Turns out it only takes me a quarter of an hour to go from yeah-it’s-an-ok-painting-I-guess to god-you’re-right-that’s-amazing-I-never-realised.
Great art explained – YouTube I’m James Payne, a curator, gallerist and a passionate art lover. I am on a mission to demystify the art world and discover the stories behind the world’s greatest paintings and sculptures. Each episode will focus on one piece of art and break it down, using clear and concise language free of ‘art-speak’.
The temptation is to blame everyday people for not getting Hockney, when the truth is that this is the result of years and years of arts education being shoved into the background and decimated through an endless, attritional cultural war. The education secretary Gavin Williamson just said: “The record number of people taking up science and engineering demonstrates that many are already starting to pivot away from dead-end courses that leave young people with nothing but debt.”
He’s genuinely gleeful about people not studying art. That’s what it means to the people in power, and that heinous attitude trickles down through every facet of society.
Someone makes a thing for the public, some like it, others really don’t — same old story.
Plea – Futility Closet Are we going to allow all this beauty and tradition to be profaned? Is Paris now to be associated with the grotesque and mercantile imagination of a machine builder, to be defaced and disgraced? Even the commercial Americans would not want this Eiffel Tower which is, without any doubt, a dishonor to Paris. We all know this, everyone says it, everyone is deeply troubled by it. We, the Committee, are but a faint echo of universal sentiment, which is so legitimately outraged. When foreign visitors come to our universal exposition, they will cry out in astonishment, ‘What!? Is this the atrocity that the French present to us as the representative of their vaunted national taste?’
Do you remember the hype about Vantablack, the blackest black that absorbs 99.96% of light shone on it? I mentioned it a while back when BMW used it for one of their cars, though I could have sworn that I had shared these links too:
Can an artist ever really ‘own’ a colour? – The Guardian Painters are outraged that Anish Kapoor, the British sculptor who designed the blood-red Orbit tower for the London Olympics, has exclusive rights to the artistic use of this revolutionary new colour. NanoSystems has confirmed that he alone can paint it Vantablack.
Museum visitor injured after stepping into pit he thought was a painting on the floor – Boing Boing British artist Anish Kapoor licensed the worldwide exclusive rights to use Vantablack in art, which makes him kind of an asshole, but we’ve already complained about him on Boing Boing and that’s not the point of this post. The point is that Kapoor has a work of art at the Serralves Museum in Porto, Portugal called Descent Into Limbo. It’s an eight-foot deep pit and because Kapoor painted the interior of the pit with Vantablack, it looks like a two-dimensional black circle painted on the floor of the museum. You can guess what happened next.
Anyway, this was the link I wanted to share this time.
Whitest-ever paint could help cool heating Earth, study shows – The Guardian The new paint reflects 98% of sunlight as well as radiating infrared heat through the atmosphere into space. In tests, it cooled surfaces by 4.5C below the ambient temperature, even in strong sunlight. The researchers said the paint could be on the market in one or two years. White-painted roofs have been used to cool buildings for centuries. As global heating pushes temperatures up, the technique is also being used on modern city buildings, such as in Ahmedabad in India and New York City in the US. […]
Andrew Parnell, who works on sustainable coatings at the University of Sheffield, UK, said: “The principle is very exciting and the science [in the new study] is good. But I think there might be logistical problems that are not trivial. How many million tonnes [of barium sulphate] would you need?” Parnell said a comparison of the carbon dioxide emitted by the mining of barium sulphate with the emissions saved from lower air conditioning use would be needed to fully assess the new paint. He also said green roofs, on which plants grow, could be more sustainable where practical.
The sunglasses are a nice touch, but Parnell’s point high-lighted above definitely needs addressing, I think.
Here’s another bookish sculpture to go with the others I found a while back.
Idiom installation – Atlas Obscura For bibliophiles, an infinite tower of books is a nightmare disguised as a dream—a huge collection of literature that you can’t get at because pulling a book or two out will cause the collapse of the tower. But it does make for a wonderful sight.
