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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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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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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Banksy sells out

Remember back in March I linked to an article about Banksy’s legal conundrum? “If Banksy wants to keep enforcing any of his trademarks in courts around the world, and avoid the risk of them being canceled for lack of use, he will need to show judges stronger evidence of his brands being used in the market.

Well, here’s his response.

Gross Domestic Product: Banksy opens a dystopian homewares store
Tony the Frosted Flakes tiger sacrificed as a living room rug, wooden dolls handing their babies off to smugglers in freight truck trailers, and welcome mats stitched from life jackets: rather than offering an aspirational lifestyle, one South London storefront window depicts a capitalist dystopia. Created by Banksy and appearing overnight, Gross Domestic Product is the latest installation to critique global society’s major issues of forced human migration, animal exploitation, and the surveillance state.

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In a statement about the project, Banksy explains that the impetus behind Gross Domestic Product is a legal battle between the artist and a greeting card company that is contesting the trademark Banksy holds to his art. Lawyer Mark Stephens, who is advising the artist, explains, “Banksy is in a difficult position because he doesn’t produce his own range of shoddy merchandise and the law is quite clear—if the trademark holder is not using the mark then it can be transferred to someone who will.”

Despite this project’s specific goal of selling work in order to allow Banksy to demonstrate the active use of his trademark, the artist clarifies, “I still encourage anyone to copy, borrow, steal and amend my art for amusement, academic research or activism. I just don’t want them to get sole custody of my name.”

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All sales will be conducted online and, going by the reaction of those that have seen the shop so far, I expect everything will sell out very quickly, unfortunately.

Banksy shop featuring Stormzy stab vest appears in Croydon
A Banksy collector who came to see the display, said: “It’s brilliant. So good that it’s happening. I doubt he (Banksy) will turn up and go ‘hello lads, how are ya?’ But he’s obviously around.”

John, another Banksy enthusiast, who is on holiday in the UK from the United States, said: “It has all the earmarks of Banksy’s work. It’s graphic, it’s cheeky, it’s intelligent.”

Update 11/10/2019

This trademark/copyright issue might not be so straightforward, though, as this analysis from an intellectual property law academic explains. It’s worth a read.

How Banksy’s latest trademark row could backfire
Despite Banksy’s efforts to present himself as a down-to-earth, anti-conformist artist and paint the card company as the “bad guy”, this is more like a David v Goliath story – and Banksy is the giant here. Supported by a raft of experienced corporate lawyers and managers worldwide, his art is an undeniably powerful and commercially valuable industry.

Heavy questions for a Monday morning

I’ve just got round to reading this weekend’s Art & Letters Daily newsletter. More coffee is required before I properly engage with these questions, I think — the first, about the value of the arts; the second, the value of higher education.

What’s the point?
These feel like such dire times, times of violence and dislocation, schism, paranoia, and the earth-scorching politics of fear. Babies have iPads, the ice caps are melting, and your smart refrigerator is eavesdropping on your lovemaking (and, frankly, it’s not impressed).

Fascists, bigots, and guys who plan to name their sons Adolf wake up every day with a hateful leer on their faces and the Horst Wessel Song in their hearts—if you’re an ignorant, misogynist, xenophobic, racist against science, I guess times have never felt better. But for the vast rest of us—and please know, please believe, you and I greatly outnumber them—for the rest of us, things can seem so much worse than they did back in 2010, when a decent, thoughtful, level-headed, rational, and humane black man was living in the White House.

It has all seemed to fall apart so quickly. Looking around, it’s hard not to wonder who or what is to blame. I think it might be me. No, hear me out.

(This quote from George Bernard Shaw might help here.)

Does meritocracy stall social mobility, entrench an undeserving elite, and undermine trust in higher education?
An attack on meritocracy is invariably an attack on higher education, where meritocrats get sorted and credentialed. So the turn against meritocracy prompts big questions. Has meritocracy in fact failed? Is it time for universities to rethink the definition of merit, and, more broadly, higher education’s role in American life? Are meritocracy’s critics too sweeping in their indictment? Is it still — flaws and all — the fairest way to organize society? If we do away with it, what comes next?

We put these questions to 10 scholars and administrators from across the academy. Here are their responses.

Automated yet playful

Two recent interviews with contemporary generative artists.

The generative portraiture of Espen Kluge
I love Kluge’s description of his organic coding process for creating art. It flies in the face of the popular misconception that programming art is somehow a linear process, when in actuality, it is almost always circuitous.

