The beautiful game

Not being a fan of the game doesn’t stop me from enjoying these two recent football articles from The Guardian’s Art Weekly newsletter, especially with one being from my home town.

A fan’s-eye view at the football – a photo essayThe Guardian
I was interested in capturing characters, emotions and expressions and also the dynamics of the group. I kept an instinctive approach throughout and often shot from the hip. Nothing was planned or staged. It was all about capturing those little moments – a feeling that could so often get lost if I’d spent time framing the shots.

It definitely helped being a Spurs boy, but you don’t just turn up and get invited in and start taking pictures. In the beginning there were certainly a few people who questioned what I was doing pointing a camera in their face. I knew from the beginning that I had to take my time. It was important for me to get to know people first, find out what they are doing and just go with the flow. It might sound like a cliché, but you can’t make images happen when you want them to – the images will come to you. It’s a little bit like fishing – sometimes you catch something and sometimes you come home empty-handed.

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The Leeds United fan making the city beautiful – one electric box at a timeThe Guardian
Popular with fans and residents alike, McVeigh creates his designs independently – he isn’t paid for his time or imagination – simply seeking to improve the aesthetics of his local neighbourhoods and honour his home club. “There’s virtually no Leeds United art anywhere in the city, which seems daft to me,” says Andy. “Even in the City Museum there’s a pretty pathetic token gesture to the club when it’s one of the most famous things about the place.”

The murals leading to the ground have become part of the matchday experience for many, with fans tapping the boxes for luck before games. Younger fans are also enamoured with his colourful compositions. “Kids love it, which is brilliant because I’m a primary teacher and had that in mind when I did them. One bloke told me his kids asked him to do a tour of them with him.”

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Christmas comes early for art book lovers

In 2014, the J. Paul Getty Museum in Los Angeles launched its Virtual Library, a project to breathe new life into its extensive archive of art books, some of which are now out of print. It started with 250 titles, but has kept growing.

Over 300 books are available for free download in the Getty Museum’s Virtual LibraryHyperallergic
“As a publisher, when you run out of copies of a book you can basically either reprint it and keep selling it, or you can retire the title, declaring it out of print,” said Greg Albers, Digital Publications Manager for Getty Publications, in an email interview with Hyperallergic. “If it doesn’t make financial sense to reprint and the book goes out of print, the original author or another publisher may choose to pick up the reins and publish a new edition, but more often than not, the book will just sort of disappear. This isn’t a fate anyone wants to see for their books and luckily at the Getty, a decidedly mission-driven organization, we were able to pursue an alternate option. We worked though some legal/copyright issues and released PDFs of the original books, for anyone to read and download, 100% for free.”

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Add those to this collection from last year, and keep your digital bookshelves very well stocked.

Download 569 free art books from the Metropolitan Museum of ArtOpen Culture
You may remember that we featured the site a few years ago, back when it offered 397 whole books free for the reading, including American Impressionism and Realism: The Painting of Modern Life, 1885–1915; Leonardo da Vinci: Anatomical Drawings from the Royal Library; and Wisdom Embodied: Chinese Buddhist and Daoist Sculpture in The Metropolitan Museum of Art.

But the Met has kept adding to their digital trove since then, and, as a result, you can now find there no fewer than 569 art catalogs and other books besides. Those sit alongside the 400,000 free art images the museum put online last year.

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Bringing inner worlds to light

This is quite poignant/difficult/effective.

Elderly worries over Christmas are exposed in exquisite lettering by Alison Carmichael for Age UKDigital Arts
Christmas TV ad season is here, with heart-tugging commercials rolled out for, well, commercial entities looking to get their hands on your money.

Finally though we have something that hits home for an actual good cause, delivered in the form of Age UK’s latest promo campaign ‘No one should have no one to turn to’, launching today in the UK.

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Let’s all help.

See also, via Digital Arts, these colouring books brightening dementia patients’ lives and this font based on a stroke survivor’s handwriting.

Up our street

A strange juxtaposition — a sophisticated New York arts magazine highlighting some very familiar terraced streets from the north of England.

