HDTenEightyP/NetNews huggingface dataset:
From: emru@CAM.ORG (Emru Townsend)
Newsgroups: rec.arts.anime,rec.arts.animation
Subject: Re: Stuff for sale
Date: 13 Dec 92 07:23:10 GMT
Organization: MegaCorp Central Complex

In article <1992Dec12.214912.24737@mnemosyne.cs.du.edu> cmeadows@nyx.cs.du.edu (Chris Meadows) writes:
>>
>>GAMES
>>-----
>>Robotech RPG (all in excellent condition)
>>   Book One: Macross
>>   Book Two: RDF Manual
>>   RDF Accelerated Training Program
>>   Ghost Ship Module
>>   Book Four: Southern Cross
>>   Book Five: Invid Invasion
>>   Robotech II: The Sentinels........................$7.00 each
>>
>Uh, excuse me, but didn't some of the Robotech RPG games sell NEW
>for about $7.00 (Ghost Ship, RDF Accel. Training Program, for exam-
>ple)?!

I haven't the foggiest.  That these things don't have prices on them (as I
recall) doesn't help.  I just took a swing at it.  (In any event, they're all
in perfect condition...)

-- 
This message is brought to you by     |    Emru Townsend  BIX: switch
MACHEESMO, a MAN's kind of cheese!    |    emru@cam.org   Fido: 1:167/133
From: yatchman@cbnewsd.cb.att.com (michael.j.yatchman)
Subject: Request Matt Cutter Recommendation
Organization: AT&T
Distribution: usa
Date: Tue, 15 Dec 1992 15:17:03 GMT
Keywords: matt cutter


I'm interested in people's comments/opinions/recommendations
on Matt Cutters.  I am the owner and user of a bottom of the
line version - basically an adjustable rail (for varying widths)
and a hand held push bevelled edge cutter.  After some practice
I have mastered this -- but cutting STRAIGHT edges using the
guide rail remains to be a problem as they are far from a nice
clean edge which look amaturish when not framed.
I've looked through a number of mail order catalogs and it appears
that one of the versions where the cutter clamps onto the rail
and also has a straight edge cutter (usually optional) which also
clamps onto the rail seems to be a vast improvement.
Still there are alot of choices (e.g. some models have a channel that
the tip of the blade moves in as opposed to a scrap of matt board)
and sizes and definately a HUGE variety of price ranges.

Thanks in Advance.
Mike Yatchman
mjy@ihlpe.att.com
Newsgroups: rec.arts.fine
From: lm011@aix370.rrz.Uni-Koeln.DE (Alexander Tuchacek)
Subject: Participate: VRmusic freightship harbour hamburg
Keywords: send sounds
Reply-To: lm011@aix370.rrz.Uni-Koeln.DE (Alexander Tuchacek)
Organization: Regional Computing Center, University of Cologne, F. R. Germany
Date: Sat, 12 Dec 92 15:34:09 GMT


Call for international participation in new art/science project.
KNOWBOTIC RESEARCH
Simulation Room -Mosaic of Mobile Sound Data
We are a group of artists and scientists at the Academy of Media
Arts Cologne,  and will be showing a VR installation in February at
the MEDIALE93 - Festival for Media Arts and Media Future - in
Hamburg, Germany. The installation, housed in the freight ship Cap
San Diego in Hamburg - harbour, has three main areas.
Section one is a sophisticated, walk - in data - base  utilising a
collection of sound samples from around the world, which will be
used to produce a virtual 'sound room'.  The sound data will
correspond to the second section,  a physical room, where visitors
will be able to navigate through the space with the aid of a mobile
ultrasonic sensor and an artificial eye display and activate the data 
to a realtime-concert.
The action of the visitors, within  this 'virtual organism,' will be
displayedon a video screen shown in a control room area (the third
area).
We welcome your participation for the international sound - data -
base: To participate in this international project we need from you a
6 second long sound sample, a cultural statement, reflecting
your personal attitude towards the "world". Please send this via
email or ftp. (aiff, wave, next formats)
All participants and institutions will be credited in a publicly
displayed database during the exhibition.
For more information by email from: kr+cf@khm.uni-koeln.de
Thank you for your support - KNOWBOTIC RESEARCH


Newsgroups: rec.arts.fine
From: ridgway@athena.mit.edu (Lee Ridgway)
Subject: Glue for ceramic/pottery repair
Organization: Massachusetts Institute of Technology
Date: Wed, 16 Dec 1992 20:07:48 GMT

I have a statuette formed from a fine red clay by the Frankhoma pottery works in
Oklahoma. (It's based on an original by a Native American sculptor.) Last week,
it toppled over, and the head broke off at the neck, in a very clean break with
only a couple of very tiny chips. 

