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Feb. 9, 2023 - The Adam King Show

01:35:15

EP027: Art Not War

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	I'd like to welcome everybody to the Adam King show.
	I am your host Adam King and we have had a whole technical smorgasbord that we've been getting through today and because of that we are unfortunately going to skip our meme section and also because YouTube won't stop censoring us for our memes and they are silencing real information that is relevant Maybe something on Ukraine.
	For instance, episode 25 was exclusively on Ukraine, but it was taken down from medical misinformation because of a meme.
	So we're going to be skipping the meme segment today, and we're going to go straight into a show that is non-controversial and non-political that everyone can sit back and listen to.
	And this is a show about art.
	And I have brought two of my very close friends who are deeply involved in the art world to come on the show and talk about art, a nonpolitical concept.
	And I'm going to try my best not to bring up any politics on this show.
	And it's still going to be fun and entertaining.
	And a lot of people are going to like it.
	So I will be right back.
	I'm going to get everything up and running.
	And when I do, we will jump straight into the panel with my good friends.
	Thank you. Now that we have arrived at our panel segment, I want to tell everybody that we are doing something very different this week on The Adam King Show.
	Instead of having a panel about politics or the craziness of the world, this episode of The Adam King Show is to remind you to take a step back and chill.
	So I have invited two of my very close friends who are both masters of the art world in all-around collecting, dealing, Anything you can think of.
	And we're just going to take a step back from the chaos of the world and look at art.
	So without further ado, I want to bring in my two close compadres, my friend, John Solomon, art collector and art royalty, and Shalom Hayoun, owner of the MTLE Art Gallery and Agency.
	Guys, welcome to the Adam King Show.
	I want to thank you guys for coming here and allowing us to tune in some positive vibes.
	So much of what the Adam King Show gets known for is, you know, covering controversial material and journalism and all the political stuff.
	And it's just such chaos all the time.
	So to have two people from the art world come here and not talk about anything but art.
	John and I, we were speaking before the show about this concept, and he said, but Adam, art is very political and controversial.
	It's the essence of art.
	And that kind of hit me to the heart, because this show is my art.
	You know, the weaving of people and the conversations that we have.
	So, without further ado, I want to welcome the two of you.
	Guys, how's it going?
	We're good.
	I'll speak for the...
	The both of us.
	Pretty good. We're in the art world.
	I'm one foot in, one foot out.
	I kind of keep it at bay.
	In talking about art as politics, you know, you can say anything is art.
	This pen is art.
	It's just all from your point of view, really.
	A banana taped to a wall could be art.
	Yeah, you name it.
	So it's really just, it's what you create in your mind as a, I mean, it goes back to the definition of art, which I think people have tried to define for ages.
	To me, it sort of speaks to when you look at something and you take it in, like let's say the Grand Canyon.
	The first time you look at the Grand Canyon, for me at least, it took my breath away.
	When you look at a great piece of art or anything that really moves you, it creates a space in your mind that wasn't there before, and that to me is the definition of really important art.
	So, go at it.
	It can be political, it can be non-political.
	So, I appreciate you saying that, you know, because so much of my art is political, and it's loud, and it hits people, and sometimes it's, like, off-putting to people.
	Like, for example, like, one of the reasons I want to do these type of episodes is because I keep getting kicked off of YouTube for, like, the strangest things.
	Like, I got kicked off episode, the episode where we went deep into the Supreme Court got kicked off for nudity.
	And then I did another one about the Kabbalah of Ukraine.
	I think that's episode 25, where it was just about the war in Ukraine.
	And that got kicked off of YouTube for medical misinformation.
	And so what I think they're doing is I think that they're taking memes from the beginning of my segment.
	And they're like, because I'll make an offensive meme about Pfizer Corporation or something like that, like it'll get censored and it'll be labeled medical misinformation.
	And then they turn to my, the rest of my show and they cancel whatever I have and take me off of the, and they've de-platformed me.
	And we're actually, we're gonna post this video retroactively to YouTube, but we can't post it to you.
	YouTube said they don't support art, you know, so they don't want this type of art, you know, on their platform.
	So they've canceled me and they've, they censored me and they actually wrote our staff an actual letter, a handwritten letter from a human about this.
	But yeah, so this show and our meme segment that we're doing before this and news, we're not covering anything controversial because this is intended to break the algorithms of YouTube, and that's why it's an even higher form of art.
	Now, I've been trying to get you two guys to meet for a very long time.
	Actually, I want my audience to know that this introduction is like a two-year-long introduction.
	I have invited both of them over for Shabbat dinner.
	I have tried to get them to meet in each other's galleries and studios.
	I've tried to get them to meet for lunch during the week.
	I can't get these two guys to meet.
	But for my fans, for the loyal listeners of the Adam King Show, these two guys, these great art champions, have come together so that we can get nitty-gritty into the world of art.
	I want to thank you guys for being here.
	Shalom, tell us about So Shalom is an artist.
	He represents his own art.
	But he built his art studio and now represents an insane amount of artists as well and created an agency.
	So you're really in the here and now of art.
	And John over here, he's really in the antiquity of art.
	And the community, like royalty.
	I mean, John's taken me to Lagmon so many times where we stopped at a piece of paint, some priceless artifact, and he's frozen in his tracks and said, wow, this was in my childhood living room growing up.
	Oh, wow. Yeah.
	I actually have a slide of it too in the meme segment.
	It's actually the first slide.
	Maybe we should get into the gallery.
	You guys want to bring in the gallery and see for ourselves some of the...
	So this is actually one of those pieces that John said.
	And you can see the actual Brilla box, the original Brilla box right there in that piece.
	Andy made a bunch of those.
	Now that's you, right?
	Which one is you and which one is Tom?
	I'm the kid with the red socks on.
	Yeah. That's my brother Tom.
	And my mother Holly is in the chair there.
	It looks like the bookshelf in the picture is the one that's behind you right now.
	A little bit.
	The painting...
	Behind her is a portrait of her titled, I'm Sorry, and now it's living in the Broad Museum right now.
	Yeah, that's Holly Solomon.
	She was a major art dealer in the 70s and 80s, your mom, right?
	Yeah, she started collecting with my father in the 60s, and then the collecting obsession grew into a gallery, actually an alternative space in Soho in 1965, called the 98 Green Street Loft, and then she started her gallery in Soho in 1975.
	So she was a gallerist until the day she passed away, which was about almost 18 years ago.
	So cool. She represented artists like Namjoon Pike, Laurie Anderson, Robert Mapplethorpe, Joe Zucker, Bill Wegman, just to name a few.
	And we're going to show some of this art.
	John has been kind enough, as also Shalom, to give us some pieces from their galleries that we're going to go on like a little digital museum tour today.
	So let's start the tour.
	This is John's childhood living room.
	As we saw, John, the royal prince of art with his red socks over here.
	Don't embarrass me. Okay, keep going.
	It's actually quite an amazing picture.
	You know, this picture should be an NFT because it's actually kind of crazy.
	Like, you know, like the Brilla box is like a really famous art piece.
	Am I wrong? It's, you know, Andy made, you know, I think there were 30.
	It was an edition, but a small edition at first.
	He did Kellogg boxes.
	He did, you know, a whole variety of those.
	There's actually a great HBO documentary about a Brillo box that follows it from the purchase by this family and then how it sort of moves through the auction world.
	It's a great doc.
	You know, Shalom has in his collective an artist named Say, who has done an entire rendition of the Brilla Box series.
	Yeah, that's right. So I have a partner named Say Shamora.
	He's part of MTLE. He actually did a rendition of Brilla Box.
	Warhol's Brillo Box and he had a play on words where it was actually ill bro.
	So he made it say ill bro.
	As we know, a lot of artists will take from each other or get inspired by each other and try to make it better.
	So having that familiarity of that Brillo Box really made a difference in people's reactions to his actual piece.
	But to me, that's the beauty.
	That's the beauty of art, you know?
	You could have something so iconic and people could make spins of it.