When I asked Kluge if he is still surprised by the outputs he is getting, he replied:

Oh, yeah, I wouldn’t have the motivation to do this at all if I wasn’t surprised every time. It’s a pleasure every time I get close to something I like. I don’t have a good drawing hand. This is something I use to be my drawing hand. Sometimes the lines and shapes can be really beautiful, and I don’t think I could calculate that. It’s impossible for me to have these things in my head before I start. I would like to think this is true for all generative artists. It is a very playful process.

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LIA, software art pioneer and the fluidity of code
Austrian artist LIA is considered one of the pioneers of digital art and has been producing works since 1995. She is one of the very few women pioneers in software and net art. Her practice spans across video, performance, software, installation, sculpture, projections, and digital applications …

Your work using creative code becomes a generative work in real time, introducing the concept of “fluid” as opposed to the formality of the written code that requires engineered precision? Can you give some examples of this?

I started as an autodidact, so at the beginning, I had no idea about how to write “clean” code. This led to a variety of interesting results that I had not planned upfront. After more than two decades of programming, now I know how to write code properly, but I still like to keep the process of programming open to all sorts of possible errors, being able to go into different directions from any point onwards. That means I am not planning every step ahead, but rather “going with the flow”. The artworks themselves are constantly changing, either because they are of generative nature or because someone might be interacting with them. There is no start and no end, they just evolve over time over and over again.

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Silver ratio
In her practice, LIA translates concepts into formally written structures that, in turn, generate an output through a ‘machine’. The artistic experience contrasts with the formality of the written code. LIA’s work takes up traditions of drawing and painting and connects these with the aesthetics of digital image worlds and the language of algorithms.

See more of LIA’s work on Sedition.

Art down the pan

What I will always think of as ‘almost Trump’s toilet‘ has made the news again.

Busted flush: Man arrested over theft of solid gold toilet in England
Det Insp Jess Milne said: “The piece of art that has been stolen is a high value toilet made out of gold that was on display at the palace. The artwork has not been recovered at this time, but we are conducting a thorough investigation to find it and bring those responsible to justice.”

That headline-grabbing golden loo was only one of Maurizio Cattelan‘s many not-so-subtle provocations at Blenheim Palace.

Maurizio Cattelan at Blenheim Palace: blisteringly good and as subtle as a solid gold toilet
In his new exhibition featuring a praying Hitler and a felled Pope the artist plays to his strengths: spectacle, scale, shock, subversion.

Hitler in Churchill’s birthplace more shocking than the golden toilet – Maurizio Cattelan review
The Italian art prankster redecorates Churchill’s birthplace with an 18-carat loo, hideous union jacks and Hitler himself. What a fitting show for a country unravelling into madness.

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Update 16/09/2019

The Art Newspaper have updated their report of the story with photos showing the damage caused by the theft.

‘I wish it was a prank’: Maurizio Cattelan on the surreal theft of his golden toilet
The burglars caused “significant damage and flooding” after removing the toilet, which was plumbed in, at around 4.50am this morning. A 66-year-old man has been arrested in connection with the incident. Thames Valley Police say that a group of offenders used two vehicles during the theft. Commentators on social media fear however that the work may be melted down.

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A new ‘modern’ art

I’m trying to resist signposting to simply everything on Colossal, as it’s all amazing, but I thought these recent posts work well together — paintings, but not as we know them.

Glitched paintings by Olan Ventura give a contemporary twist to 17th Century still lifes
Philippino artist Olan Ventura creates lavish acrylic paintings in the tradition of 17th century Dutch still lifes. Replicating the smallest details of iconic works such as Jan Davidsz de Heem’s Vase of Flowers (c. 1660), Ventura veers off course with striking glitches and drips that shoot off the canvas edges, seeming to pull grapes, lobsters, and roses from the past into the present.

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Landscapes by Jason Anderson blend precise pixelation and hazy abstraction
U.K.-based artist Jason Anderson creates abstract urban landscapes using pixelated patches of pastel-toned oil paint. Each work on linen has a single focal point of bright yellow usually representing the rising or setting sun, though in the painting above the illumination comes from an approach train. Anderson balances the natural and manmade by primarily featuring infrastructure—ships, marinas, trains, buildings—that appears small and distant within each pastel haze.

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And whilst these images aren’t strictly paintings, they strike me as following that same ‘glitchy-made-real’ feel.

Photographs of animals and architecture are sliced and rearranged into bizarre collages by Lola Dupre
Spain and Scotland-based collage artist Lola Dupre (previously) continues to surprise and delight with her unusual composite images. Rather than incorporating unique individual collage elements that contrast with each other, Dupre works with repetition and duplication to build bizarrely proportioned pets, buildings, and human figures. By layering and off-setting shards of the same photo in a sort of visual syncopation, Dupre stretches and bends otherwise familiar subjects into surreal images.