A real-life iteration of this dream-nightmare is on display at the Prague Municipal Library. Artist Matej Kren’s “Idiom” is a long-term art installation where hundreds of books are stacked in a cylindrical tower. Mirrors placed at the bottom and the top give the exhibit the illusion of being infinite. A tear-shaped opening on one side of the tower allows visitors to peek in and experience what it would be like to drown in a book well.
Matej Kren’s ‘Idiom’ – Awayn Located quite centrally, it’s a fun five minute stop to get some fresh photos and look at the book tower. Though it’s a lovely way for people to step into the building, you don’t have to go too far into it, so you don’t disturb anyone who goes for the actual library. As you come in the main entrance, it is literally in front of you; need to walk upstairs.
Here are some more photos of this little/infinitely large landmark. (via)
Most artists are not making money off NFTs and here are some graphs to prove it – Kimberly Parker These numbers do not show the democratization of wealth thanks to a technological revolution. They show an acutely minuscule number of artists making a vast amount of wealth off a small number of sales while the majority of artists are being sold a dream of immense profit that is horrifically exaggerated. Hiding this information is manipulative, predatory, and harmful, and these NFT sites have a responsibility to surface all this information transparently. Not a single one has. […]
Truly the most shocking thing about these numbers is that they look ordinary. They look just like every other market. Everything about this is run-of-the-mill, banal, predictable capitalism. That is exactly the point. Despite the promises of revolution, equality, and “lifting artists up” this technology has changed nothing: the few people at the top continue to have the greatest amount of wealth.
To be sure, new technology has brought us enormous benefits, but certain aspects, such as speculation in cryptocurrencies, also bring risk. The Nobel Prize-winning economist Paul Krugman, writing in the New York Times, has called Bitcoin “a bubble wrapped in techno-mysticism inside a cocoon of libertarian ideology”.
I missed Van Gogh’s birthday last month, again. I meant to post these links earlier.
Warrior artist – Dublin Review of Books Anyone who dips into Van Gogh’s letters will be struck by how much and how widely he read. He devoured and used books up as he did the people around him, though he never used people in a malicious way. It was just that few could match or live up to his passionate intensity. As Mariella Guzzoni, an independent scholar and art curator, writes: “It should be said . . . that though Vincent cherished books, he was not a book collector. More precisely, he was a book-user. For him, it was not important to physically possess books, but to make them his own.”
There’s more to his story than just him, though.
The woman who made Vincent van Gogh – The New York Times Twenty-one months after her marriage, Jo was alone, stunned at the fecund dose of life she had just experienced, and at what was left to her from that life: approximately 400 paintings and several hundred drawings by her brother-in-law.
The brothers’ dying so young, Vincent at 37 and Theo at 33, and without the artist having achieved renown — Theo had managed to sell only a few of his paintings — would seem to have ensured that Vincent van Gogh’s work would subsist eternally in a netherworld of obscurity. Instead, his name, art and story merged to form the basis of an industry that stormed the globe, arguably surpassing the fame of any other artist in history. That happened in large part thanks to Jo van Gogh-Bonger. She was small in stature and riddled with self-doubt, had no background in art or business and faced an art world that was a thoroughly male preserve. Her full story has only recently been uncovered. It is only now that we know how van Gogh became van Gogh.
It’s a fascinating read, his sister-in-law Jo van Gogh-Bonger was remarkable. Here’s a photo of her from around 1909.
And there were other important women in his life too.
The fascinating lives of Vincent van Gogh’s three sisters – Hyperallergic Vincent van Gogh’s three sisters — Willemien (Wil), Elisabeth (Lies), and Anna van Gogh — are highlighted in the historical biography The Van Gogh Sisters by Willem-Jan Verlinden (Thames & Hudson). The book was originally published in Dutch in 2016; the English version, translated by Yvette Rosenberg and Brendan Monaghan, includes previously unpublished letters, largely the result of research completed after the Dutch version was first released.