Shirley Baker’s half century of street photographyThe New Yorker
Shirley Baker was born in Kersal, North Salford, England, in 1932. The body of work for which she is remembered is fairly limited, encompassing her street photography of Manchester and Salford, shot between the 1960 and 1973 (and including early experiments with color, beginning in 1965). The images reflect on a time of rapid economic and social change, when the British-built environment, and ideals of home and community, were upturned. In the wake of the Housing Repairs and Rents Act, of 1954, 1.3 million homes were demolished between 1955 and 1973. In Baker’s images, we see the clash of old and new as sooty children play in front of decrepit houses, with tower blocks emerging in the distance. “I did know that fundamental changes were taking place … and nobody seemed to be interested in recording the face of the people or anything in their lives,” Baker wrote in “Street Photographs: Manchester and Salford,” in 1989. “My interest grew into a compulsion even though the notion of someone wandering the unpicturesque streets of Manchester and Salford with a camera seemed quite crazy to most people then.”

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As Colin Ford, the first director of the National Museum of Photography, wrote, of Baker, “Not since the photographs of the Farm Security Administration in America in the thirties have I seen someone photographing people in deprived states and getting herself so involved.”

(See this earlier post for more about the Farm Security Administration project.)

VICE has an interview with Lou Stoppard, the editor of a new book showcasing her work.

Glorious photos of life up northVICE
She was born in Salford, so it was her stomping ground. These terraced houses are being cleared and she was aware that no one was documenting that process. She very much sees herself as one of her subjects, too, and she talks about all the energy that would have gone into putting those homes together, and how no one was really documenting it. All of those lives that had been destroyed and those narratives that had been acted out, and that was all going to be swept away. So she started wandering around and making pictures, and the people there came to know her and trust her. So there’s definitely a connection in the sense of: this is her hometown.

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Meanwhile, across the Atlantic.

Vancouver street photographer Fred Herzog has died, age 88The Art Newspaper
The passing of the Vancouver-based photographer Fred Herzog on Monday, at age 88, marked not only the loss of a great artist, but also the end of an era, since the city he documented over more than half a century has itself vanished. The Kodachrome images of mid-century street life he became famous for late in his career show Vancouver before it became overrun by luxury apartment towers and international real estate speculation.

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But if you’re wanting a little more glamour with your street photography, try these.

Bill Cunningham: On the StreetKottke
Until his death in 2016, Bill Cunningham captured the fashions of people walking the streets and catwalks of NYC and elsewhere, mostly for the NY Times over the past five decades. A new book, Bill Cunningham: On the Street, is the first published collection of his work and includes more than 700 photos along with a number of essays by friends, subjects, and cultural critics.

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Trumped typography

Trump’s handwriting was in the news the other day, when cameras caught a glimpse of the notes he’d made for himself before meeting reporters.

Handwriting expert says Trump’s ‘I WANT NOTHING’ note bears ‘the sign of a liar’Rolling Stone
As for the large, blocky writing, Lowe attributes that to him being “someone who has a strong need for security and to be in control, to be looked up to.” The way the letters disconnect point to “someone who was unable to assimilate the difficulties he experienced in childhood, which leaves him open to life’s various adversities. He lacks good coping mechanisms and has trouble relating fully to himself and to others.”

Now you too can write like the president, though why on earth you’d want to is another matter.

Final Word From The Pres

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Write your own notes in Trump’s handwriting with this new web generatorFast Company
Part of what made the photo notable was that it revealed that the unique writing style the president uses online—the Twitter-friendly brevity of character count and a seemingly unpredictable all-caps emphasis—applies to good old pen on paper, too. For the website, called Final Word From the Pres, the Jones Knowles Ritchie team took those characteristics and automated them. The generator will autocorrect words, turning “we” to “I,” “Trump” to “Stable Genius,” “big” to “yuuge,” and “SNL” to “unfunny,” so the note you write is adapted to the president’s voice. But there are many more autocorrections, with over one hundred Easter eggs up for discovery as you uncover the distinctive language patterns of a very stable genius.

This isn’t the first time such a typeface has been created.

Tiny Hand will be your new Comic SansBuzzfeed News
I was struck not only by the peculiar delivery of the notes, but also by the idiosyncratic way Trump writes the alphabet. At that moment it was clear to me — as it surely must be to you, dear reader — I had to make a font based on Donald Trump’s handwriting.

Mad to think that’s from 2016. Here we are, nearly 2020, and he and his juvenile writing/thinking is still here.

