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About ESeffinga

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    Collectosaurus Rex

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  1. Buy what you love... Seems like I'm avoiding the topic, but really I'm looking at it head-on. I collect for love of art, not for investment. I'm going to put my money into what makes my heart full, rather than speculate in areas that don't hold that same desire for me. That said, I do have very fond memories of some children's books (Frog & Toad, The original Pooh books, The Tenniel Alice books, some Wizard of Oz, etc), and a number of artists I greatly admire and collect have themselves ventured into doing children's books. I've been watching the prices rise on that material along with everything else. That all said, I've no shortage of places to look for my art fix, a habit I'm trying to constantly break, without seeking out more. And much of the art that would interest me already interests many illustration collectors and there's no bargains to be found there. If anything that material will likely age out at the same rate as the comic art does for the same reasons (generational). Just my .02¢
  2. ESeffinga

    November HA OA auction

    Stupid autocorrect...
  3. ESeffinga

    November HA OA auction

    Sorry to any Marino fans, but so many of the panels and figures look stilted, posed, contrived... I’ve looked it over and it just doesn’t connect with me as good work in today’s age. And that’s not even looking at the prices. I can think of so many new and working artists whose comic art is stylish, but also organic, dynamic as hell, with figures and facial features that are emotive and compelling. Backgrounds that are characters in and of themselves, etc. Add on the asking prices, and I say truly enjoy it if it’s for you. It ain’t my thing.
  4. ESeffinga

    Posting on CAF too soon

    Just piling on as another example , I never post until the work is at least in hand, and even then, not everything The waiting is a mix of superstitious and practical, as others have said. I’ve had work arrive mangled from poor packaging. I did a trade with a guy where we were both supposed to send pieces on a Monday. I sent mine, and by Wednesday discovered he waited until it arrived, compared it to what he wanted to trade, decided he liked his better (they were apples and oranges) and sent my piece back. I’ve bought a piece on eBay, only to find the seller “damaged it while packing” and they refunded my money. i.e., they were approached by someone after the auction offering more than I paid at auction close, and backed out. Or the time or two where I bought a piece and the would be seller just outright told me after the fact that someone else was offering more and they weren’t going to follow through, but were instead suggesting we essentially bid for it via emails. Highest offer takes it (after I’d already paid up). Needless to say these were all our last dealings, but also more reasons to wait. After a quarter century+ I have a number of sketchy art deal stories that effect my decision. Sure, for every bad experience there were probably many dozens or a hundred that went off without a hitch, so like a 1% ratio, but why even bother with posting it, when it’s so simple to wait a week? Or a year. I get the data entry aspect but I’ve never used the CAF built in tools. Again, as someone that’s had his CC mined from an online retailer during a hack, somehow the idea of putting dollar figures of my collection up on a single online source to be data mined in a hack? I prefer to keep those files offline, and even off my hard drive at home along with any other financials. Call it minor paranoia, but I just avoid it where I can. By collecting for me, and not an audience, I don’t feel compelled to immediately share new acquisitions. But on the other side of that token, I do like to be part of the participating OA community, and so I share work to dialogue with and return the favor of other like-minded collectors that share my interests. Participation is very important to me because of the friendships and connections. But I guess I’m just in the better safe than sorry camp. BUT, that is all just how I treat my own pieces. I’d never tell anyone how to collect or share their own collection. I might suggest reasons I wouldn’t, but not to the point of criticizing how they roll. I’m generally just happy that art collectors share at all. I was not an early adopter of CAF, as I’ve mentioned before, and I took convincing. So now that I see it from the other side, I’m jazzed when anyone shares OA pieces... minus all the would-be comic artists tracing porn photos and hastily scribbling “costumes” on, that have flooded CAF and eBay over the last decade. Should anyone buy one of those...please don’t post immediately. Or ever.
  5. ESeffinga

    What makes an A–Level PREACHER page?

    I think Dillon used marker to spot his blacks. If I remember correctly when pages are treated to remove the acid staining, many marker inks are the first to go with it...
  6. ESeffinga

    Lichtenstein's "Whaam!"

    I do recall one of Piero Manzoni's poop can's leaking at a museum in Denmark. Also recall an article about them being filled with plaster, and not poop. Not sure who checked...
  7. ESeffinga

    Is anyone here buying into monoprints

    Yeah. Kent never touched those.
  8. ESeffinga

    2019 Collecting Goals Thread

    Not doing any planning for 2019. I keep saying I’ll buy nothing year after year, and I keep doing it anyway, so why type it out. Shooting for nothing. I’m sure I’m wrong. Hopefully anything I buy is small. Really really out of walls.
  9. ESeffinga

    Lichtenstein's "Whaam!"