If repaired properly, the break really should not be
noticeable, but I need suggestions on the kind of glue/cement to use. The clay 
itself is very fine and somewhat porous.
Newsgroups: rec.arts.fine
From: bryanw@iastate.edu (Bryan J Welch)
Subject: Need help identifying painting
Organization: Iowa State University, Ames, IA
Date: Tue, 15 Dec 1992 01:19:14 GMT



A friend of mine needs some help finding out an artist's name.  Here's the
clues...

- uses a Logo instead of a signature
- logo is a upside down triangle (base above vertex) with the initials
  inside in a vertical line.  Initials appear to be either "C" "C" or 
  "e" "c"
-----------
\    C   /
 \   C  /
  \    /
    \/

Sort of like that.

- the painting was done around 1910 as is of good quality - no amateur
- oil
- painting is of an indian observing a "war bonet" <- "bonet may be wrong word


Any help you can provide would be greatly appreciated by my friend.

thanks,
-Bryan
-- 
Bryan Welch	N0SFG
Center for Nondestructive Evaluation
Internet: bryanw@iastate.edu, bwelch@cnde.iastate.edu 

Newsgroups: rec.arts.fine
From: burke@gmd.de (Herbert Burkert)
Subject: Art Gallery Administration Progr (Q)
Followup-To: rec.arts.fine
Organization: GMD
Date: Wed, 16 Dec 1992 11:54:54 GMT

I am looking for Art Gallery Administration Programs. Who can help?
Newsgroups: rec.arts.fine
From: mucke@espresso.cs.uiuc.edu (Ernst Mucke)
Subject: Dali's "Montres Molles el le Pappillons"
Organization: University of Illinois, Dept. of Comp. Sci., Urbana, IL
Date: Tue, 15 Dec 1992 20:48:52 GMT

Hi,

I would need some advice from the art.world.

What's an appropriate price for the alvador Dali print 
"Montres Molles el le Pappillons" number 129 of 245? 
It's a Acqua Forte print.

Please respond via email to mucke@cs.uiuc.edu.

Thanks in advance... and Happy Holidays,
-- 
--        
Ernst Mucke,   Dept of Computer Science,  U of Illinois at Urbana-Champaign
mucke@uiuc.edu  {convex,uunet}!uiucdcs!mucke  mucke%uiuc.edu@uiucvmd.bitnet
Newsgroups: rec.arts.fine,alt.artcom
From: eliota@sfsuvax1.sfsu.edu (Eliot Anderson)
Subject: Inforia Data Enhancement Opportunity
Originator: eliota@sfsuvax1.sfsu.edu
Organization: San Francisco State University
Date: Fri, 11 Dec 1992 19:39:54 GMT

CAN GREAT IDENTITY BE CREATED?

Inforia datatologists can!

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YOUR information boutique, seeks models for free information make-overs. 

	"The Inforia computer is programmed by our expert datatologists with 
the most up to date identity information.  A consultation with one of our 
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Those interested will need to send an image (giff format) and a variety
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**This e-mail address will be closed from 12/24/92 - 1/5/93 for inventory.  
Please send before or after these dates.
-- 
()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()()
(     Elliot Anderson    Inforia, Leading Datatologist.              (
)								     )
(    eliota@sfsuvax1.sfsu.ed      San Francisco State University     (
From: mixterhp@appstate.edu (Perry Mixter )
Newsgroups: rec.arts.fine
Subject: Re: Art Gallery Administration Progr (Q)
Date: 18 Dec 92 20:18:06 GMT
Followup-To: rec.arts.fine
Organization: Appalachian State University, Boone, NC
NNTP-Posting-Host: caff.appstate.edu

Contact the Center for Arts Administration, University of
Wisconsin-Madison, 1155 Observatory Drive, Madison, WI  53706. Dr. E.
Arthur Prieve is the Director of the program, and he is very knowledgeable
about current programs (I am a graduate of that program).  He can be
e-mailed at aprieve@bus.wisc.edu. His telephone is 608-263-4161.

