now that i've taken a breather, i'm going to give it a try again.
first, what i meant by 'fake art' in this PARTICULAR context is old clip art images that were intended to look like generic modern art mages. i'm currently fascinated by them. so, i'm using fake art on an art poster to advertise an art lecture by a fake 'hack' artist/designer who doesn't draw but i'm re-drawing everything and re-defining everything to include the ideas of rock posters which aren't art in and art incontext to show at a museum dedicated to the greatest non-artist artist of all - andy warhol. huh?
or something like that...
as for chuck, i see his efforts as being the results of a beautiful obssession. those books will never make money. they exist as priceless collections of popular art and cultural memorabilia and artifacts.
now, chuck knows a lot of that stuff is popular domain. he knows he can't "own" it. but some of it he researched the artists and bought the rights to it, some of it is protected by other people's copyrights and he's made arrangements to use it, and a great deal of the art is re-drawn by him and his staff to resemble the originals (compare and see!) and siome of it is just plain new stuff he did completely on his own. you have no idea which is which, so when you use it, you're taking a big risk. he does that to protect his expensive efforts aginst corporate rip-offs (some nasty lawsuits have resulted).
i'm also in the position of being good friends with him, and have contributed heavily to his books. at one point he even paid me to copy off my library of clip. i think what he's done is such a magnicent homage that i'd happily help again (and still do).
so here we have two guys working in the wonderful of advertising clip, both guys love it deeply and protect it with their lives (they've both dedicated themselves to it) for everybody to have.
sean puts out a magazine that he sells and make a meager living from. chuck starts a business of selling images for useage and loses his butt. sean's seen as a hero, chuck's seen as a villian. i've helped both, and love them both. they don't much like each other. if they would get together i think they could change the world. go figger.
i'm also good friends with sean 'craphound' and have helped him a great deal with his clip collection. he actually comes at copyright from an entirely different perspective and favors doing away with copyright restrictions altogether. as a result a lot of the images you've knicked from craphound were ones i've given him to use (your eye is very similar to my own) or items that sean created himself. but sean is protected by the first amendment by being a periodical rather than a commercial clip art business. he can put whatever he wants in there because it's the press, rather than a product. he's protected from copyright infringement by the first amendment protections of free speech that way. however, if you use it on something you may be violating some corporate copyright and setting yourself up for a lawsuit. or you might be ripping off sean
the big problem with treating this stuff as assemblage or collage is that you use a lot of 'found' images. that means others 'find' them, too. there are ways of dealing with that, but it starts to turn into a big painful game. so don't sweat it, just do your best. right now i'm doing a poster to promote a talk by me where i'm using an image that came from an obscure clip book (and they found it somewher in europe) and chuck anderson anthologised it in one of his books, and now i'm taking it back and making a statement about 'fake art' with it because my talk is at the warhol museum. his ideas enter the image, as well as mine, all being presented in the context of my work being presented there and utilizing chuck and - well, it's a pigfuck.
ps - and any way you look at a pigfuck it's a real mess.
that "monty python" style was actually the work of terry gilliam (yes, THAT terry gilliam, director of 12 monkeys, brazil, baron munchhausen, fisher king, fear and loathing, etc. etc.) he was the only american member of the pythons. before he moved to the uk (vietnam) he worked on mad and help (he was harvey kurtzman's protege) and later freelanced cartoons for hallmark and did stuff in 'CARtoons' mag. anybody else know any of his earlier stuff? fill me in.
ps - there's a good book on his crap that came out about 2 years ago. get it.
cracks me up. people always assume i'm a big successful studio making tons o' cash. people used to look at my old rusty pickup and ask me if the lambourgenie (sp?) was parked at home.
it's just me, in my attic. i'm a great procrastinator (i'm avoiding the one lousy job i have) and my gal and my dog are both out of town, so i'm bored as well. i've tried interns, and don't like it, so it's always been me. at times i've shared studios with others (my gal jamie, hank, jeff) but i always have done my work alone. no staff. also, my annual income has only slipped above the official poverty level once or twice in my entire adult life. so, your strange ideas of what i'm about are pretty laughable. most of you are likely far more 'successful' than i. i'm just damn good at what i do (whatever it is).