	Like, how many Campbell's Soup have we seen?
	So many. And these things are still popular and still thriving.
	It's beautiful to get inspiration from one another and continue it.
	I wish we had an ability to show it, some of the Brillas, the Illbros.
	Because get it, Brilla, Illbro, like, sick, brother.
	Let's go on our tour, guys.
	What's next? Here's John's mom with Andy Warhol.
	What a freaking champion, man.
	That's so cool. Did your mom post for Andy Warhol also?
	She did a series of photobooth pieces, photobooth photographs, which the end result of is behind them right now.
	It's a portrait by Andy.
	And it was a nine-panel portrait.
	And, you know, they commissioned it.
	I don't know. The cost was maybe a few thousand dollars for the whole thing.
	And they commissioned it.
	And Andy made these pieces.
	They were supposed to be one piece, but I think by the time they left his studio, they bought them all.
	So there were nine panels in different waves.
	Wow. Yeah.
	I'm very fortunate to have seen some of the pieces that I'm not allowed to talk about that have flowed through your house.
	Yeah. And here's an actual copy of that, right?
	Well, this is Richard Pettybone, who did a portrait of her in the style of Andy.
	Uh-huh. Hmm.
	There's nothing like smoking a joint in front of an Andy Warhol.
	That's privilege.
	Alright, let's keep going.
	What do we got next?
	Who's this? On the left, the wrapped person.
	Is that a Christo? Yeah, that's my father.
	He's wrapped by Christo.
	That's sick! Yeah, Christo was my godfather.
	I know that Christo was your godfather, but I didn't know that Christo did a piece of your father rap.
	That is sick.
	Where is that piece now?
	I believe it's in the collection of my stepmother.
	So I hope it's on the surface somewhere and the world can see it.
	How big is that? That must be like three or four feet.
	It's about four feet tall.
	It's a beautiful painting.
	That's incredible. This was shot for the New York Times back in...
	It must be the late... My brother is there in the Klaus Oldenburg...
	That's Tom in the back?
	Yeah, that's him in the tires.
	Oh my god, John.
	I just realized that in the far distance above Tom to his right is a piece that we're going to be sharing later.
	That's a Klaus Oldenburg plug.
	That Klaus Oldenburg plug is in our museum tour today.
	Excellent. Yeah, great piece.
	That's insane. When we come to that, we'll go back to this picture.
	Great, great. That's my mom.
	And that's a storefront that Christo created that is in the foyer of our apartment in New York.
	To the left of the door is a mock-up of that piece.
	And to the right is a Robert Indiana painting.
	You can't quite see it. It's hiding in the corner on the right.
	And that's our apartment in New York when we were growing up, my brother and I. That's stupid.
	John, I gotta ask a question.
	How did they price the Christo?
	Because some of them are like $40 million.
	Am I right? Christo hasn't attained quite that level of auction records.
	He's done well, but he passed away about four or five years ago, four years ago, I believe.
	So the prices fluctuate, like any auction market.
	I mean, it's a very volatile, by-the-minute...
	What's his highest ticket that Christo got?
	Probably a few million dollars.
	I really don't...
	I don't have the records right now. It's still very impressive.
	I know his pieces at LACMA are sick.
	He's a great artist. I mean, here, this defines great art.
	When you look at a piece, you know, he did a piece that my favorite piece of his is the Valley Curtain.
	And he strung a curtain between two mountains and he hung a curtain between two mountains.
	And that blew my mind.
	That's one of the great pieces that he did.
	Yeah, the last installation I saw that he did was like the channel of the flags.
	What was that one? The gates was New York City.
	Yeah. But the flags, I think, were somewhere in the Midwest.
	Right. Over a river. Is that the piece you're talking about?
	Yeah, exactly.
	Beautiful. Yeah.
	His work, he rapped the Reichstag.
	He's a monumental artist.
	Really important. I really am very fond of his work.
	You know, he changed the way we look at things.
	Do you think in like 400 years, somebody's going to like unwrap a Christo to see what's underneath?
	Like some rich, totally like douchebag elitist is going to be like, Christo is going to be like a $400 million piece and they're going to be like, what's underneath?
	And they're going to rip them open.
	Very possible. I had a friend in college.
	I came back and I had a Christo and he was about to unwrap it.
	No! Anyway, yeah.
	Oh my god. Okay.
	Alright, let's continue our tour, fellas.
	What do we got next?
	Okay, John, what is this?
	That's the Cristo wrapped magazine piece.
	64. It's actually over here in the corner.
	I'm pointing at it right now.
	Oh, I see it. It's wrapped magazines.
	It's a beautiful piece.
	Okay, so I have it in combo with this piece.
	This is by Namjoon Pike.
	It's a painting. And then they were together at your old house.
	I remember. This was your Richard Neutra.
	Yep. This was a fun spot.
	Beautiful, beautiful house.
	Okay, so Namjoon Pike I think is one of my favorite artists of all time.
	You know, the father of video art, a Fluxus, member of Fluxus, You know, again, you know, an artist that really combined video with technology, you know, technology and art.
	I mean, one of the first that was able to do that.
	I believe we have a picture of one of your Namjoon Pikes, the TV one somewhere in here.
	All right, who's this?
	That's my mom, Holly.
	And to the right is one of the great art dealers of the 20th century, Leo Castelli.
	Leo Castelli. Behind him is a piece of art, those eyes popping.
	That looks like a piece of art by William Wegman, one of my favorite artists.
	Maybe my favorite artist. I love Bill's work.
	Again, that's I'm Sorry by Roy Lichtenstein.
	And this is the famous one of your mother.
	Yep. This is like one of the most valuable paintings in the entire collection.
	Would you not say?
	You know, if we're going to... Yes, I would say it's...
	I mean, it's really one of Roy's great, great, great paintings.
	I mean, he's a great artist, and this is one of his, you know, masterpieces.
	It's amazing to be canonized as a masterpiece.
	Yeah. I mean, like, what a...
	Well, you know, he took the comic strip...
	You know, background.
	I mean, the comic strip artwork.
	And he incorporated an iconic image.
	And just in three words, he kind of says everything we want to say to each other.
	I mean, this piece is just like...
	I think the first time I learned about this, I must have been...
	I don't know, elementary school.
	The first time I ever saw this piece.
	It's a great one. In school, it must have been.
	Because I've seen it my whole life.
	It's a piece that I've seen my whole life, and it's a piece that is going to be seen for hundreds of years.
	I love visiting it at the Broad.
	Right, it's at the Broad.
	And it seems a lot smaller than what I remember it as.
	When you go to the Broad and you stand before this, do you tap somebody, hey, hey, hey, that's my mom.
	Yeah, no, I never...
	Actually, in the nomenclature, it's not...
	I mean, I think Eli...
	Maybe didn't... I mean, he realized it, but he didn't...
	The nomenclature is kind of brief and does not actually say anything about Holly, but it's his painting.
	Have you ever met him? Eli Brode?
	Yeah. I think, yeah, a long time ago, sure.
	Like, that would be the type of person that I would say, hey, that's my mom in your painting, like...
	I would have loved to have said that.
	He's long gone, but the museum and his collection is with us forever.
	Did his collection pick this up before he passed away or while he was alive?
	He bought this at auction and put it on his American Express card.
	Do you know what he bought it at auction for?
	I think it was about $3 million.
	$3 million on an American Express card.
	Yep, you got a lot of miles.
	God. A lot of miles.
	All right, now let's turn to some of Shlomi's art.
	So Shalom Shlomi Hayoun, you have taken a lot of your art and transformed it on objects.
	And my favorite piece that you've done, actually, if I take this screen over here, Hello.
	This is Adam, the proud owner of Shlomi's Greatest Art piece, this beautiful talk-to-God payphone.
	Yeah, I'm in the middle of a show now, but I'll call you back.
	Okay, thank you. So Shalom actually paints on objects.
	And this is one of your pieces.
	Tell us about it. So I was inspired from my background of music and sound engineering, vocals and writing.
	I remember that transition from music to real estate.