Through letters between the siblings, we read that Lies was frustrated that women didn’t have more professional options that were socially acceptable. We learn about how Wil often copied Vincent’s drawings and was his favorite model, and that the two wrote to each other about art and literature and inquired about one another’s mental health. The book draws you in with stories about the siblings’ pursuits of jobs, love, and artistic curiosities, as well as lush portrayals of each family home.
How Van Gogh paid for his mentally ill sister’s care decades after his death – The Guardian Vincent van Gogh remained penniless throughout his tragic life, which ended in suicide shortly after a stay in a mental asylum. Yet two decades later, paintings he had given to his sister were sold to pay for her stay in a psychiatric hospital, commanding such high prices that the proceeds funded years of treatment, according to letters published in a new book.
Willemien, the youngest of Van Gogh’s three sisters, shared his love of art and literature and, like him, struggled with her mental health. While Van Gogh was committed to an asylum after cutting off part of his ear and giving it to a prostitute in a fit of madness, his sister was institutionalised for almost 40 years until her death in 1941.
In 1909, the oldest sister, Anna, wrote of selling a picture that he had given Willemien, enabling her to pay for medical costs: “I remember when Wil got the painting from Vincent, but what a figure! Who would have thought that Vincent would contribute to Wil’s upkeep in this way?”
Speaking of selling Van Goghs, here’s a very realistic/utterly fake portrait of him by the ‘post photographer’ Bas Uterwijk that’s for sale.
I’m still struggling with all this, to be honest. Am I right in thinking that I can spend 20 Tezos (about £100) on something that’s exactly the same as the 1620×2048 .png file I can download if I right-click on the image on the webpage?
At the same time, the NFT backlash has been furious. Highly visible NFT evangelists make unrealistic claims to be freeing artists from the problems of institutional gatekeepers, but there are clearly still problematic dynamics of race, class, power, and gender that shape these markets too, and artists still find themselves partly reliant on social media platforms and traditional institutions to build audiences and accrue value for their work.
It wasn’t meant to be like this, obviously. Here’s Anil Dash, the man behind the technology.
NFTs weren’t supposed to end like this – The Atlantic The idea behind NFTs was, and is, profound. Technology should be enabling artists to exercise control over their work, to more easily sell it, to more strongly protect against others appropriating it without permission. By devising the technology specifically for artistic use, McCoy and I hoped we might prevent it from becoming yet another method of exploiting creative professionals. But nothing went the way it was supposed to. Our dream of empowering artists hasn’t yet come true, but it has yielded a lot of commercially exploitable hype.
It seems to me that the broken art market is still far from being fixed. I wonder what the folks at Sedition make of all this.
Featured image Works by Vincent on exhibition in Antwerp, Belgium, 1914. Van Gogh Museum Documentation, Amsterdam
It’s a shame to see series 2 of Grayson’s Art Club over so soon. The shows are in response to our being in these lockdowns so, however much we may enjoy them, let’s hope there’s not a third series.
Grayson’s Art Club – Wikipedia I believe that art can help get us through this crisis. It can help us explore our creativity, inspire and console us, and tell us some truths about who we really are. […] Our Art Club exhibition will be a lasting artistic record of how we’ve all felt about these strange times we’ve been through together.
He’s an interesting guy, to be sure. (An alternate universe’s Tony Hart?)
Defying the norm: An interview with Grayson Perry on what it means to be an artist – It’s Nice That That’s great that there are people using [Instagram] in that way but there was something about the blessed ignorance when I was younger. I can remember, quite a long time ago now, when the internet was first really taking off, a student came up to me and asked how I decide what to make work about. And I said, well I didn’t have one of those, pointing at her iPhone. You’ve got every image in the world in your hand, I had a tiny library and three television channels! So we made choices much more easily because the choices were limited, it forced you to get on and make your own. There’s something about the bewildering choice and the fact is that, if you have an idea now, you can Google it and someone’s done it already.