Incidentally, I am working to establish a electronic network of arts
adminsitrators, beginning with a monthly newsletter by subscription. If you
want to subscribe to such a newsletter, send a request to me at the
addresses below. Eventually I hope to establish a moderated newsgroup for
this purpose as well. Just depends on the kind of response I get.

If you have any questions, please donUt hesitate to be in touch with me.

Perry Mixter
Director, Office of Cultural Affairs 
Appalachian State University
Boone, North Carolina  28608

Internet address: MIXTERHP@APPSTATE.EDU
Bitnet address:    MIXTERHP@APPSTATE.BITNET 
Newsgroups: rec.arts.fine
From: idealord@dorsai.com (Jeff Harrington)
Subject: Re: Dali's "Montres Molles el le Pappillons"
Organization: The Dorsai Embassy, New York's Computer Consulate. +1.718.729.5018
Date: Thu, 17 Dec 1992 17:24:45 GMT

mucke@espresso.cs.uiuc.edu (Ernst Mucke) writes:

> Hi,
> 
> I would need some advice from the art.world.
> 
> What's an appropriate price for the alvador Dali print 
> "Montres Molles el le Pappillons" number 129 of 245? 
> It's a Acqua Forte print.
> 
> Please respond via email to mucke@cs.uiuc.edu.
> 
> Thanks in advance... and Happy Holidays,
> -- 
> --        
> Ernst Mucke,   Dept of Computer Science,  U of Illinois at Urbana-Champaign
> mucke@uiuc.edu  {convex,uunet}!uiucdcs!mucke  mucke%uiuc.edu@uiucvmd.bitnet

 
My wife's uncle - Robert Descharnes - was Salvador Dali's
manager/confidante.  He's the guy who saved Dali from the fire in the
mid '80's.  Robert has spent the last 20 years tracking down forgeries
of Dali prints.  As you may know, the Mafia was quite involved for a 
while with the forgery of Dali's.  (He even received several death
threats because of his activities).
 
From talking to him and my wife, I would be very very very very careful 
about spending money on anything but an original oil.  You can't trust 
edition numbers, signatures, or anything related to Dali prints.  If you 
like the piece buy it.  But if you're buying art for an investment - well 
anybody that buys art for investing is a _FOOL_.  Period.  End of 
statement.  The art market has crashed.  Thanks in part to the activities 
of IdEAL ORDER and a developing market consensus that art prices for 
anything painted after 1930 are way way too high.  
 
Anyone who posts a request about what is a so and so by so and so worth 
is asking for this same response.  Blue dogs - please - you're an idiot 
if you buy art because you think the prices will go up.  You're an 
absolute IDIOT!  Buy it because you love it.  If you money from art in 
the next 20 years you'll be incredibly lucky.  I speak from experience as 
an artist and artist confidante living in NY City.  The ART Market has 
Crashed!  
 
All you capitalists in the art world better wake up.  The coffee's been 
burning for so long it's coal.  
 
If you'd like a text file about IdEAL ORDER drop me a line...
 
-- 
Jeff Harrington
IdEAL ORDER
Organization: Masters student, Urban and Public Affairs, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.arts.fine
Date: Tue, 15 Dec 1992 16:36:06 -0500 
From: Brennan Kraje <nk0s+@andrew.cmu.edu>
Subject: NUTCRACKER TIX 12/29


    Folks,

    I have three (3) tickets to the Nutcracker Ballet I may be unable to
use. They are in the Benedum Center left-center center section of the
Director's Circle, Row AA, seats 33,35, and 37 (ajoining).

    The performance is for 7:30 pm on the 29th, the last performance of
the year.  It should be quite a memorable one.  I have already seen it
once, and it ranks a close second to a show I saw in DC a few years ago.

    Regular price for these tickets is $123.00.  These are excellent
seats.  However, since I am a season subscriber, they only cost me
$96.00.  I would like to cover my costs, but am willing to part with all
three tickets for $75 at the lowest.

    Three is odd.  I was going to take a date and her sister.  Now is a
chance for you to take the wife or husband and a kid, or just two
friends.  Just e-mail me back @ nk0s if interested...

Brennan Kraje
From: syspa@fy.chalmers.se (Per.H.Ankarstrand)
Newsgroups: rec.arts.fine
Subject: Databases for art prices
Date: 16 Dec 92 07:06:47 GMT
Followup-To: rec.arts.fine
Organization: Chalmers Tech University

Hi,

I also would need some advice from the art.world.