	Well, about eight and a half years in real estate.
	To art, I still had this passion.
	For music that I just couldn't shake.
	So I wanted to see how I could combine them all together.
	I started painting on old instruments, anything from violins or interfaces, mix boards to drum sets.
	Actually, one of my favorite pieces is where I cut a drum set in half and mounted that on a wall with some of my paint.
	Combined with it. And I just thought this was a great way to bring all of my passions together in one.
	So, you know, I feel people could draw inspiration from everything.
	And, you know, what better way to really put all your passions in everything.
	I love this piece, man.
	And I hope that one day it could come alive and somebody can actually string this thing and play it.
	Like, somebody needs to play this piece.
	It's so pretty. But it's not tuned yet.
	Could it be Restrung?
	The owner, I don't know, but they bought it a couple years back.
	Oh, this was bought. All right.
	This is, I believe, John, do you know what this is?
	Yeah, this is a painting by Gerhard Richter, recognized as one of the great sort of like pop artists.
	You know, I kind of put together a few slides for you that, you know, showed kind of art that really inspires me.
	This is a painting that, you know, I admire his work a lot.
	So Richter is actually one of my biggest inspirations and role models in my abstract work.
	You could totally see it in my abstract work as well.
	I saw his documentary about a few years ago and it just blew my mind.
	His technique, the process, the way he went about his process, just everything about it was really cool.
	And before then, I thought art had to be very thought out.
	And you had to have a concept or political or whatever it is.
	You had to have some sort of voice or angle or whatever it is.
	But that's not the case.
	With this, it's just doing it.
	You know, just do it. A lot of artists come up to me and ask me, what do you do when you're in an artist block?
	Kind of like a writer's block.
	I say, I just start. I just put some paint on a canvas and go and see where it goes, where it leads me.
	And that's the beauty about his style.
	Richter's style is that you're always surprised.
	This or the pouring technique.
	You just start, you do, and the paint has a mind of its own.
	So it's really surprising and refreshing to see that.
	And who is this again?
	Gerhard... Gerhard Richter.
	Gerhard Richter.
	A German painter.
	You know, he came to the forefront with a few of the other German expressionist painters like Kiefer, Rainer Fetting.
	One of my favorite German artists is Sigmar Polka.
	He painted on fabric and really kind of broke all the rules.
	Painting on fabric.
	I like that. Yeah, very, not, I mean, like photography, it was never really accepted until sort of the recent past as serious art.
	And that barrier has been broken.
	But yeah, Richter, Polka, I mean, they're great artists.
	Let's continue on our tour through the Adam King collection.
	I wish. Okay.
	John, you sent this to me, but it spooked me out.
	I'm like seeing The Shining over here.
	Well, it definitely inspired Kubrick.
	You know, Diane Arbus, you know, was a photographer that kind of rose to prominence.
	And again, she broke the barrier of what is defined as fine art and what is defined as photography.
	She would go to places that were kind of forbidden and she would expose and show I mean, these were two twins.
	She went to mental institutions.
	She went to anywhere she could go that, you know, she could find portraiture of people and places that we couldn't necessarily access.
	So she's one of my favorite, favorite photographers.
	And this is a classic.
	I like the shock value to really show that this is art that broke the barrier of what allowed photography to be determined as fine art.
	That, to me, has value.
	Much more than the content of the picture.
	Well, and her daughter is also a very interesting photographer.
	And that's very Guggenheim of me to say, because I feel like Guggenheim is like...
	I feel like Guggenheim is more than the quality of the content, and that's why he has his museum in New York.
	It's like, look at my big building and I'm going to fill it with shitty art.
	The only thing that's decent there is the Basquiat collection.
	Oh, you're being a little bit too harsh.
	I think that is one of the worst exhibits I've ever seen.
	You know, the Guggenheim, we can talk about architecture for a moment.
	The Guggenheim, which is Frank Lloyd Wright's, one of his masterpieces, is not very art-friendly.
	As the architect was never very art-friendly, all of his homes were designed to be just completely...
	I think in the Hollyhock house, he designed the silverware.
	I think he even designed some clothes that you would wear to dinner.
	He was a visionary.
	But the Guggenheim Museum, because it winds down, As you walk, it's disorienting.
	The walls are curved.
	And the art, too, is disorientating.
	The collections in the Guggenheim are very specifically placed to be disorientating.
	The whole vibe, he's like selling a vibe with his art.
	And I'm telling you, that's why he puts the Basquiat collection is on the top.
	Because there's nothing else worth seeing there except for Basquiat, personally.
	I think you're being a little close-minded about...
	Maybe. Maybe.
	I mean, I'm sure there's some good...
	There's definitely some good pieces, but they're few and far between in Guggenheim.
	You're wrong. I know he's got some better pieces in his collection.
	Well, I don't think you're... We could shake him down for the public, you know?
	He's got some better pieces in his collection.
	Well, the museum...
	I don't know about the permanent collection.
	I haven't seen it in a long time.
	But they've mounted some very, very important shows.
	Nonetheless, though, the Frank Lloyd Wright building is sick.
	And it's across the street from the...
	The building is amazing.
	It's the piece that... And I always thought that really, like, having shitty art in a museum like that is really just to...
	It adds more glory to the building itself.
	You know what I'm saying?
	Yeah, but I disagree with you about shitty art.
	That was my take on the Guggenheim.
	I'm just giving you my perspective on it.
	You know, I'm not... Didn't I go to the Guggenheim with you, Shalom?
	I think we did go to the Guggenheim together.
	Was it? I think I went to the Guggenheim with you.
	Like four years ago.
	Oh yeah, yeah, yeah. Oh my god.
	Anyways. I can't believe it.
	I just put two and two together.
	I didn't even think that. But I always made fun of Guggenheim because of that.
	But I don't know.
	John, you still with us?
	I think we got a video freeze on our friend John here.
	And this will be a good place that I could just jump out and talk about all of our programs we got here at the Adam King Show.
	I want to remind everybody to go to Infowarsstore.com And support InfoWars and what InfoWars is trying to do for the entire world.
	We are going to take a brief break, commercial, and when we come back, I'm sure John will be back, and we will be back, all of us together.
	Huge believer in information.
	I watch InfoWars every day and follow Alex Jones closely.
	You know why? He can put you ahead of the curve.
	And he's been demonized as a conspiracy theorist.
	Think about how frustrated we are if you've been awake for a year or two.
	Imagine being like an Alex Jones or those guys who've been awake for like decades.
	Alex has been right on for over a decade.
	This is reality.
	Truth is stranger than fiction.
	The revolution of peaceful information is coming, and when it comes time, you people are going to be brought and punished.
	You're lying to the public.
	The media continues to misrepresent what I've said.
	He may be America's best known conspiracy theorist.
	Alex Jones has the largest audience in the country, bigger than any of the networks, the biggest megaphone in the country.
	We're gonna get fired up about the real things, the things that matter!
	Burn in hell, New World Order.
	And we are back.
	Thank you for tuning in once again on the other side of this commercial break.
	Again, I am Adam King, the host of The Adam King Show, joined by my two guests, John Solomon and Shalom Hayoun.
	Please go to InfowarStore.com.
	Support the Infowar and support keeping free speech on the air.
	And with that, we are going to get back to our segment and our gallery tour through...
	The Adam King Collection.
	Okay, so we were just going over this Diana Arbus, talking about how Diana Arbus, really, she brought photography to the...
	How she brought photography to be considered as fine art.
	And... I'm glad that we ended that Guggenheim segment right before the commercial break.
	We don't have to get back to that.
	And let's see what's next in our segment.
	All right. Next in the Adam King collection, we have one of the street art, because Shalom, you're really a street artist.
	And you have done street art all over the entire world.
	So I'm not actually known as a street artist or what you would call a street artist.
	I didn't grow up tagging buses and trains and walls like that.
	But yeah. You're a permission-based street artist.
	Yeah, he went to Yeshiva.
	He's a permission-based street artist.
	One of my friends told me...
	Don't neglect the streets.