Vincent van Gogh: The Starry Night – LEGO Ideas Clips and brackets form the swirling cloud; plates stack to form the hillsides and bushes; curve parts build up to become the cypress tree. My favorite part is the inclined plate stack on the right, capturing the angled brush strokes within the moon-lit cloud. … I love putting the minifigure before the 3D scenery. It is like watching the artist work on the painting in real time.
All that effort has paid off, after Christie’s auctioned off a digital collage of the results.
Beeple’s opus – Christie’s Minted exclusively for Christie’s, the monumental digital collage was offered as a single lot sale concurrently with First Open, and realised $69,346,250. Marking two industry firsts, Christie’s is the first major auction house to offer a purely digital work with a unique NFT (Non-fungible token) — effectively a guarantee of its authenticity — and to accept cryptocurrency, in this case Ether, in addition to standard forms of payment for the singular lot.
That’s quite a lot of money, regardless of the currency.
JPG file sells for $69 million, as ‘NFT mania’ gathers pace – The New York Times After a flurry of more than 180 bids in the final hour, a JPG file made by Mike Winkelmann, the digital artist known as Beeple, was sold on Thursday by Christie’s in an online auction for $69.3 million with fees. The price was a new high for an artwork that exists only digitally, beating auction records for physical paintings by museum-valorized greats like J.M.W. Turner, Georges Seurat and Francisco Goya. Bidding at the two-week Beeple sale, consisting of just one lot, began at $100.
With seconds remaining, the work was set to sell for less than $30 million, but a last-moment cascade of bids prompted a two-minute extension of the auction and pushed the final price over $60 million. Rebecca Riegelhaupt, a Christie’s spokeswoman, said 33 active bidders had contested the work, adding that the result was the third-highest auction price achieved for a living artist, after Jeff Koons and David Hockney.
Beeple sold an NFT for $69 million – The Verge The record-smashing NFT sale comes after months of increasingly valuable auctions. In October, Winkelmann sold his first series of NFTs, with a pair going for $66,666.66 each. In December, he sold a series of works for $3.5 million total. And last month, one of the NFTs that originally sold for $66,666.66 was resold for $6.6 million.
But has anyone actually looked at this collection of images? All of them? Whilst the futuristic sci-fi imagery shown above is interesting, if a little derivative, there are some major issues with the rest of it, to say the least. Let’s just say leaving off the titles of the original images was a very wise move.
Beeple’s USD 69M NFT enters art history – Cryptonews A non-fungible token (NFT) piece of art thirteen years in the making was just sold for a whopping USD 69.35m at famous British auction house Christie’s, becoming the most expensive NFT ever sold, and positioning the author among the top three most valuable living artists. … According to Bloomberg, prior to the sale, Christie’s Noah Davis said that “there have been a handful of really dogged, really serious clients pursuing it, and they are mostly people who are very steeped in crypto.”
Very steeped in crypto? Who are these people?
Rich millennials are splashing millions on crypto art – Bloomberg The decline [in art market sales due to the pandemic] would have been much worse were it not for wealthy collectors who spent more time at home and wanted to beautify their surroundings with art. It was a similar picture with virtual works. More hours glued to a screen encouraged crypto investors — flush with Bitcoin gains — to explore the nascent medium of art attached to a non-fungible token (NFT), a digital certificate of authenticity that runs on blockchain technology.
