Anybody ever mounted a TV using adhesive?
- Thread starter Joe Money
- Start date
Bro, even Sotheby's had no idea. I am likely going to have to physically take them into an art museum
Don’t ask permission just ask forgiveness
You can get a no stud mount and basically it's like a picture frame super easy. I did it with all the TVs I'm my house.
For the Cobra Kai fans ... funny scene from the pilot episode some years back (mounting a TV) ...
Check Ikea
I'm going to take one of them to the Akron Art museum next week to see if anyone has any ideaWho would I call to find more information on these? BGOL is the shit
At a garage sale last year I came across a guy down the street from me selling paintings that were in his dad's basement after his dad died.
His dad in Vietnam, so these paintings, all by the same artist, Chien, are a minimum of 50 years old. I bought them for $9 a piece.
I've tried, but haven't found anyone who knows about the artist, so any help anyone can offer would help. Any Vietnam Art History majors on here?
I just called the art museum and they put me in contact with a few appraisers and art conservationists. I'm going to give them a call and see what they say. It would be ridiculously crazy to find out I bought five paintings for $9 a piece at a garage sale and they're worth more than a million dollars
THE AMAZING CHANG DAI-CHIEN, FORGING TIES TO THE PAST
He made 30,000 paintings, lied about them often and earned millions in the process. He conned distinguished experts in the grandest of museums. Yet connoisseurs revere him. Had he been a Westerner, instead of a Chinese, everyone who reads this would recognize the name of the painter Chang Dai-chien (1889-1983).
The story of his life -- a story told enthrallingly in "Challenging the Past: The Paintings of Chang Dai-chien," which goes on view today at the Arthur M. Sackler Gallery -- is enough to make one gasp. That amazing, twinkling master, with his long, white wispy beard, his floor-length robes of silk and his favorite pet gibbon chattering beside him -- had a hundred different styles, some original, some not. He was a scholar and poet, an insatiable collector and his era's finest forger of antique Chinese art.
As romantic as Picasso, he had four wives simultaneously and fathered 16 children. He was as eccentric as Dali. Chang, who fled his homeland in 1949, kept uncaged bears and panthers and fierce Tibetan mastiffs on the landscaped bits of China that he re-created in Brazil and Argentina and at Pebble Beach, Calif. The notoriety he nourished equaled that of Warhol.
His marketing was skillful. His brightly colored paintings (he charged by the square foot) these days fetch as much as $500,000 each. His collecting was impressive too. The masterpieces that he sold off after leaving China (let's hope they were originals) brought him $1.75 million in 1950s dollars. He was a photographer, a gardener, a scholar and a wit. He was also a great cook. An illustrated menu for one of his grand banquets -- he'd served sturgeon fin sauteed, fried sea-cucumber with scallions, "First Moon" dumpling soup and a dozen other dishes -- is included in this show.
Its title is just right. Chang spent his whole life challenging the past.
Westerners who copy pictures made by others are often viewed as dullards, and most who create forgeries are scorned as crooks. But Chang produced his copies relatively guiltlessly, as have countless Chinese painters in centuries gone by. He saw himself, with justice, as among the last of China's literati, and, like those artist-connoisseurs whose traditions he extended, he viewed imitating the old masters as essential for his art.
To comprehend his borrowings, regard him for a moment not as a modern painter, but as a cook. A chef who could create the most demanding dishes of ancient Rome and Egypt, of Venice in the Renaissance, of China, France and India, would not be reviled, but more likely, revered.
Chang's styles were as varied. He made himself a painter equal to the giants by mastering their brushwork, and their handwriting as well. He painted in the styles attributed to Shitao, Jin Nong, Hua Yan, Li Shan, Kuncan and a score of other masters. That he did so well enough to deceive the connoisseurs was regarded as most admirable, often by the very experts he had fooled. For they could see, as we can too, that every mark he made is rooted in tradition. Had he been a European -- the comparison is not exact, for nothing in the West compares with China's continuities -- Chang might have painted Giottos, Leonardos, Manets and Cezannes.
Although this exhibition -- the product of decades of scholarship by Shen C.Y. Fu, the senior curator of Chinese art at the Sackler and at the Freer Gallery next door -- may be a one-man show, it feels like a compendium of 1,500 years of Chinese art.
I got a couple of calls to make next week with appraisers, conservationists and even a museum. I'm going to use this name potentially and I'm going to see what I can find.
How crazy would it be for me to find paintings I bought for $9 each at a garage to be worth $500,000 a piece.
Crazy shit is, now that I know better, I wouldn't sell them. I would rent them to museums across the world and still make my money and be able to pass them down to my kids or whomever
To quote Jay Z
"I bought some artwork for one million
Two years later, that shit worth two million
Few years later, that shit worth eight million
I can't wait to give this shit to my children
Y'all think it's bougie, I'm like, it's fine
But I'm tryin' to give you a million dollars worth of game for $9.99
I turned that 2 to a 4, 4 to an 8"
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