	Since I do pop art and street art type of art, he's like, don't neglect the street.
	That is your biggest fan.
	You have the most eyes on that.
	And that's where people will see you.
	It's an advertiser.
	Alright, so let's go for a run through your street art collection.
	Let's see what you've got here.
	And people can see behind the Instagram, shlomi__j__art.
	Let's see a little bit from the Shalom Hayyun street art collection.
	Now, this is a building that you did in Japan, correct?
	Actually, Adam, my Instagram handle is shlomi.art.
	Yeah, I went out to Japan with my art partner, Sei Shimura.
	He invited me to come do a mural with him.
	And this was actually a very pinnacle piece for me.
	I had to take time off of work to actually fly out to Japan to do this mural.
	And I was faced with this huge wall, five stories.
	And I remember we had no projector, no butcher paper, no transfer paper, no methods except for free handing this giant mural.
	And I remember that I was looking at this like maybe I bit off more than I could chew because this was one of the biggest projects I've done thus far, excuse me.
	And we killed it.
	We smashed it and this gave me the confidence to come back to LA and quit my corporate job.
	And after this piece, I became a full-time artist and the rest is history.
	But I want to focus on this art.
	Let's zoom in on this a little bit.
	And just see the quality of the building and the piece.
	It's so cool, man.
	It's like, here's the woman up close and here is her far away.
	You see that, John? It's really a beautiful, beautiful piece.
	The building is so streamlined and elegant.
	Shalom, do you know what it says up in the top right corner?
	Do you know what it...
	Three of our names, that's Sei, Shimura, Shlomi, Hayun, and you're the one that helped us out.
	He did all the cherry blossom leaves around the whole building.
	It's our names in Japanese.
	And here's the woman. Is there any significance about this woman?
	Yeah, of course. Of course.
	Well, there's a lot of significance in that she's wearing Chanel glasses.
	A geisha woman is very much farther than the cranes, the crashing waves.
	Every pattern that we used on her dress from the Japanese culture, they used these patterns in a lot of fabrics, in a lot of design, in a lot of You can see it everywhere.
	Bringing everything together, the past, present, and future.
	And what got me most about this painting on the scaffolding, I see an older guy, white hair, just staring at this.
	And he's like, And again, this is very unusual.
	It's very clean cut there, clean walls.
	You know, it's very unusual to see someone painting on a wall in Japan, especially in Tokyo.
	But this place, Nakameguro, is going to be the district of Tokyo.
	They're trying to work on that very hard and it's developing.
	And he's like, you should put a cell phone in her pocket.
	An old guy telling me, like, I really like this piece.
	And I was like, oh my gosh.
	Did you put the cell phone in her pocket?
	What are you doing?
	And he was like, this is amazing.
	This made my day.
	Is this a corporate building?
	That's actually a hotel.
	It's a hotel. Do you know what the street names are?
	The corners of... I totally forgot, but I could get that for you.
	The corners of fate and destiny.
	It's a beautiful piece.
	Congratulations on making such a beautiful piece.
	Thank you. And I'm grateful that you gave us that detailed explanation because I wouldn't have understood that she's wearing Coco Chanel glasses and the whole modernity and antiquity integrated and woven into one kind of being.
	And I think that that's really significant.
	And now that I see the cranes on her dress, they're really cool.
	Thank you. I mean, the way that the dress was made is really cool.
	The patterns are gorgeous.
	Thank you. A lot of work.
	Matisse is the master of pattern painting.
	This is a great example of his work.
	This is Matisse.
	Tell us about Matisse.
	What's his full name?
	Henry Matisse, French painter.
	I mean, like, iconic.
	I mean, one of the great, great painters of the French, not in post-impressionism, I guess.
	You know, what's interesting about him is, or one aspect of his work that I really love, is the way he creates a flat perspective.
	A flat screen.
	I mean, you can see that, you know, there's a whole movement in Japan called Super Flat, which Murakami kind of championed in a show at Mocha.
	And he flattened the planes so you can see this is...
	You can see the depth, but it's really just on one...
	There's no depth to it.
	It's just all super flat.
	And he combines the patterns with an outside view.
	And it's just...
	This is one of his...
	This is a breathtaking painting.
	It might be in Russia.
	It might be at the Hermitage. I don't know where it is.
	But the Hermitage has a huge amount of his work.
	Wow. So maybe someday we can go.
	Yeah. Let's do it.
	Yeah, let's go. We can't bring weed there though, like Brittany, what was her name?
	Oh, don't do that.
	Bite my tongue. And you can't go to Japan either with any kind of...
	No, not at all.
	You'll end up in jail and we'll never see you again.
	So there's like no way we're ever going to smoke weed in front of a Matisse.
	Well, you know, there are a few Montises at the Met.
	I'm sure there are a few.
	Yeah, we can do that.
	But, you know, not in Japan or in Russia.
	By the way, I think the Met is one of the greatest collections on Earth.
	That is one of my favorite museums on the entire planet.
	I love the Met. It is my favorite as well.
	There's nothing like the Met on Earth.
	Yeah. And you know that LACMA membership gives you membership to the Met.
	Did you know that? No.
	No. Yeah, they have a membership package.
	Well, the dirty secret is you can go to the Met and you can make any donation you want and enter.
	There is no set price.
	I mean, there is a suggested price.
	The Met is the thing of movies.
	They have like a gigantic Tyrannosaurus Rex inside of it.
	You know, it's just like it's a fantasy world that is like unheard of.
	Yeah, it's the real deal.
	The Met is the axe chilling.
	It is on another level.
	It is... For sure.
	It's really on another level.
	Alright, let's continue our tour.
	What do we have next?
	We have the Holy Grail.
	This is a chalice by Thomas Lannigan Schmidt, who did a lot of, you know, he's kind of not a street artist, but he would take tin foil and any material that he could get his hands on.
	And he lived in Hell's Kitchen for many years and created all these pieces of art that basically were using religious iconography and materials that were not valuable and putting that together.
	And he did a show at PS1 that was extraordinary.
	This is an interesting piece.
	I like this piece. What else do we got here?
	This is another one of Shalom's pieces.
	That's an old one. Wow, that's beautiful.
	This Shalom always reminded me of a Banksy type of a thing.
	With a rifter using the same kind of method of dragging the white paint over the Great.
	Yeah, I created this probably 2013, 2014.
	And yeah, that was heavily inspired by this.
	Especially artwork, just black.
	Where is it? I feel like a lot of people guard themselves for this.
	Where is this piece?
	This one's actually in my studio.
	Wow. Is it for sale?
	It is for sale, but...
	Oh, ding, ding, ding, ding, ding, ding, ding, ding.
	It's like one of the first ones.
	But yeah, we do a lot of coffee as well.
	Do we have a sale on the Adam King show?
	Are you listening, people?
	Are you listening? The magic contained within is enormous.
	You know, it's that impulse and urge to collect that I'm fascinated by.
	So, John, this like reaches out to you, huh?
	Yeah, it's very poetic, and the content sort of is in contrast to the material it looks like it's on.
	It's rough, but it's also very pure.
	So, yeah, I think it's a great painting.
	Right. And there's this kind of...
	Naivety? She feels like, oh, she's okay being herself, right?
	Like, she's untouchable being herself from love, you know?
	And then we complain.
	We don't have love. But sometimes we put our own umbrella up, and I'm trying to show that through simple but complex at the same time.
	It works. Very beautiful.
	It's a great piece.
	All right. So we got a little bit of audio issues.
	So just be mindful to speak directly into your microphone so that our listeners at home don't have any interruptions because I'm sure everybody right now is glued to their TV, especially on the conspiracy channels that we stream to.
	They're going to be like, we've never seen anything like this.
	You mean he's not talking about a Chinese spy balloon?
	It's talking about art.
	These videos are going to do really well.
	So we want everybody to tune in and listen.
	Okay, what do we have here, John?
	What is this? This is an abstract piece by a great artist named Kim McConnell.
	He paints on furniture.
	He takes found objects.
