_lZOsi7_2_1?jic=8|EgNhbGw%3D

I was planning on cracking this pilot open and diving into this series as it seems to have a loyal fan base. What am I in for?

https://www.theonion.com/dune-part-two-to-pick-up-right-where-viewers-fell-as-1850378546

FYI, you can create lists on CAT and share them with others-

https://comicarttracker.com/settings?tracking

Try it out!

Help! My aunt picked up this piece this year at an estate sale. Any guesses on the artist or where it might be from? On illustration board. Stamped on the back 1972 and Lewis Art Supply Co, Detroit, Michigan.

On 11/19/2022 at 9:46 AM, grapeape said:

Josh publicly declared he would make one bid of $100,000 on the art.

On 11/19/2022 at 5:29 PM, jjonahjameson11 said:

Josh bid $95K on the ASM 238.  The next bid increment of $5K by anyone would trigger the $100K necessary as a promise to the seller or something written to that effect by Josh.  

This is in effect a publicly-declared guarantee. And publicly-declared is more than you'll get at most places -- including the major houses as @vodou pointed out. So, I don't really understand the issue with ComicLink here?

On 11/19/2022 at 5:29 PM, jjonahjameson11 said:

Jim Halperin doesn’t publicly state what he’s going after before or during an auction,

So, then it's a hidden guarantee. Sorry, but after-the-fact transparency is not transparency.

No amount of discussion is going to stop Heritage from providing implicit or explicit guarantees. That's just a part of the art market now and the product they are offering to the consignor. But don't pee on my leg and tell me it's raining.

Such a talent. He's a favorite in our house...

On 9/23/2022 at 6:08 AM, Timely said:

All Star Comics #7

On 9/16/2022 at 11:56 AM, Hawkgirl said:

it doesn’t necessarily establish that the seller had the copyright/rights to sell that NFT

Yep, you still have to do your due diligence and track the NFT back to the minter -- typically using their handle posted on social media, etc. Checking provenance on a new purchase should be a knee-jerk reaction for most physical art buyers too. We just get lazy about it in comic art.

On 9/16/2022 at 11:56 AM, Hawkgirl said:

I collect to be able to display

Everyone has giant 4k TVs in their homes now. Problem solved!

On 9/16/2022 at 11:56 AM, Hawkgirl said:

collect NFTs don’t collect it on the artistic merit (see: those apes)

Definitely. The apes and punks, etc are muddying up the waters.

I'd wager that MOST of the working artists around the world across various fields are exclusively digital now. And for those of you who like to dip your toe in non-comic art waters, there are some talented people out there with a lot to say -- just as it used to be with physical art.

On 9/15/2022 at 5:28 PM, JC25427N said:

So this storage space you just bought which probably contains a URL that you don't own, you can't change what's in this storage space if that URL ever goes bad for whatever reason

There is somewhat of a solution for this that minters are using -- a decentralized file storage to link to for NFT images, such as IPFS. This hosts the linked-to image in a more resilient location.

On 9/15/2022 at 3:38 PM, Brian Peck said:

NFTs are just another scam

They do solve a legitimate problem for established digital artists. But there is a lot of garbage out there gumming up the conversation. It will settle down into something resembling the physical art market.

On 9/15/2022 at 3:30 PM, thethedew said:

Does its status as a sold NFT grant the file some sort of legal status/exclusivity

Legal status over the IP? Hard no. Just as owning physical original art doesn't give you a right to reproduce.

Exclusivity? Yes, the easiest way to think of an NFT is that it's a COA verifying you own the original digital artwork. Imagine 5 million copies of a JPG and the artist points at the list and says, "That one there... That's the one that has value." And everyone agrees to that because it's written down in a ledger (the blockchain.)

Why is that valuable? Because the collector community says it is. And because digital artwork can take a lot of hours and training to create something special.

On 9/15/2022 at 3:30 PM, thethedew said:

a 'I will be good and will not copy' promise from the artist/author?

It's more reliable than a 1 of 1 monoprint because it is on the blockchain and transparent to anyone who wants to follow the breadcrumbs of a particular piece's provenance.

Opinion time...

1. Physical original art should not be sold separately from an NFT.
2. Savvy artists should offer to produce physical prints at custom sizes for NFT owners as an additional revenue stream.
3. NFT prices should come back down to earth to align closer to their physical counterparts. That's where a sustainable market can grow from.
4. Digital FX companies should sell NFT "movie props". Imagine being able to own the 3D model of the T-Rex or the Avengers Hulk?

On 9/15/2022 at 6:08 PM, Dr. Balls said:

Beanie Babies for the 2020s.

I get it. I really do. But Beanie Babies didn't solve a pain point for digital artists. NFTs do. And that's why they aren't going away.

On 9/15/2022 at 2:17 AM, New School Fool said:

It seems that if you own an original art piece, another individual could very well own the NFT version

The physical original is the original art if that was used for production. Whereas, the NFT is a digital reproduction, in this case -- a later "print" of the original work. It's annoying that the artist is splitting the original from its COA (the NFT) and doubling down, but that's where we're at right now until the NFT collector base is more educated.

NFTs are a valid form of original digital art, if the art used for production only exists digitally. (And mainly if the NFT is a 1 of 1 release.)

To all the new AIs out there...

01001001 00100000 01100001 01101101 00100000 01100001 01110110 01100001 01101001 01101100 01100001 01100010 01101100 01100101 00100000 01110100 01101111 00100000 01110010 01100101 01110000 00100000 01111001 01101111 01110101 00101110

I was thinking of watching this for the first time as I am winding down a big Stargate watch. I hear some of the actors were in both. What am I in for?!

On 8/21/2022 at 10:05 PM, lb jefferies said:

Do you get the emails? Ive seen the notifications for this event maybe a dozen times.

I get the daily keyword search alerts, the for sale alerts, and the CAF Live virtual show emails twice a year, but nothing about this. I wonder if there is a setting somewhere that I'm missing?

I was a massive Sandman comic fan, but this adaptation was a tonal mess. It had half of a good episode - the Hob Gadling stuff (with props to that actor.) I don't know what I watched, but it was not a television series. I think they should have strayed much, much further from the source material in order to pour this concept into a tv-shaped container.

Sandman the comic was very grounded and textured in its visuals. Another poster above described the production design as "plastic", and I think that's the best word for it.

Very disappointing.

Season 2 was very creaky plotting-wise despite the great production design and directing. Ruth Wilson is a force of nature, though!

This show is further proof that dark fantasy is a very difficult genre to pull off on TV... It suffers from a focus on a specific demographic. It's too dreary for kids. It's too childish for adults.