The sea and the Kroner

The inspiration behind the redesign of the new Norwegian banknotes.

Norwegian banknotes: Original design and main conceptMetric
Norway is a coastal nation. The Norwegian coastline is unique on a world scale; it is Europe’s longest and extends over 13 latitudes. 90% of Norway’s population live within 10 km of the ocean. When it comes to productivity, diversity in species and distinctive character, it is unparalleled throughout the world. The Norwegian livelihood is the ocean – it is the origin of our most important resources. It is our food basket and our major source of income. It is also the origin of our shared history and knowledge – a source to our worldview and our identity.

The banknote motifs are all about how Norwegians use the ocean; about how we combine our access to resources with knowledge and how the ocean affects the Norwegian way of life and social model – both politically and socially.

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I love the way black and white photography is used here, to contrast with the macro shots of the notes themselves.

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Sounds good to me

Yes, it can get a little too loud for us oldies sometimes, but movie music — and cinematic sound more broadly — is such a fascinating area.

Making Waves: The art of cinematic sound
Directed by veteran Hollywood sound editor Midge Costin, the film reveals the hidden power of sound in cinema, introduces us to the unsung heroes who create it, and features insights from legendary directors with whom they collaborate.

An incredible amount of vital yet laborious work goes on behind the scenes.

A new documentary explores the underrated art of movie sound
Synchronised sound came in with “Don Juan” in 1926, and synchronised speech followed in 1927 with “The Jazz Singer”, starring Al Jolson. But sophisticated sound design wasn’t born until 1933, when Murray Spivack created the giant ape’s bellow in “King Kong” by mixing a lion’s roar with a tiger’s roar, and playing it backwards at half-speed. Cece Hall did something similar on “Top Gun” more than 50 years later. Actual fighter-plane engines “sounded kind of wimpy”, she recalls, so she concocted her own substitute from big-cat growls and monkey screeches. The producers nearly fired her for her pains, she says, but she went on to win an Oscar.

The documentary is the work of Midge Costin, a sound editor-turned-academic. It took some time to get off the ground, however — getting clearance for the samples of so many movie clips can be a costly affair.

Making Waves: behind a fascinating documentary about movie sound
The courts have since ruled that sampling footage will be acceptable so long as it’s done in the spirit of public edification, and just like that, Costin was off. Between the connections she’d made in the industry and favors called in from fellow sound people, she put together an all-star lineup of commentators. From her former student Ryan Coogler to Steven Spielberg, who named her the Kay Rose chair at USC’s School of Cinematic Arts, the deep bench of experts dissect scenes classic and contemporary to illustrate the great quantities of work that go into creating and fine-tuning a soundscape. Spielberg, for example, goes into the subtly expressionistic quality of the shellshocking beach invasion that opens Saving Private Ryan.

The bizarre methods by which sound effects are captured often remains a mystery, but in this music video, it’s all on show.

A brilliant highly rhythmic music sample created from abandoned industrial equipment on the docks
Multimedia artist Daniel Gourski and DJ Jonas Appel have created “Docks”, a brilliant, highly rhythmic music sample made entirely from abandoned industry equipment. Gourski and Appel creatively banged, scraped and knocked at the waterside equipment with all sorts of objects.

Gourski & Appel – Docks

You’ve had long enough

I loved the photograph chosen to head up this witty and insightful article by Jason Farago, art critic for The New York Times, about that Parisian “security hazard, educational obstacle and unsatisfying bucket-list item”.

It’s time to take down the Mona Lisa
Some 80 percent of visitors, according to the Louvre’s research, are here for the Mona Lisa — and most of them leave unhappy. Content in the 20th century to be merely famous, she has become, in this age of mass tourism and digital narcissism, a black hole of anti-art who has turned the museum inside out. …

In a poll of British tourists earlier this year, the Mona Lisa was voted the “world’s most disappointing attraction,” beating out Checkpoint Charlie, the Spanish Steps, and that urinating boy in Brussels. If curators think that they are inspiring the next generation of art lovers, they are in fact doing the opposite. People come out of obligation, and leave discouraged. …

The Louvre does not have an overcrowding problem per se. It has a Mona Lisa problem. No other iconic painting — not Botticelli’s “Birth of Venus” at the Uffizi in Florence, not Klimt’s “Kiss” at the Belvedere in Vienna, not “Starry Night” at the Museum of Modern Art in New York — comes anywhere close to monopolizing its institution like she does. And if tourist numbers continue to rise, if last year’s 10 million visitors become next year’s 11 or 12, the place is going to crack.