	He lives in La Jolla near San Diego.
	He made a series of pieces.
	There's one beach in San Diego that all the plastic shit that washes up ends up in this one area.
	He would go there and grab pieces of plastic that were You know, out at sea, and then he'd put them together and create a, you know, an art object.
	This is a flat piece that he did.
	It looks like it's on...
	I don't know if it's on canvas or metal, but he, you know, he really...
	His sense of color blows me away.
	I mean, I just think he's a master at color.
	I really like this one, too.
	It's a beauty. Oops, I think we just lost...
	Oh, we lose Shalom.
	There he's back. Great.
	Great. Okay, so let's continue our tour.
	Okay, this is a much bigger piece.
	I don't have the zoomed out copy, but...
	Well, it's a small drawing by an artist named...
	It's okay.
	We'll go. He'll come back.
	We... You know, Nara is another Japanese artist that I admire.
	And this is a drawing, a very small drawing.
	It's really the size of a postcard of twins.
	And his drawings are extraordinary.
	There was a beautiful show at LACMA, a retrospective of his work.
	And he's one of my favorite Japanese artists.
	Great, great, great one.
	John, let's continue talking about this artist.
	Well, Nara, you know, he's Japanese and his relationship to Japanese culture is interesting in that he takes sort of childlike characters and integrates them into, makes paintings, I would have to show you more of his work to sort of get you the overall feel.
	But this Twins is a really iconic example of his drawings.
	So his drawings are some of my favorite works.
	Okay, John, we are on our tour continuing.
	What is this?
	Is this a Wegman?
	The painting is called The Museum of Beer by Bill Wegman, and you can see it in the background here.
	Oh, right there.
	Yeah, it's beautiful.
	It's one of my favorite paintings.
	Bill is famous for his photographs of Weimaraners, which he's done more commercial work, but he's also this sort of hidden great painter.
	This is one of my favorite paintings of his.
	The Museum of Beer kind of depicts nature gone, kind of getting its revenge on us for all the The sort of the wildness of our culture.
	So you see the two Indians in profile kind of looking over this world.
	In the background, you see a volcano erupting.
	And in the foreground, you see sort of Indians kind of losing, going wild.
	And it just shows like a...
	And there's like a horse taking a dump.
	Yeah, there's like a donkey taking a dump, and then there's, in the background, it looks like an oil well or a ladder.
	And then, you know, it's very, it's kind of apocalyptic and funny at the same time.
	Right. And that's where I think he sort of stands out, where he's able to somehow make something quirky and interesting and funny out of something ordinary.
	Yeah. So Bill is one of my favorite artists.
	And below it is a piece by Alexis Smith.
	And it's a sculpture that says, think and then drink from the cup.
	And I can't...
	I mean, they kind of relate to each other, Bill and Wegman and Alexis Smith, in that they kind of find these...
	Metaphors for our society that are funny and kind of weirdly original.
	And then below it is, well, that's a piece by George Nelson.
	The table is a beautiful jewelry box on a pedestal by George Nelson.
	Mid-century modern. I think that Robert Wagman is one of my favorite artists that you've exposed me to, to be honest with you.
	I'm sorry, Bill Wagman, not Robert Wagman.
	He shows up Mark Selwyn in Los Angeles.
	It's kind of like surrealism, but it's more realism.
	Everything kind of has a shape but doesn't belong together in a certain kind of context.
	Exactly. But it kind of all fits together even though it doesn't really fit together.
	You kind of have to look twice and it makes you think.
	Exactly. Twists things to a point where there's an absurd quality to the work.
	And then, you know, I've been told by certain art critics that each word that is in this piece represents something in the beer culture that reflects on, you know, alcohol in our society.
	I haven't asked Bill about it, but it's...
	So Bill is still alive today?
	Yeah, Bill's alive and kicking in New York, and he goes to Maine a lot.
	He's a... He's an old family friend.
	Let's see what comes next.
	This is a Namjoon Pike sculpture.
	Again, the father of video art.
	And the iconic imagery that runs through his work are robots, Buddhas, and televisions.
	And this is a... A robot that has TVs, made of TVs, it's definitely...
	It looks like a grandfather clock for an arm.
	Yeah, it is.
	It is a grandfather clock.
	Two grandfather clocks. That's brilliant.
	Namjoon Pike had an incredible retrospective at the Tate Modern, and then he had another retrospective at your favorite museum, the Guggenheim.
	And he had another retrospective which traveled, which was originated by the San Francisco Museum of Art.
	And Larry Kagozian, the art dealer, represents his estate.
	And, you know, again, he's one of the greats.
	I mean, really up there with Andy Warhol and, you know, a lot of artists that have kind of taken our world and showed us You know, an aspect of it that kind of reflects us.
	Televisions, you know, communication, TV, and the Buddha, you know, his drawings are incredible.
	I think he's one of my favorite artists as well.
	I think we got Shalom's audio working.
	Shalom. Can you hear me?
	Perfect. This is the best.
	So we're going over a Namjoon Pike right now.
	Are you familiar with Namjoon Pike?
	Absolutely. So John is showing us this Namjoon Pike where he has grandfather clocks for arms.
	It's kind of like...
	You know, John, the way that I look at this, it's kind of like a sentient message.
	Like... The arms are the clocks and it's kind of like the television becoming a robot, like the clock becoming a television becoming a robot.
	It's kind of like it's almost describing the advent of artificial intelligence.
	From the beginning of man working with machine, making clocks, through television and media and broadcasting, into robot, all of it is involved.
	If you think about it, everything that we've built, all the technology, one technology begets another over time.
	For instance, just to keep it to this subject, You know, gears and parts and all sorts of moving mechanisms that kind of encompass the machine necessarily didn't originate on the machine.
	Like in the grandfather clocks, there's all sorts of gears and levers and pulleys and all sorts of different things that kind of encompass the beginnings of a machine that eventually become the robot.
	Maybe it spans over 500 years, but when I see this piece by Namjoon Park, I see 500 years.
	And the video that is playing, I can't make it out on this image, but he created these video pieces that became elements in the works as well.
	So now that we got Shalom back, I want to go back to the Fallen Legends series.
	And I want to dip into that a little bit.
	And we could start over here with the late great.
	Prince. Artist always known as Prince.
	So, funny thing about this Fallen Legends series is that I've never wanted to do Pop Icons images.
	I always stayed away from that because I found it to be very trendy and a lot of people have done it.
	Like, you go to Venice, how many of those Bob Marley or Marilyn Monroe pieces have you seen?
	I didn't want to be another one of those artists.
	You know, those artists.
	So, I always stayed away.
	But I got blessed with showing at the Hollywood Palladium.
	And this was at the time that all these legends were passing away.
	Like, you know, Prince and Bowie and Chris Cornell.
	And I decided, you know what, let's do a theme.
	I researched all these guys, performed at the Palladium.
	So I made a tribute to them, the Fallen Legends.
	I made their faces very ghost-like gauntly, but the colors very, very bright and eye-catching to show that their music is still alive.
	They might have passed away, but their music is still alive and still here to inspire us.
	You said there's 27 pieces, 27 Fallen Legends, correct?
	Correct, yeah. Okay, so we have three of them and maybe four of them here.
	Yeah, Tupac, Ray Charles.
	Yeah, let's start with Tupac.
	Sure. He's one of my biggest influences and inspirations in hip-hop.
	He actually performed at the Hollywood Palladium as well, and that's why I chose to have him.
	Were these made with Swarovski crystals?
	No, not that one, but I do happen to use a lot of Swarovski crystals in my artwork.
	Yeah, back to the fallen legend.
	So I started off with Frank Sinatra.
	He opened up the Hollywood Palladium back in 1940 or 41.
	And then I did Janis Joplin.
	I've done a whole bunch of different artists that performed at the Hollywood Palladium.
	And you guys could be more than willing to check that out on my website.
	I'm going to pull a gangster move right now.
	Your Fallen Legends series actually got you mentioned by Drake.
	You presented an award to him, correct?