Who spends millions on NFTs? Meet Beeple’s crypto-rich early collectors – ARTnews.com The digital artist Beeple’s first major collector was Tim Kang, founder of Cue Music and an investor in cryptocurrency. Well before Beeple’s $6.6 million sale at Christie’s, Kang had broken all previous records by buying Beeple’s “MF Collection” for $777,777.77 on the non-fungible token platform Nifty Gateway in December of 2020. This sale launched Beeple from a niche artist working on the digital fringe to a force to reckon with, as the auction made clear three months later. […]
“Crypto and blockchain is more than just a stock; the underlying application is a paradigm shift. Anyone can have an opportunity to participate in a global market,” Kang said. “I have been waiting for so long for the breakthrough, for this to really impact the world beyond just cryptocurrency. Digital art is the perfect medium to communicate the underlying implications of blockchain on self-sovereignty.” NFTs demonstrate how blockchain technology can offer decentralized forms of authority: secure ownership without a gallery or foundation.
No shortage of hyperbole.
Beeple’s ‘5000 Days’ NFT sold for USD 69.35M at Christie’s – Design You Trust “We must recognize the record-breaking sale of Beeple’s opus as what it is: a watershed moment for our industry. This sale will allow the public to see the capabilities of NFTs in the art space, however, it is just the beginning of the NFT revolution, which will ultimately change the way we live,” Justin Banon, CEO and Co-founder of Boson Protocol, the developer of a “capture resistant dCommerce ecosystem” using NFTs encoded with game theory, said in an emailed comment.
A “revolution which will ultimately change the way we live”? Goodness me. I looked up Boson Protocol, wanting to check if dCommerce was a typo. It seems not, though I’ve no idea what a decentralized, capture-resistant, autonomous commerce ecosystem that operates within a liquid digital market that unlocks two planetary-scale value pools actually is!
Decentralized forms of authority notwithstanding, theft is still theft.
Reports of stolen art on NFT marketplace raise issues for crypto collectors – Hyperallergic The blockchain has frequently been hailed as the future of art commerce, offering a way to ensure a work’s authenticity while creating an unalterable digital record of provenance on a public ledger. But recent reports of hacking on Nifty Gateway, a popular marketplace for non-fungible token (NFT) art, have raised questions about potential security flaws in the system. Several users have taken to social media in the last few days to claim they had NFTs stolen on the platform, with little recourse to get them back.
This isn’t limited to just slightly racist and homophobic digital collages, of course.
Buy This NFT Column on the Blockchain! – The New York Times The first step in making my own NFT was setting up a digital “wallet” that would be used to hold my token, as well as any cryptocurrency I made from selling it. I used a browser extension called MetaMask and set up an empty wallet for Ethereum, the cryptocurrency network of choice for NFT collectors. Then I had to find a place to hold the auction. I chose an NFT marketplace called Foundation, which hosted the sale of the famous “Nyan Cat” graphic this year for nearly $600,000.
Crypto token of New York Times column sells for $560,000 – The New York Times @3fmusic could not be reached as of Wednesday afternoon. The user appeared to be an avid collector of NFT artwork. In addition to the Times token, their collection on Foundation also includes such works as “The result of 2020,” an image of a sad-looking Kermit the Frog, and “Mushy’s Midafternoon Nap,” an image of a cartoon toadstool sitting on a log.
I tried getting my head around cryptocurrencies before, but I’m still none the wiser. Headlines like this don’t help.
One of the collectors above said that digital art is the perfect medium to communicate the underlying implications of blockchain on self-sovereignty. Everest Pipkin, digital artist and author of the following essay, would strongly disagree with that. It’s a long piece, and I’m including more than I would normally here, but I think its clarity is worth sharing. As he explains, it’s not cryptoart specifically that’s so environmentally damaging, it’s anything that’s “minted” on a cryptocurrency blockchain, be it Bitcoin, Ethereum or any other, because of a process called “proof of work”.
Fast forward to 2009, which saw proof of work (along with another technology called the blockchain, a kind of public ledger) used for a very different purpose; making the digital currency Bitcoin. This is a simplified explanation, but to make a bitcoin, Bitcoin “miners” task their specialized computers to solve those proof of work puzzles, competing with one another to validate blocks on the blockchain. A successful solution – which is somewhat rare – rewards the miner with the new coin. The more a computer “works” (the more energy is expended) the more competitive it is. You can think of it as a lottery, with every kilowatt-hour a ticket. This process is called mining.