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I love photos of people taking photos, and there are more in a previous Times article from when the painting was recently moved.

Want to see the Mona Lisa? Get in line
Once they get past the metal detectors, ticket holders are herded like sheep in a long, coiling line. They shuffle up escalators until they reach the Mona Lisa’s skylit new digs: the Medici Gallery, named after a striking series of wall-to-wall paintings by Rubens also on display there.

Not that anybody notices the Rubens works. As if in an airport check-in area, dozens of visitors rowdily wait their turn in another snaking line. Armed with smartphones, selfie sticks and cameras, they then rush into the final stretch — the Mona Lisa viewing pen. They have roughly one minute there before the guards shoo them away.

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Back inside the Mona Lisa viewing pen, Gregory Jimenez, 25, a college student from Chile, lifted his fancy camera above the heads of a row of people in front of him and took a shot. “You have to take a photo to be able to appreciate her,” he said as he walked out.

Photographs may be a solution, but they’re also part of the problem. People don’t just want to see the Mona Lisa: they want the picture for social media to prove it. Many don’t look at her at all; they focus on their smartphone screens. Some even turn their backs, beam their finest Mona Lisa smile, and take a selfie, as she grins right back.

Update 12/11/2019

News of a different approach from the Louvre.

The ‘Mona Lisa’ Experience: how the Louvre’s first VR project, a 7-minute immersive da Vinci odyssey, works
Visitors can strap themselves into the state-of-the-art headsets and learn snippets of information about Leonardo’s famous sitter, Lisa del Giocondo, as well as his artistic method and the history of the painting. It will immerse them in what could be the surroundings beyond the frame of what is depicted in Leonardo’s masterpiece, and, at the end, invite them to climb aboard an imagined version of Leonardo’s visionary flying machine—a sketch of which is also included in the exhibition—and soar across the landscape surrounding Mona Lisa’s luxuriant loggia.

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Back to the Futurists

We’ve seen that the impact of AI on the art world has been quite transformative. Here’s how another new technology is changing what’s possible.

Umberto Boccioni: Recreating the lost sculptures
The destruction, in 1927, of a number of plaster and mixed-media sculptures by the Futurist artist Umberto Boccioni (1882-1916) was a tragic loss for avant-garde art. Of the many ground-breaking sculptures he created between c.1913 and 1915, only a handful remain in existence today. Now, using a combination of vintage photographic material and cutting-edge 3D printing techniques, digital artists Matt Smith and Anders Rådén have recreated four of Boccioni’s destroyed works: a volumetric study of a human face titled Empty and Full Abstracts of a Head, and three of the artist’s iconic striding figures. This ground-breaking display enables modern audiences to ‘see’ these lost masterpieces for the very first time.

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Boccioni’s best-known three-dimensional work is Unique Forms of Continuity in Space, the original plaster version of which belongs to the University of São Paulo’s Museum of Contemporary Art. One of the most instantly recognisable of all modernist sculptures, it appears on the Italian 20c coin. Dating from 1913, the work represents an aerodynamic figure – part man, part machine – racing energetically towards the brave new world envisioned by the Futurist movement. It was preceded by three sculptures on the same theme: Synthesis of Human Dynamism, Speeding Muscles and Spiral Expansion of Muscles in Movement. Until now, all that remained of these earlier works were a number of photographs taken in Boccioni’s studio and at three exhibitions around the world from 1913 to 1917. Careful study and comparison of these images has now enabled the creation of highly accurate 3D reconstructions of the original works, which were entrusted to a sculptor named Piero da Verona following the artist’s death, who subsequently disposed of them.

Here’s more on his most famous piece, from New York’s MoMA. It’s very striking.

Umberto Boccioni. Unique Forms of Continuity in Space. 1913 (cast 1931 or 1934)
Unique Forms of Continuity in Space integrates trajectories of speed and force into the representation of a striding figure. It does not depict a particular person at a specific moment, but rather synthesizes the process of walking into a single body. For Boccioni, one of the key figures in the Italian Futurist movement, this was an ideal form: a figure in constant motion, immersed in space, engaged with the forces acting upon it.