	You know, actually, I have a clip, so let's cut to clip.
	Why don't you play the clip? Here in the building, I got something done for my brother's p-day real quick, you know what I'm saying?
	It's his birthday, I just want to present him something that he can put in the crib, one of the cribs, you know what I mean?
	We got a lot of cribs, you know what I'm saying?
	So we put something together tonight for my brother's birthday.
	He's a dope artist, and I just wanted to put something in my brother's hands for his p-day, and we made this.
	Show the people real quick.
	You heard? You heard?
	Something like...
	You know, I just want to throw something up.
	So, you know what I'm saying? We show my brother some love for his P-Day real quick.
	You know what I'm saying? We appreciate the love.
	You know what I mean? Murray, he's good.
	You know what I'm saying? You heard.
	You know what I mean? It's all love.
	Okay, and we're back from that video.
	That was really cool. So let's continue with the Fallen Legends because I love Ray Charles, man.
	I mean, I love, love Ray Charles.
	Yeah, so one of the biggest things for me is eyes.
	I love eyes. And I used to focus on eyes on portraits, even way before I did The Fallen Legends.
	I did a lot of portraits of friends or whatever.
	And I always focus on the eyes.
	But with Ray Charles, he never shows his eyes because, you know, he's blind and he wears glasses.
	So I was like, there's got to be something super special that I could do.
	You know, and I noticed...
	Oh, the reflection of the piano.
	Let's bring that out more.
	You know, it's so subtle, but I just wanted to give it a little more feel.
	So, yeah, that's really special to me.
	John, how cool is that?
	It's great. I love the Prince.
	You've got the piano and the glasses.
	The Prince piece is beautiful.
	The way you've layered the patterns and the color.
	How many of the fallen legends are accounted for?
	How many have been sold?
	How many of them are available?
	I believe...
	I have to go back to check.
	I believe I have about 10 of them left.
	10 of the 27 left.
	Wow. Impressive.
	And that collection will continue...
	And then, I don't know if the next slide that I'm about to show you count in the Fallen Legends, but this piece that you did was extremely acclaimed.
	Yes. Is this count as the Fallen Legends?
	Yes. To answer your question, yes.
	He is definitely part of the Fallen Legends.
	He inspired so many of us.
	You know, he is a legend on his own.
	He is the GOAT. So I had to add him to the collection.
	The Hollywood Palladium's Fallen Legends kind of extended more than just the Palladium.
	It started off there, but I've been having a lot of requests to do different people, different celebrities, different people that inspired them.
	So, yeah, it's more than just the Hollywood, you know, Palladium Fallen Legends.
	It's the Fallen Legends series.
	So we are getting to our one-hour mark.
	I'm going to pause and I'm just going to put up another commercial.
	And we could continue because I still have about 15 more pieces that I want to cover in this segment.
	We've so far done 25 out of 40 pieces.
	And I think we're giving the viewer audience a tremendous education in art.
	And this might be a first exposure, especially to a lot of people, of what really is going on in the art world.
	And I'm going to encourage our audience to go check out InfowarStore.com and please buy something, a tote bag, a duffel bag, a Faraday cage for your phones so you don't get EMF poisoning to your phones, any of the nutritional supplements.
	They're very great and they keep you alive in these times where everybody needs nutrition.
	Positive, good nutrition.
	You can get a survival kit.
	Go to InfowarStore.com.
	Click the QR code and pick something up to support the Infowar and to support free speech in America.
	And when we get back, we're going to go deep into some new art.
	Oh, no, no. I don't even know what this is.
	How did he get here? I just caught you, American.
	You visited Bandai Video.
	Oh, Mark Zuckerberg and others angry at you.
	Do what CNN says and do not visit Bandai Video or I have to hurt you.
	It comes from China.
	Let's talk about things.
	You're a sponsor of the show.
	You support us. It's not the main reason I had you on today, but usually you're hard to even get to plug the products when you're on.
	But you've got so many great Made in America products.
	And if people go to your sites and use promo code Alex, they get even bigger discounts.
	But tell folks about this new pillow you've got.
	Yeah, this is a big announcement.
	When I invented my pillow, that was in 2004.
	It took a year to invent. Nothing ever changed.
	It was the best patented fill.
	The best member sleep is about height and stay in there and temperature.
	Well now, I found out about a year and a half ago about temperature regulating thread that's made here in the US. So I have this fabric made And I said, you know, let's make an exclusive MyPillow fabric and see if it works with the great patent and fill.
	I've slept on it now for two months.
	This stuff is cool to the touch.
	You're not going to be flipping that pillow to the cool side.
	It is the most, the best pillow in history just got even better.
	And we're doing the buy one get one free.
	We just actually got these into production last week, and the commercial for it, it was one of our big movie commercials we made, where the one in the mirror, that comes out in about 10 days.
	So you're getting them here, one of the first ones to get them in the country, and trust me, it brings sleep to a whole new level.
	They're absolutely the best pillow ever.
	You have great products, hundreds of great products, but more importantly, you're using the money to fight the new world order fearlessly.
	That's why everybody should shop for their sheets and their pillows and their beds and their dog beds and their slippers and everything at MyPillow.com.
	You've got the great bath rubs, everything.
	And just use promo code to get the big discount, promo code A-L-E-X, and that keeps this show on air as well.
	Okay, and we're back.
	Thank you very much. A reminder again, please click this QR code and go to InfowarStore.com and support the Infowar.
	And so, we are joined with Shalom Hayoun and John Solomon, two of my good friends.
	We are going long here.
	This is going to end up turning into one of our longer podcasts.
	You guys got the stamina for this?
	Sure. Okay, good, because I really want to cover the segment, and we can really hammer it down.
	And there's a lot of things that I'm not going to be able to show that I want to show, such as that Namjoon Pike.
	I don't have it in the collection.
	Actually, I have a photograph of it.
	I don't know if I included it in the collection, but I want to go over some things.
	So we covered the Robert Wegman.
	That was a beautiful piece, the Namjoon Pike.
	And now we get to my absolute favorite piece.
	This one is in the John Solomon collection.
	Is this available for sale, John?
	Yes, it is if you want to make an offer.
	I would love to have what to make an offer like that, but I don't have enough lunch money for this one.
	This is one of Namjoon Pike's more famous pieces, am I right?
	You know, his paintings are, you know, the video art's probably the most iconic of his work, but this painting is quite special.
	It's a beautiful piece that I actually have had translated, but I don't have the translation in front of me.
	But he talks about family, about culture, about family, country, and he's, this is just a test pattern which he's kind of well known for.
	It's quite a large piece.
	As you can see, it's over...
	It's actually right behind you.
	Yeah, that's the...
	Now, if one of my listeners decides to buy this piece, you can reach out to Infowarsstore.com.
	I'm sorry, not Infowarsstore.com.
	What am I talking about? You can reach out to info at theadamkingshow.com.
	And I want to take this time to remind you to all go to TheAdamKingShow.com and check out our website where we put all the bios and clips, and we're soon going to be broadcasting live from TheAdamKingShow.com.
	Great. But we have this Namjoon Pike.
	This is a major piece.
	John, this is not something...
	This is an actual major piece of art.
	I mean, this could be like a seven-figure piece right here.
	I mean, this is quite a significant piece of art.
	I hope so. I think it is.
	It definitely has that ability to, you know, punch through the noise.
	I mean, it's a test pattern, which is noise, basically.
	Right. Yeah.
	I think he's also a great painter.
	His drawings are quite beautiful, too.
	Maybe we have a few of those in the slideshow.
	Let's see what else we got.
	I'm hesitant to move on, but I know that I have another angle of this piece.
	You can see even up close.
	It's just so pretty.
	And the antenna. And the shadowing of the letters is just...
	Yeah, I love the antenna.
	Yeah. And it talks to this piece over here.
	Which I don't think you can...
	Oh, we can actually show it on the show because it's sitting right there.
	Holy smokes. That's the piece that I wanted to bring up that I didn't put the slide in for and it's sitting right in front of me.