    Modern art flipped its switch when Fine Art ceased to be about being a technician, and a literal visual representation and became more of a philosophical practice. By using both technique and presentation to communicate with the audience in more subtle psychological ways, rather than simply painting a bowl of oranges being a still-life of oranges. Impressionists exploring technique to deconstruct more realist tendencies to over-render subjects and by those deconstructions, inject more excitement and liveliness into the subjects and the techniques. Abstractionists exploring how color and shapes illicit a mood or feeling, and how that changes from viewer to viewer. Duchamp and his urinal flipped things on their head by saying the art didn’t even need to be made by the artist, by simply switching the context of a found everyday object and calling it something else and showing it somewhere else (and the urinal wasn’t even Duchamp’s idea, he stole that from what I’ve read). By doing this, it created a new dialogue with art viewers. But it illicited reactions and thought, and that’s art’s most recent function. To provoke, and get people to ponder, dismiss, come back and converse. The simple act of this threads existence shows the “worth” of the Wham piece. People are still arguing about it. Struggling with its existence and meaning. Warhol coming from the opposite direction and in effect stuck his finger in the eye of the art establishment by pointing out how consumerist it had become. And from there you have Koons, taking Warhol’s factory concept of almost industrializing art to it’s literal and logical conclusion, with a genuine churning out of visual goods that he believes reflects his consumerist audience (literally) and that that is what they want to see. Themselves in the art, interacting with it. The technician side of painting has fallen by the wayside because it is teachable. Like how to fix a car, or how to do taxes. But the ideas, the conceptual is where the art market often sees its champions. The Emins, Hursts, Koons of the world art not driven by being able to paint a sunset, or draw a pilot in a plane. They are trying to mine the human psyche and wind people up. Until at some point they aren’t. And it really does become about the money. Most artists will tell you money kills art. There are many people who think most of these conceptual artists are in for a cash grab and it’s all a sham. But if you look back, most of these works sold for peanuts or didn’t sell at all when first pit into the world too shocking. The money came long after in the early days, when someone came along and realized it had a different kind of intrinsic value. If you dislike someone for the money angle it should be the aftermarket dealers of this stuff as auction houses hyping it to the sky. Just being one of the first, and then Koons and such capitalizing on where it is today with new work. But guys like Lichtenstein wouldn’t have made top dollar on these sales. It’s later owners of the work reselling when the money rolled in. Most artists making anything worth a damn are usually Provocateurs first and foremost. Dali, Picasso, Seurat, Monet... they all poked at the establishment again and again. What hangs many people up is this thought that an idea can be art rather than a gimmick. And a gimmick can be just a gimmick. Until it is shown to really describe us, and stands as a testament to who we are, or become a touchstone of culture at a time and place in history. That’s why so many artists are remembered and so many more are not. I’ve said it before, but the Mona Lisa is not the most well known painting in the world because it is the best. It’s not even because it is by Leonardo DaVinci. It is the most well known because it was stolen from a wall where it was displayed along with a lot of other art. It was never singled out before. But a guy stole it and wanted to return it to Italy, and it’s theft and subsequent recovery was at a time when it could be reported by newspapers and radio around the world. It became one of the first art global news stories. And when it was returned, many people had read about this stolen painting and wanted to see it. It became a celebrity. Not because of the work painted on its surface, but because of its circumstance. It became a pop culture icon. The core of the fine art world stopped caring about how great of a painter artists were long before Heath drew comics. And I’d never underestimate Heath as an illustrator. But most comic artists are merely technicians doing their job. Some break through as genuine storytellers of their own merit. Very few will probably stand the test of time as profound storytellers. And in truth it is American culture to look down on comics as throwaway children’s fare. If there ever is a hope of any comic art museums being taken seriously, it is in countries that accept that comics CAN be a cultural touchstone that describes portions of the human condition. Most likely in Japan and Europe, where they don’t scoff at the idea, but recognize that pictures and words together is it’s own form of communication. In most cases comics are communicating a retread of old idea and narrative archetypes for good fun, but every once in a while a nugget of truth and sincerity slip out and those tend to capture more attention.
  10. Am a big nostalgic Groo (marvel era) fan. Don’t own any, and never actively searched for art from it. But have very fond memories of the chuckles and of scouring for all the little gags hidden In the background details of the big crowd scenes.
  11. ESeffinga

    Netflix Streaming

    Will have to check that out. i finally got around to watching HBO’s the Price of Everything. I think I may have sprained my eye muscles from rolling them so hard. Not at the art... well Koons for sure, and Condo a bit as well... but more at the auction house folks. Sheesh. I also watched Brillo Box: 3 Cents Off on Amazon. A pretty interesting view of a piece of work that an art collector bought, the prices paid over its 50+ year story from a family that bought it originally, to its later trips to the auction house again and again. It’s an interesting little story, told from a personal angle. I liked it.
  12. ESeffinga

    spilled inks John Romita Jr X-Men art

    I doubt it. Clearly this was done by the lone gunman, in the library with the candlestick.
  13. ESeffinga

    I dig it. Never seen this one before, but immediately spotted it was Kent. Wonder what it was for...
  14. ESeffinga

    COMICLINK Fall Featured Auction

    Reserve Not Met
  15. ESeffinga

    Question about Home Security Cameras

    It’s a slippery slope. It all started when I bought my first modern art page without dialogue. I hired a lady to stand next to each piece and sign the dialogue to me. But then I started buying paintings, and that’s when I met Bill and Suzie.