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It reminded me of Universal Everything’s Walking City, but I think I prefer this version they did for Hyundai. More dynamic, and the merging of figures with speed and transport is definitely a key Futurist theme.

Running Man
Building upon Universal Everything’s series of films exploring human movement and digital costumes, Running Man is an expression of Resource Circulation, the automotive company’s eco-friendly production process – from steel to car to steel. The digital artwork’s sequence of costumes is inspired by this looping production cycle, as it evolves from scrap metal to molten and rolled steel, before being formed into a car frame, designed body and the fully realised car. The process is completed as the car is streamlined and recycled into the raw materials.

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The artists behind the names

Can you ever really know someone? Are we more than just a name?

The many faces of Rembrandt van Rijn
In the 350 years since his death in 1669, Rembrandt van Rijn has been reinterpreted time and again. The Victorians considered him a reclusive genius. Critics in the mid-20th century thought he was a misunderstood experimentalist. In the 1980s there was a fashion for seeing him as a brilliant businessman. More recently, he has been depicted as an empath, the supreme explorer of human emotion in paint. …

Curators seeking to shore up their characterisations of the artist have often done so by hanging him alongside other painters. Put Rembrandt alongside Caravaggio and he looks like a realist, alongside Auerbach and he looks almost expressionistic. … In these strange and turbulent times, it seems that the organisers could not help but show off Rembrandt’s comic sensibilities. The effect of pairing “Self Portrait as the Apostle Paul”—from which Rembrandt gazes out in exhausted forbearance—with Velázquez’s portrait of a Court bufón, scholarly and self-possessed, is humorous. Velázquez understands the dignity of a comedian, while Rembrandt demonstrates the comedy of dignitaries.

It is an insight that reaches its raucous climax in the Rijksmuseum’s prize Rembrandt, “The Night Watch”, which is currently undergoing the first stage of a public restoration. The painting depicts an Amsterdam militia company, the men’s gazes shooting off like misfired bullets, their gestures obscuring each other’s faces. The uniforms are mismatched, some a century older than others. The Rembrandt who painted it is an artist of political disorder—undoubtedly a Rembrandt that resonates in 2019.

From an artist with many faces to one who keeps his hidden.

Banksy caught on camera: New photo book documents street artist’s early years
More than 12,000 film negatives of his time with the artist “sat in files for years because I had no contact sheets,” Lazarides said. Then, he finally decided to start scanning them into a computer. The painstaking process took more than two years.

“It was a very strange period of time,” said Lazarides. “Film cameras were on their way out. It was incredibly expensive. But digital cameras hadn’t really come in. The internet wasn’t really that up and running. There was no social media, so you’re in a period in time when I suddenly realised, ‘Oh fuck, I’m the only person in the world with these pictures.’”

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Take a closer look

This year we’ve seen photography competitions for the best sea view and for views a little closer to home. But how about something real close — the winning images from Nikon’s Small World competition.

2019 Photomicrography Competition
The Nikon International Small World Competition first began in 1975 as a means to recognize and applaud the efforts of those involved with photography through the light microscope. Since then, Small World has become a leading showcase for photomicrographers from the widest array of scientific disciplines.

Phantom midge larva (though it reminds me of something else), Christopher Algar:

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Neuron growth, Dr Torsten Wittman:

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Housefly compound eye pattern, Dr Razvan Cornel Constantin:

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Small white hair spider, Javier Rupérez:

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OK that’s maybe a little too close. Let’s take a step back. Wayyy back.

These beautiful, swirling images are maps of Washington’s geology
These maps reveal the shapes of the state’s landslides, river basins, and glaciers, along with other strange features, like glacial drumlins and mysterious mima mounds. Lidar data can be used to make maps that highlight elevation contours as well as the aspect and slope of the land. They can reveal landslides hidden by trees and faults beneath the earth’s surface.

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So that’s Washington. What about the rest of the globe?

Can we make a 3-D map of the whole world?
Their ultimate goal now is to create a comprehensive archive of lidar scans, including some that are already in existence and more to be added over time, to fuel an immense dataset of the Earth’s surface, in three dimensions. It will have tremendous utility in the short term for finding ancient sites and large-scale patterns, but Fisher and Leisz are taking a long view. With such a tool, they say, when the full impacts of climate change begin to set in, future generations will have a comprehensive understanding of how things once were.