	Yeah. It's beautiful, John.
	I can turn it on if you want.
	Oh, I would love it.
	Can we move the camera and show the audience?
	Well, we can move the camera.
	When we get there. I might have a picture of it.
	Let's see if we get there.
	Keep going. I actually have a picture of it right there.
	That's with a friend of mine standing in front of it.
	And, you know, he made a stand for the video disc player, which it was running off of originally.
	Yeah. And the video is extraordinary.
	I've stared at it for many hours.
	Yeah, and this is something we definitely toot the golden horn about, you know?
	It's a great piece, yeah.
	I gotta tell you, John, this piece is so exciting to watch.
	And I want to share with my listeners, you ran a clubhouse called Living With Art.
	Is that still around? Um, uh, we haven't, I haven't turned it into an actual podcast, but it's, uh, it's, it's brewing.
	Let's just put it that way. So we want to be at the Adam King show wants to be very involved in living with art.
	It's a podcast about living with art.
	And like, what is it like to live with such a Nam June Pike?
	Tell what it, what is it like to live with a piece of painting like this?
	Do you leave the TV on when you're just around the house?
	Sometimes I do, yeah.
	I mean, you know, Living With Art was a book that was written by my mom and another writer.
	They showed how, you know, people, I think there's a sense of...
	People are afraid, I think, sometimes to buy a piece of art or to bring it into their home because it's a real expression of who you are.
	And so I think it takes a great amount of bravery to put your money down and to buy something that you put in your home and you live with.
	And so the whole point of living with art is to show how and to explain how people You know, live with what you consider art.
	I mean, you know, it could be your sneaker collection.
	It could be, you know, your teacup collection.
	It could be anything that really moves you and that makes, gives you a sense of, not necessarily, it doesn't have to be peaceful or restful.
	I mean, it's like people think that, you know, You can meditate on almost anything.
	You could be meditating in a graveyard and thinking about meditating on your own death, or you could be meditating on a mountaintop in Colorado.
	They're both beautiful places.
	They transform your mind into something that It wasn't before.
	So, again, it's about creating space and making, you know, stopping or at least pausing that chatter that is constantly disrupting your mind stream.
	While we have this slide on, do you think we could turn on and show our audience from your camera?
	Sure, sure. Why don't we move on?
	If you want to move to a piece by Shalom, maybe while we're doing that, I'll turn it on.
	Okay. Cool. Let's see what we got next here.
	No, we don't have one of Shalom's next.
	You know what? We'll put it on at the end of the show.
	How's that? Yeah, let's do that.
	Maybe we'll pause it and record just that screen on film and it'll be a cool graphic we'll have.
	Yeah, I can give that to you easily.
	This piece is by Vermeer, who is one of the great You know, Flemish painters of, you know...
	I don't know Vermeer. Can you tell me the first name?
	I don't have his bio in front of me.
	I'm a little embarrassed that I don't know.
	Is it Vermeer or Vermeer?
	Vermeer. Vermeer, okay.
	Vermeer. What really gets me about this painting is obviously the oil painting is just extraordinary.
	The sense of light coming through that window.
	This is a really shitty, not a great image of it, but the curtain revealing some private moment that we're not supposed to be looking at.
	It captures a sense of time and place that is long gone.
	And he's one of the...
	I mean, I think there are only about a handful of his paintings that really have...
	I mean, he didn't create a lot of work.
	He didn't produce a lot of work.
	So this is... I think this hangs maybe at a museum in New York.
	I don't think it's the Met, but it's a great piece.
	I wanted to give you a few works of art that kind of...
	You know, make things that really kind of like push the envelope of how painting or, you know, painting is tough.
	I mean, painting is really tough.
	You know, it's usually the bigger, the better, or the bigger, the more impressive, you know, and the more expensive.
	His paintings are tiny and they're just extraordinary.
	How big is this painting?
	when you were saying he only has a handful of them and he didn't make a lot of them right away it's like yeah look how much detail is in each and every one of them probably took to create how big is this painting yeah It's probably smaller than a movie poster.
	See the piece behind you?
	It's probably about that size.
	Yeah, that one.
	Okay. All right, let's continue our journey because I want to keep our show today within an hour and a half.
	We extend them for the really good ones, but not for the really bad ones.
	So congratulations on being a successful podcast, guys.
	Okay. John, tell us about this piece.
	Who is this? This is a piece by an artist named Gordon Mata-Clark.
	He was an architect by training at Cornell and he kind of deconstructed architecture and he documented a lot of the graffiti in New York on the trains in the 60s and the 70s.
	One of his most famous pieces of art He took an abandoned pier in New York City on the lower west side and he basically put his own padlock on the door and for many weeks he cut holes in the actual pier and created this sort of living You know, a giant piece of sculpture out of this pier.
	And I think the city of New York is still engaged in a lawsuit against his estate because he had no permission to do that.
	And to me, you know, artists, when you get to the essence of what an artist is and what an artist does, they're unstoppable.
	Nothing can really prevent you from creating.
	You know, as an artist, you just do it, basically.
	You don't ask for permission.
	You don't necessarily have to worry about selling it.
	It's just an expression of something that is ineffable.
	I think from now on I'm going to identify as an artist.
	You just convinced me, John.
	I'm going to identify as an artist from now on.
	The freedom is just incredible.
	I am an artist.
	That is me. What you just described is me.
	I connected so deeply to that sentiment because you're 100% right.
	There's nothing that can stop an artist.
	There's no statement that can be made.
	There's no political line that can't be crossed.
	There's no controversy that's too great.
	An artist is one that transcends these boundaries of acceptability and norm and changes the norm permanently, making something else the new normal.
	Once the muse hits, or the inspiration, then obsession to actually get it out.
	To bring something to life.
	Because it didn't exist before.
	Exactly. You don't care about the end product.
	You don't care about selling anything except for giving it life.
	Giving it an existence for people to see.
	You're absolutely right, John.
	There's a great movie.
	Yeah, go ahead.
	There's a great movie that really is an expression of this whole concept of what an artist is.
	It's called The Horse's Mouth.
	And it's an English film made in the 50s with Alec Guinness as an artist that is just unstoppable, out of his mind, crazy, wonderful.
	And it gives me goosebumps just thinking about the movie.
	And, you know, Gordon was like my older brother when I was growing up in New York.
	And I would go out on these projects with him and I would get a call at five in the morning saying, come to this church on the Upper West Side and we're going to go into the catacombs and we're going to photograph it.
	And I was like 15 years old and I'd hold the lights for him as he was like exploring these catacombs with his, you know, 16 millimeter camera.
	But he showed me that there's that indescribable energy that comes out of an artist.
	And not everyone is an artist.
	I hate to say it, but our art schools are pushing out just thousands of artists into the world.
	And, you know, there's...
	And we have a whole craze now of NFTs or maybe that's past, but that will come back.
	That will come back to life with a vengeance, I think, sometime in the not-too-distant future when great art is produced from that kind of format.
	So it's just an unstoppable urge to create.
	I think these are important pieces of work.
	I think we're all learning something here today.
	So I want to continue on this little audio-visual journey through the world of art.
	Let's see what comes up next.
	John, what are we looking at here?
	Jorge Pardo. Conceptual artist, architect, designer.
	This is the test that I give people when they come into my space and they look at my collection.
	They look at this and some people just don't know what it is.
	It's hard to define.
	It's a nail dryer. You stick your hand in that space and you push down and a little fan dries your nails.
	But Jorge put, you know, the symbol of McDonald's on this nail dryer, and lo and behold, it's now a piece of sculpture.
	Now he converted it to art.
	And, you know, that, to me, is so simple and so elegant, and it really just exists in your mind.
	I mean, you know, you try to put two and two together, and you can't quite do it, so it just sort of, like, short-circuits your brain, but at the end of the day, it changes your conception of what is art, and I think it makes a great deal.
	It's kind of like the urinal and the fountain.
	Yeah, exactly. Yeah.
	Yeah, exactly.
	Chomp did that. First.