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Curating at the cliff edge

It could be said that, in taking this project on, Caroline Lucas is taking a break from politics at exactly the wrong moment. But I think this refocussing of priorities, reminding us of what’s at stake, is vital right now.

Too much politics? UK Green party MP and anti-Brexit campaigner Caroline Lucas turns curator
Other paintings selected, by artists such as Victor Pasmore, point to the changes in landscape over the past century. “How can we take all of this for granted?” Lucas says. “What are these familiar scenes going to look like over the next 50 years, a period that will be critical at a time of accelerating climate emergency?”

She also hopes to include an image of Beachy Head chalk headlands in East Sussex by the Turner prizewinning photographer Wolfgang Tillmans. “At this critical moment, being on the edge sums it up. We are at the cliff edge metaphorically, from an environmental point of view and in terms of political change,” Lucas says. A number of contemporary posters from local environmental campaigns reflecting public concern, highlighting the need for action, may also be included.

Cut-up cameras

They may be on their way out, but film cameras are nevertheless remarkable machines. This project from Fabian Oefner shows them off in a whole new way.

Vintage cameras dissected with a saw and suspended in resin by Fabian Oefner
For his latest series titled “CutUp,” artist Fabian Oefner used a band saw to slice film and still cameras into pieces, revealing their beautiful and complex inner workings. The pieces were rearranged, reassembled, and suspended in resin in interesting configurations. Each new sculpture transforms the tools for making art into new works of art designed to be viewed from multiple angles.

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There are more images of these familiar yet previously unseen objects on his website.

CutUp – Studio Oefner
Oefner deliberately selected still and video cameras to slice apart. This is an allusion to his earlier photographic work, where the image made with the camera is the “art” and the camera itself is merely a tool. For this series, the tool is transformed into a piece of art. It is at the same time a deconstruction of the technology of image capturing, revealing the beauty underneath the surface of these objects.

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And here’s how it’s done.

Fabian Oefner – CutUp
CutUp is a series of technical objects, that are sliced, rearranged and distorted into a new form. The objects are encapsulated in resin, captured in their current state forever.

Reminds me a little of Damien Hirst’s cows.

Everything is political, nothing is neutral

Remember last year I mentioned how the Design Museum’s exhibition on political graphic design had itself become political? Those kinds of debates are still ongoing. Should museums just be preserving cultural heritage, or using their collections to promote social justice and equality? (Is it not obviously the latter?)

Are art institutions becoming too ‘ideological’? A debate breaks out at the International Council of Museums Over Politics in the galleries
What is at stake at the Kyoto meeting on September 7 is more than a battle over terminology. It reflects a debate that has been taking place for the past four decades around whether museums can ever be ideologically neutral spaces. It also reflects a desire since at least the 1980s for museums to be meeting places where ideas can be discussed, turning the museum from a traditional “temple” to a more democratic “forum.” The debate has been given added urgency as institutions in the West face increasing pressure over their colonial-era collections, sources of funding, and historic under-representation of women’s history in particular.

Beautiful physics

Another great find from Brain Pickings, the French mathematician and journalist Amédée Guillemin and his 1868 physics textbook Les phénomènes de la physique.

How nature works, in stunning psychedelic illustrations of scientific processes and phenomena from a 19th-Century French physics textbook
In consonance with the pioneering 19th-century information designer Emma Willard’s conviction that knowledge is most readily received when “addressed to the eye,” Guillemin understood that the fundamental laws of nature appear too remote and slippery to the human mind. To make them comprehensible, he had to make their elegant abstract mathematics tangible and captivating for the eye.

He had to make physics beautiful.

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I’d say he succeeded, wouldn’t you?

Collapsing time, increasing order

What do you get if you cross the patient fastidiousness of Pelle Cass with the diligent meticulousness of Ursus Wehrli? This guy.

Cy Kuckenbaker’s time collapse videos let you see daily life as you’ve never seen it before
His “time collapse” videos stemmed from a desire to get to know the city in which he lives with the same vigor he brought to bear as a Peace Corps volunteer in his 20s, exploring Iraq, Africa, and Eastern Europe.

This impulse might lead others to join a club, take a class, or check out restaurants in an unfamiliar neighborhood.

For Kuckenbaker, it means setting up his camera for a fixed shot, uncertain if his experiment will even work, then spending hours and hours in the editing room, removing the time between events without altering the speed of his subjects.

Midday Traffic Time Collapsed and Reorganized by Color: San Diego Study #3