Is there any free databases for prices from auctions
all over concerning modern paintings and prints ?


----------------------------------------------------------------
Per.H.Ankarstrand   System
Chalmers University of Tech.      Telefax  + 46  31  165176         
Dept. Physics Computers           BITNET:   SYSPA@SECTHF51
S-412 96  Gothenburg              DECNET:   FYVAX4::SYSPA
S W E D E N                       Internet:  syspa@fy.chalmers.se
Phone  + 46  31  7723213
-----------------------------------------------------------------          
             

             "The future is not what it used to be"
Newsgroups: rec.arts.fine
From: sjgreen@cs.toronto.edu (Steve Green)
Subject: Help identifying a painting
Organization: Department of Computer Science, University of Toronto
Date: 12 Dec 92 00:49:25 GMT

I'm not sure that this is the appropriate group for this...

A professor that I know is trying to find the name of a painting (and
the artist) from the following description:

    I have in my mind's eye a painting of a merry young serving man
    looking at the viewer from the lower left part of the picture.  He
    has in his left arm a circular tray (?) depicted in the upper
    right part of the picture.  The tray is filled with stemware lying
    on its side in kind of a random manner, and I think it is bedded
    on something soft looking.

The artist in question may be Frans Hals, but he's not sure.  Any help
would be greatly appreciated.

Steve Green
From: chris@eso.mc.xerox.com (Chris Heiny)
Newsgroups: rec.arts.fine
Subject: Sotring stretched canvases?
Date: 14 Dec 92 23:00:06 GMT
Reply-To: chris@eso.mc.xerox.com
Organization: Xerox Corporation, Webster NY

My wife and I recently acquired about 30 large (30"x30" or so) oil paintings.
The canvases are stretched on simple wood frames, but don't have any other 
framing.  We don't have room to display all these, much less the money to 
frame them.  Any tips on how to store the ones we don't frame so that we don't
find a mass of rotten rags and toxic hydrocarbons and heavy metals when we go
to look at them again?

						Thanks,
							Chris
Newsgroups: rec.arts.fine
From: rburkett@ucselx.sdsu.edu (burkett r)
Subject: Re: Glue for ceramic/pottery repair
Organization: SDSU Computing Services
Date: Fri, 18 Dec 1992 07:59:44 GMT

In article <1992Dec16.200748.24156@athena.mit.edu> ridgway@athena.mit.edu (Lee Ridgway) writes:
>I have a statuette formed from a fine red clay by the Frankhoma pottery works in
>Oklahoma. (It's based on an original by a Native American sculptor.) Last week,
>it toppled over, and the head broke off at the neck, in a very clean break with
>only a couple of very tiny chips. 
>
>If repaired properly, the break really should not be
>noticeable, but I need suggestions on the kind of glue/cement to use. The clay 
>itself is very fine and somewhat porous.

You could use a number of glues, but PVA glue (essentially high quality white
glue - it looks like Elmer's) is a good choice for more porous clays. Strong
glues like epoxies may cause problems in the future, especially hardware store
epoxies of the 5-minute kind, which turn yellow and weaken with age. I spoke wihth a museum conservator about this type of work a few years back and she 
suggested that the glue should be ultimately removable without damaging the 
piece and the strength of the glue should match the clay. Glues like epoxy or
cyanoacrylates (SuperGlue) are quite strong on dense glassy clays like porcelainor stoneware, but PVA type glues are better for softer clays like the one you
describe. If you have access to a larger library, you might look for a book
on ceramic and glass restoration for quite a few useful tips about holding the
piece while gluing, apply glue cleanly, etc.     

Richard Burkett   -     rburkett@ucselx.sdsu.edu
Newsgroups: rec.arts.fine
From: prodger@leland.Stanford.EDU (phillip prodger)
Subject: Re: Dali's "Montres Molles el le Pappillons"
Organization: DSG, Stanford University, CA 94305, USA
Date: Sat, 19 Dec 92 00:58:50 GMT

In article <yVsXVB1w165w@dorsai.com> idealord@dorsai.com (Jeff Harrington) writes:

>But if you're buying art for an investment - well 
>anybody that buys art for investing is a _FOOL_.  Period.  End of 
>statement.  The art market has crashed.  Thanks in part to the activities 
>of IdEAL ORDER and a developing market consensus that art prices for 
>anything painted after 1930 are way way too high.  
> 
>Anyone who posts a request about what is a so and so by so and so worth 
>is asking for this same response.  Blue dogs - please - you're an idiot 
>if you buy art because you think the prices will go up.  You're an 
>absolute IDIOT!  Buy it because you love it.  If you money from art in 
>the next 20 years you'll be incredibly lucky.  I speak from experience as 
>an artist and artist confidante living in NY City.  The ART Market has 
>Crashed!  
> 
>All you capitalists in the art world better wake up.  The coffee's been 
>burning for so long it's coal.  