The plan, he says, is to start with the most vulnerable ecological and cultural heritage sites, and go from there. For example, Fisher estimates that the entire Amazon rain forest, where a scourge of forest fires recently made international headlines, could be lidar scanned by plane and helicopter in six years, for $15 million. The next step could be to use some future technology that puts lidar in orbit and makes covering large areas easier.

“Right now we’re not able to put a lidar instrument into the orbit that would give us the kind of resolution we’re requiring,” Fisher says. “Ten years from now, maybe that might not be true. But we can’t wait 10 years.”

I’ve just added a reminder in my Google calendar to come back to this post in ten years’ time, to see how they got on.

Do not erase

For a number of weekends now, my son and I have attended several university open days, touring facilities and listening to presentations in lecture theatres up and down the land. These photos of blackboards by Jessica Wynne look quite familiar—and equally incomprehensible.

A photographic survey by Jessica Wynne of chalkboards filled by mathematicians
Wynne tells Colossal that she enjoys photographing the dusty work surfaces because of “their beauty, mystery and the pleasure of creating a permanent document of something that is ephemeral.” The “Do Not Erase” photo series, soon to be published in a book by Princeton University Press for release in 2020, includes boards from institutions and universities around the world. Wynne hopes that viewers can appreciate the aesthetic of the worked surfaces while “simultaneously appreciating that the work on the board represents something much deeper, beyond the surface.”

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Where’s your head at?

These drawings by Adam Riches caught my eye — they’re like the analogue equivalent of Espen Kluge’s generative portraits.

Scribbled portraits of brooding figures by Adam Riches
Artist Adam Riches uses pen and ink to create frenetic portraits of brooding anonymous figures. The monochrome illustrations emerge out of blank backgrounds, with broad, gestural lines skittering and looping across the paper … In a recent video interview with BBC, the artist explains, “the drawings are quite intuitive and are done spontaneously. They reveal themselves as I’m making them.”

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South of the river

In this contribution to The Guardian’s Illustrated City series, writer, printmaker and illustrator Francesca Roe shares with us her views of our home town, or rather, the lower, grubbier half of it.

Faded grandeur: the industrial glories of neglected south Leeds – a cartoon
A walk through south Leeds reveals a district caught between industrial grandeur, post-industrial wasteland and urban blandness. The starting point is Leeds station, where the 1960s edifice and the 1930s art-deco concourse sit directly above the Dark Arches, a series of vaults spanning the River Aire that serve as the station’s foundation. A metal walkway passes through the Dark Arches and over the Aire, where passers-by can stop and watch the churning water receding into darkness. Around 18m bricks were used to construct the arches during the 1860s – the largest such project in the world at that time.

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Through the Dark Arches lies the Leeds-Liverpool canal and the gentrified tip of Holbeck: “Holbeck Urban Village”, a tight knot of former red-brick flax mills and steam engine works. The Round Foundry dates back to 1795 and was once home to steam engine manufacturers; today the complex is home to offices, a brewery and Yorkshire’s official tourist board. The gentrification of this small part of Holbeck has done little to ease poverty in south Leeds as a whole, but it has preserved a part of the district’s history that was previously at risk.

Some wonderful illustrations accompany this melancholic piece, with more on Instagram. Very evocative of the inner-city scrappiness and griminess of the area.

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Here’s a link to some more of her writing on a similar theme, how cities deal with their past.

What should cities do with ‘dark sites’, where tragic or sinister events occurred?
It’s unsurprising that communities want to physically erase the sites of violent crimes. In other cases, though, dark sites hold a deeper historic and social significance that can be commemorated. In these cases, redevelopment offers an alternative to demolition. High Royds Hospital was a psychiatric institution in Leeds which closed in 2003 and turned into housing. I remember walking around the site in the early stages of redevelopment. The grounds felt desolate, and it was easy to imagine the abuses that took place there.

No place like home?

Happy shopper

Remember Banksy’s new shop? It’s closed now, though it was never really open. But now it is open. Er.