	Okay, so let's continue on our journey, shall we?
	Because now we know what an artist is.
	They can do anything. Just put McDonald's on a nail dryer.
	This is Bill Wegman, his first dog named Man Ray.
	And I love this piece.
	It depicts Man Ray with a beret on and it says brava.
	He did this in 77.
	You know, I see him as, the dog is a, you know, like an Italian film director.
	You know, it's like Fellini directing a movie.
	Again, it's sort of like, it doesn't really, I don't know, something's off, but it makes me laugh somewhere.
	You know, there's kind of a funny bone in it.
	I see it. It's a funny bone.
	Yeah. It's like, what's his wagon?
	Things that don't go together. And that actually ties into the wagon piece we covered earlier, because there are a bunch of seemingly different things that don't necessarily go together that make you stay and pause at it a little bit longer than you probably should.
	It's like, what is pulling me into this piece?
	What's going on here? Alright, next we have a tapestry of newspapers.
	This is a piece by the performance artist Laurie Anderson, who is an extraordinary storyteller, performance artist, musician, poet, sculptor.
	This is before performance art became cool, right?
	This was 1977.
	This is way before performance art became cool.
	Before Marina Abramovich basically defined what performance art is.
	Well, she came a little later.
	I think Laurie was one of the first.
	I mean, you know, John Cage and there were a lot of What could be termed performance art pieces.
	How is this performance? This to me is more art than performance art because Marina Abramovich is just like slaughtering babies on cameras and calling it art.
	Yeah, I don't know too much about her work.
	It doesn't interest me.
	But Laurie is a great storyteller and musician.
	And this piece, she wove together the New York Times and the China Times.
	It took her about six years to do.
	And it's a tapestry where she melded these two...
	A tapestry of the New York Times and the China Times together.
	Yeah. That's trippy.
	And it's about the size of a poster.
	It's about the size of a front page of each newspaper.
	And she turned it into something you can't quite depict.
	It's abstract.
	Great piece. Now this is the piece that I told you about in the beginning.
	Hold on. If I could just entertain you guys for a second.
	I'll tell you. Watch this.
	I will pull up a second one.
	No, this isn't the first piece that we showed you.
	This was in your house growing up.
	Yeah, it's in the black and white photograph for the New York Times behind my brother.
	This piece and then the tires were both by Klaus Oldenburg.
	Again, he takes an ordinary object that you would find in someone's home, in your home, and he presents it in a scale that you don't...
	Materials that are not originally...
	You wouldn't make a plug out of cardboard.
	Where is this piece now? It's right in the corner here.
	Oh, you have this?
	Yeah, I have this in my collection right now.
	Oh, interesting. Yeah, I mean, it's a piece I grew up with.
	But where is this picture from?
	This is from Oldenburg's first show at the Sydney Janus Gallery in 1969, maybe?
	This photograph is from 1969?
	The piece is from 69.
	This is in my house in Glendale.
	This was in my house. This is in my loft.
	He surprises us with taking an eraser, one of his most famous pieces, or the binoculars in Venice on Main Street, in front of the advertising firm.
	I like this piece.
	It's a great example of his work.
	We've got some weird video stuff going on with Shalom.
	So now we...
	Want me to keep going?
	Yeah, keep going. Now we have a piece.
	This is by Andy Warhol.
	And he did a series of works in the 60s that depicted disasters like car crashes, the electric chair, suicides, a person jumping out of a window to their death.
	I mean, it... You know, he was trying to shock...
	Shock people and show something that you would normally turn your head and maybe peek at it, but you didn't really want to see it.
	And this hung above my desk as a kid when I was growing up.
	This hung above your desk as a kid growing up?
	Yeah, this lived in my room.
	And I loved this piece.
	During the writer's strike in the 90s in Hollywood, force majeure made me get laid off.
	And I went to my family.
	I tried to borrow money from my family.
	They were pretty adamant that I had to support myself.
	So I was kind of forced to sell this piece at auction.
	And it broke my heart, but I did sell it.
	And I lived on.
	And as my mother would famously say, you can't eat the art.
	So you've got to eat.
	And this helped me keep my refrigerator full.
	And obviously you turned out pretty well.
	Yeah, it would be nice to have the $18 million it sold for years later.
	You can't cry over spilt milk either.
	Yeah, or someone else's milk.
	That's a come up.
	Okay, so what are we looking at here?
	Aside from the Adidas sneakers on the corner there, we're looking at two paintings.
	The first on the left is by Joe Zucker.
	And that's above your bed.
	That's above my bed.
	And Joe Zucker took cotton balls and dipped them in paint and applied them to the surface.
	And it created this incredible texture that almost looks like candy.
	And to the right is a piece that he made that's a painting depicting two boxers fighting from overhead.
	And you can see that he cut channels in the frame and poured paint onto the canvas.
	And made these channels to create the image, which is semi-abstract, but you can see the boxing gloves and you can see the texture in the work is very detailed.
	And the process, I think, is quite extraordinary because there was a certain amount of control that he had, but then nature kind of obviously took over and these channels became the So it also reminds me of a topographical map that you could sort of like, maybe it's an island or, you know, you can squint and you can see other things coming through.
	So we're getting close to the end of our segment.
	We just hit the one hour and a half mark.
	I'm going to go through two more paintings because that's all we got.
	And then I'm going to close it up here because we have reached our Maximus.
	Here's a zoom in of that piece that you're talking about.
	And who is this again?
	This is Joe Zucker.
	Joe Zucker. He's from Chicago.
	This is what he was talking about.
	A contemporary of Chuck Close's.
	They were very close.
	Joe is still living in Chicago and making beautiful art.
	And then our last piece of our entire art segment is an abstract from Shalom Hayoun.
	Oh, no.
	We just lost him.
	We just lost him, but I will say, and the audio cut out on him, but I will put up a QR code to Shalom's website Right here.
	If you click your screen, you can go to Shalom Hayoun's website.
	Oh, there he is.
	Let's see if we can get him.
	Nope, we lost him.
	Well, that's unfortunate.
	And that is bringing us to the end of our show.
	I will remind our audience to go take a peek at Infowarsstore.com.
	And as you can see right here above me, the QR code.
	Click there. Buy something.
	Support the Infowars. Please, everybody, support us.
	Keep us on air.
	And let's make sure that free speech always has a place in our hearts, as does art.
	Because I believe that free speech, free will, art, they're all caught up in the same spiritual energy.
	And it's important that we have an ability in our daily lives to step out of our The chaos and just smell the roses.
	And so it's important.
	I want to thank our guests.
	Unfortunately, Shalom is having some technical difficulties with his camera.
	I want to thank our guest, John Solomon.
	You can check both of them out at theadamkingshow.com Please stay tuned, everybody, for another episode later this week.
	And you have been a great audience.
	I love you all. God bless.
	And peace. Nobody's safe.
	Nobody's safe.
	We have gates behind the bars.
	The geek's in control He's changed his disguise His chemical world Will be your demise He's sick and he's cruel And acts like he's God Speaks on the stage While zombies applaud Nobody's safe Nobody's safe Nobody's safe till we have gates behind,
	gates behind the bars.
	He's coming for you.
	His plan's at the door.
	He's caught through the windows.
	He's part of the war.
	He deals in the dark and buys his own truth.
	He'll package it up and he'll sell it to you.
	All the sheep will believe.
	Afraid they will die.
	Trapped by the one who has wrapped them in lies.
	The creep's not alone.
	He plots with his friends.
	The forum they have is a circle of sin.
	There's snakes all around who traffic and kill.
	They'll dope up the world with needles and pills.
	Nobody's safe.
	Nobody's safe.
	Hey, hey.
	Nobody's safe.
	Do we have kids behind?
	Kids behind the bars.
	Nobody's safe.
	Nobody's safe.
	Hey, hey.
	Nobody's safe.
	Do we have kids behind?
	Kids behind the bars.
	Well, this won't be the last pandemic to be faced.
	So we, you know, we'll have to prepare for the next one.

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