You make an interesting point, but I don't think it's necessary to flame.
This kind of sweeping generalization is just not realistic.

Art is valuable.  In our economic system value=money.  Worthwhile art will
continue to hold its value, i.e. it's price.  For any given time period
supply will diminish gradually so price will increase if people are still
interested in that type of work.  

Speculation is another thing.  All sorts of nonsense went on in the 80's (and
goes on in the 90's) with all sorts of commodities:  Art, Real Estate, 
Stock Market, Celebrity Salaries and so on.

That speculation was unrealistic, and we are watching more realistic prices
come back.  But that doesn't mean art will lose its value or the art market
will "crash". (Has crashed?)    

I too think it's a shame that people have a manic desire to buy and collect and
invest.  It flies in the face of the philosophy of much of what is considered 
art.  Yeah, buy art cuz' you love it, cuz' it does something for you...

But the forces of economics _will_ make certain pieces appreciate in price
regardless of how appropriate it might be.  Some things are still wildly
overpriced (vis. modern painting) but other things are wildly underpriced
(vis. photography, crafts, textiles)

Sad but true:  There are things to 'invest' in still.  

In fact, I really hope so.  Because it's one of the few weapons artists
have left to make a living...  

Hopefully a more realistic pricing structure will include more representative
compensation for the artists themselves. 
Organization: Art, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.arts.fine
Date: Fri, 18 Dec 1992 12:40:27 -0500 
From: Kathryn Anne Sitter <ks1b+@andrew.cmu.edu>
Subject: Re: Sotring stretched canvases?

In response to Chris' load question about storing his collection of artwork:

There are several levels to approach the project, varying in funding and space.
The first concern I have is were you plan to store the paintings--in a
basement, attic or garage? All of these areas have different levels of
temperature and the fluxuation of those areas could effect the
paintings. Also there is pest (bugs) that could effect the work,
depending on how it is stored.

Depending on the surface of the paintings, here are my recommendations:

1) Wrap the work completely in plastic, a large grabage bag might do the
trick with the size you described. You may want to put some contained
moth-repelant material inside the bag as well--no loose moth balls may
effect the surface of the paintings (specificy, making dimples in the
canvas).

2) Depending on the surface of the paintings you would want to store
them in an upright position: back to back, face to face; seperating each
face/face configuration with the same size or larger piece of cardboard.

3)Building a shelving unit or making use of one already existing--would
certaining help in the amount of space these paintings take up.

Things to consider: Heat and mositure are not good for paintings, so
take any necessary percautions to avoid extreme exposures.  Ideal
enivornment for storing paintings is 30-50% humidity and 50-65 degrees
Farenheit(sp?)

Please understand this recommendation is not the ideal conservation
environment, please check you local library for further reference.
Better yet see your local museum's art conserator for more suggestions.

Good Luck.
Kathryn Sitter
Student Affairs & Outreach Coordinator 
======================================
Art Department, Carnegie Mellon University, Pittsburgh  PA  15213-3890
VOICE: 412.268.2409 FAX: 412.268.7817

Organization: Art, Carnegie Mellon, Pittsburgh, PA
Newsgroups: rec.arts.fine
Date: Fri, 18 Dec 1992 11:57:23 -0500 
From: Kathryn Anne Sitter <ks1b+@andrew.cmu.edu>
Subject: Re: Art Gallery Administration Progr (Q)

Carnegie Mellon University has a Master in Arts Management program
through the Heinz School of Public Policy and Management. Contact Paula
Davis through internet: pd1i+@andrew.cmu.edu.  Paula will be able to
answer more detailed questions you may have about the program. Good Luck!
Kathryn Sitter
Student Affairs & Outreach Coordinator 
======================================
Art Department, Carnegie Mellon University, Pittsburgh  PA  15213-3890
VOICE: 412.268.2409 FAX: 412.268.7817

Organization: Misc. student, Carnegie Mellon, Pittsburgh, PA