Gross Domestic Product
The homewares brand from Banksy™

It does look odd, seeing that little ™ symbol after his name everywhere. But before we get distracted about why he’s seeking to protect trademarks rather than copyright, let’s get shopping!

banksy opens online store selling limited edition pieces and items starting at £10
a few weeks after setting up a showroom ‘for display purposes only’ in south london, banksy has now officially launched his own online store. titled ‘gross domestic product’, or ‘GDP’, the shop counts the stab vest worn by stormzy at glastonbury festival and branded T-shirts tagged by the artist among its products. other items include a clutch bag, made from a ‘genuine real life house brick’, and a rug painted to resemble the ‘diabetes riddled corpse of tony the tiger’.

Everything’s bound to be sold out by now, right? Not necessarily.

Banksy opens online store to sell iconic items from just £10
To deal with demand outstripping supply and to give everyone a fair chance, potential buyers are asked to register their details and “prove you are not a robot” by answering the question “Why does art matter?” Their response will then be judged by comedian Adam Bloom, who is urging customers to make their answer as “amusing, informative or enlightening as possible”.

Hoping this measure will help restrict sales to genuine art fans, Banksy adds: “We can’t ever weed out all the people who just want to flip for profit, but we can weed out the unfunny ones.”

Worth a punt?

A new Picasso?

It’s not unknown for artists to change their mind and paint over part of their work as their ideas develop. Earlier, I came across an article about a long-lost Vermeer cupid that conservationists had restored. He wasn’t the only one with mysteries to uncover.

Blue on Blue: Picasso blockbuster comes to Toronto in 2020
The show came together after the AGO, with the assistance of other institutions, including the National Gallery of Art, Northwestern University and the Art Institute of Chicago, used cutting-edge technology to scan several Blue Period paintings in its collection to reveal lost works underneath, namely La Soupe (1902) and La Miséreuse accroupie (also 1902).

More on that.

New research reveals secrets beneath the surface of Picasso paintings
Secrets beneath the surface of two Pablo Picasso paintings in the collection of the Art Gallery of Ontario (AGO) in Toronto have been unearthed through an in-depth research project, which combined technical analysis and art historical digging to determine probable influences for the pieces and changes made by the artist.

But x-ray and infrared analyses can only go so far. What if we roped in some neural networks to help bring these restored images to life?

This Picasso painting had never been seen before. Until a neural network painted it.
But from an aesthetic point of view, what the researchers managed to retrieve is disappointing. Infrared and x-ray images show only the faintest outlines, and while they can be used to infer the amount of paint the artist used, they do not show color or style. So a way to reconstruct the lost painting more realistically would be of huge interest …

This is where Bourached and Cann come in. They have taken a manually edited version of the x-ray images of the ghostly woman beneath The Old Guitarist and passed it through a neural style transfer network. This network was trained to convert images into the style of another artwork from Picasso’s Blue Period.

The result is a full-color version of the painting in exactly the style Picasso was exploring when he painted it. “We present a novel method of reconstructing lost artwork, by applying neural style transfer to x-radiographs of artwork with secondary interior artwork beneath a primary exterior, so as to reconstruct lost artwork,” they say.

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Rothko on the cheap

I’ve mentioned Sedition here before, turning screens into art™. I quite like the way it allows me to feel like an art snob for a while, building up my own art collection albeit very slowly we’re not made of money what with university fees and mortgages and Brexit and all that goodness me.

Here’s one alternative, though, if Rothko‘s mid-century abstract expressionism is your thing and the prices at Christie’s or even John Lewis are a little out of your range.

One Rothko per hour

The title says it all, really. You could always have a go yourself, of course.

Mark Rothko’s genius imitated on an iPhone by Derek Brahney
Why has he created them? Presumably to demonstrate the fast-decreasing level of skill required to create visual material in the digital age (depressing), or perhaps his motivations are less sinister. Either way we’re enjoying them very much.

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Generating art

Some more generative art. First, here’s Thomas Lin Pedersen, a “former bioinformatician / computational biologist turned data scientist turned software engineer”. Quite a mouthful.

Generative art by Thomas Lin Pedersen
I’m a generative artist focusing mainly on exploring the beauty of dynamic systems. For me, the sweet spot of generative art lies in creating a system that you know well enough to set it up for success, but is so complex that you still get surprised when you see the result. The more I become familiar with a system I’ve developed, the more it feels like a (slightly unpredictable) brush to paint with.

