• Punch’s Studio, as envisioned in Max Visits Punch, is played by Bruce Nauman’s New Mexico Studio.
  • I used David Lynch for Max Poe not only because he looks very close to how I always envisioned the character, but also because there are so many great photos of him making faces. I find it amusing, as well, that Lynch is himself, an artist.
  • PUNCH’s “Review” is comprised of text gleaned from Dia Center pamphlets: in real life I actually did clip phrases from Dia Center pamphlets in order to construct the text. I am a long-time fan of the overblown artspeak they contain.
  • When I began building the character, Lola, I thought it was unusual for people to change genders late in life. It turns out to be quite common. The issues I planned to give Lola regarding her change, her worries about how it would effect her career and her relationships, are ones that take a good deal of time to commit to: partly because they are so fraught.
  • The “Vanity Fair” cover displays a hilariously fumble fingered Photoshop job, hopefully will save me from any claim of trademark infringement! Do take a magnified view in order to fully appreciate the “Jeff Koons” floating head, the mismatched shadows and skin tones, and a poorly clipped central figure. Also, note, “Boo Dolly” seems to be a 6’8″ giant of sorts. Not all intentional, mind you! I meant to make it clearly faux but not hilariously so. But time constraints and a malfunctioning track pad added a good deal unwanted humor!
  • The real Vanity Fair uses a customized form of Didot for the Logo font. I near-successfully re-created that and learned, in doing so, to appreciate it’s art: lowered bars, an exaggerated height, extreme weight shifts in the vertical strokes, plumped curves… a nice design. The kerning also is set perfectly to balance the text on the cover.
  • Artworks by Lola Boeys, Boo Dolly, PUNCH, and Peter Monday, amongst others are actually created by Cat Weaver. Cat Weaver, however is not an artist and has no means of actually realizing these works. Also, some of them are deliberately awful and would do well to remain unrealized. These works are, though, perhaps a new art form: Virtually Realized Art. Ms. Weaver harbors a vague hope that eventually one of her characters will snag a real world show in future. ;) We’ll see.
  • Max mentions, and Lola refers to, a “blacklist” that Max wields against collectors who break the unstated rules of the art market. This is a real practice that I, and others have written about. For one of my stories discussing a blacklist, see my 2011 Huffington Post article Art Noir, Blacklists and Speculators. 
  • Art Noir, Blacklists and Speculators. also discusses one of Max’s fears regarding PUNCH, that his collectors will, if they see his market slump, begin to unload his works, thus damaging his status as an established artist. There are those who doubt that this is of any real concern and others who are certain that it has caused the downfall of artists like Sandro Chia.

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