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I can’t begin to understand how he’s using R, software normally used for data analysis and statistics, to create such images.

A more traditional approach would be through the use of GANs, as we’ve seen before. (Strange to use the word ‘traditional’ with such a new and emerging field.) Here’s something from Joel Simon, who also takes inspiration from the systems of biology computation and creativity.

Artbreeder — create beautiful, wild and weird images
Simply keep selecting the most interesting image to discover totally new images. Infinitely new random ‘children’ are made from each image. Artbreeder turns the simple act of exploration into creativity …

Artbreeder started as an experiment in using breeding and collaboration as methods of exploring high complexity spaces. GAN’s are the engine enabling this. Artbreeder is very similar to, and named after, Picbreeder. It is also inspired by an earlier project of mine Facebook Graffiti which demonstrated the creative capacity of crowds.

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Devolving politicians

Banksy painting of chimps as MPs sells for record £9.9m at Sotheby’s
The timing of the sale was impeccable, coming exactly four weeks before the revised Brexit deadline and a year after Banksy’s Girl with Balloon (2002) was shredded via remote control in the same saleroom. That work sold for £1.04m with fees after it was legally designated a new work by Banksy’s handling service Pest Control and renamed Love is in the Bin a week after the auction in October 2019.

Banksy painting of MPs as chimpanzees sells for record £9.9m
Chimpanzees first appeared in his work in 2002, with his piece Laugh Now. The painting shows a row of apes wearing aprons carrying the inscription “Laugh now, but one day we’ll be in charge”. In 2009, Banksy said of Devolved Parliament: “You paint 100 chimpanzees and they still call you a guerrilla artist.”

The Cockroach by Ian McEwan review – a Brexit farce with legs
But in truth the parallel is misleading. It is not just that in McEwan’s case the metamorphosis is reversed: Sams is not a human transmuted into an insect but a cockroach who has taken over the body of the prime minister of the UK. (The room in which he awakes is in 10 Downing Street.) It is also that this fable is much more Swiftian than Kafkaesque. In The Metamorphosis, the story is really about the strangeness of everyday life and the human capacity to deny it. The world of The Cockroach is more like one of Swift’s parallel universes where political and intellectual idiocies are not so much reduced to absurdity as magnified into towering follies.

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Flying with Dalí and Laurie

More from that Dalí museum in Florida. This time, an interactive 360° video that you can click-and-drag your way around, as you fly through one of his paintings.

Silence your lobster phone and melt into a Dalí-inspired dreamscape
Salvador Dalí’s painting Archeological Reminiscence of Millet’s Angelus (1935) is a surreal reimagining of Jean-François Millet’s painting The Angelus (1859). Dalí’s work recasts the peasant couple of the original as towering stone figures, with the woman looming over the man in a show of female sexual dominance. Created as part of a virtual reality exhibition at the Dalí Museum in St Petersburg in Florida, this video allows viewers to step inside the work’s dreamy, uncanny landscape, as they fly through a tour of a world inspired by the painting – one that’s rife with additional Dalí Easter eggs. Beyond a simply entrancing immersive experience, Dreams of Dalí hints at even more sophisticated VR art experimentation to come in the near future.

Dreams of Dali: 360º Video

Here’s some more artistic VR, this time of a more literary nature.

Laurie Anderson introduces her virtual reality installation that lets you fly magically through stories
The piece allows viewers the opportunity to travel not only into the space of imagination a story creates, but into the very architecture of story itself—to walk, or rather float, through its passageways as words and letters drift by like tufts of dandelion, stars, or, as Anderson puts it, like snow. “They’re there to define the space and to show you a little bit about what it is,” says the artist in the interview above, “But they’re actually fractured languages, so it’s kind of exploded things.” She explains the “chalkroom” concept as resisting the “perfect, slick and shiny” aesthetic that characterizes most computer-generated images. “It has a certain tactility and made-by-hand kind of thing… this is gritty and drippy and filled with dust and dirt.”

Laurie Anderson interview: a virtual reality of stories
In this exclusive video, Laurie Anderson presents her prizewinning virtual reality work from 2017: “I wanted to see what it would be like to travel through stories, to make the viewer feel free,” the legendary multimedia artist says.