This started innocuously enough – mining in 2009 was a background process that could run on a laptop as it idled. However, the difficultly of mining blocks in the blockchain is designed to increase over time. This is because as the network grows, the relative rate of new coins mined stays stable (for Bitcoin, about 1 block is mined every 10 minutes).
After a decade+ of a growing cryptocurrency market, what we’ve been left with is a financial network that uses more energy than Argentina, with no regulatory structure or federal oversight whatsoever.
I get that scarcity can affect prices; the more rare something is, or the harder it is to find, the more value is has — in the real world.
However, in a digital context scarcity must be constructed – there is nothing that demands the next block in the blockchain be harder to make than the last. If anything, the opposite should be true – computers grow ever more efficient and powerful. This means any scarcity is artificial, a process that demands ever more energy, ever more resources lost to continue to operate and return, for no other reason than to insure that tomorrow it will be even more expensive – which makes the wastefulness of today a good investment.
This is why cryptocurrency is valuable. There is nothing high-tech about it. There is no miracle. It is simply futures speculation without the speculation – no guessing required, because we know it will be more wasteful tomorrow; it is baked into the tech.
The whole thing makes my head swim. Here are some other attempts at explaining why blockchains and cryptocurrencies are bad ideas.
Why Bitcoin is so bad for the planet – The Guardian In a year, bitcoin uses around the same about of electricity as the entire country of Norway. The digital currency is one that allows people to bypass banks and traditional payment methods. It is the most prominent among thousands of so-called cryptocurrencies and has been repeatedly reaching new records – but is it sustainable?
As NFT sells for $69M, artists question environmental impact of blockchain – Hyperallergic As crypto-art speculation rises, however, so do the planet’s temperature and questions about the carbon footprint of NFTs. These unique works are typically sold in “drops,” timed online sales held by NiftyGateway, OpenSea, SuperRare, and Foundation, to name just a few of the most popular marketplaces. NFTs exist on the energy costly Ethereum blockchain; in layman’s terms, they are created (“minted”) based on a process known as proof-of-work (PoW), which necessitates the use of large networks of processing machines that emit CO2.
NFTs are hot. So is their effect on the Earth’s climate – WIRED The works were placed for auction on a website called Nifty Gateway, where they sold out in 10 seconds for thousands of dollars. The sale also consumed 8.7 megawatt-hours of energy, as he later learned from a website called Cryptoart.WTF. That figure was equivalent to two years of energy use in Lemercier’s studio. Since then, the art has been resold, requiring another year’s worth of energy. The tally was still climbing. The problem, as Lemercier saw it, went well beyond himself. His fellow artists were becoming millionaires overnight as the cryptoart world exploded. But so was their role in emitting carbon. Artists didn’t seem to understand the scope of this problem—Lemercier himself hadn’t—and the platforms making the sales didn’t seem interested in clarifying.
I know other areas of our online life affect the health of our physical world…
I’m still trying to get my head around Second Life. The scale of it confuses me, with its talk of continents and regions, parcels and places. I need a map. It seems there’s a longstandingtechnicaldifficulty with that currently, but here’s a helpful resource — an inworld Maps of Second Life exhibition.
The maps (and more) of Second Life – Inara Pey: Living in a Modem World The maps start from the earliest days of Second Life – 2002 – and run through to almost the present. It encompasses “official” maps, those produced by SL cartographers depicting the Second Life Mainland continents, and specialist maps charting air routes, airports, the SL railways, specific estates. Not only are they informative, some stand as works of art in their own right.
For more background on how that exhibition was curated and designed, here’s an interview with its creator, Juliana Lethdetter.
In an earlier blog post, Inara Pey notes that, whilst maps might not contribute greatly to a sense of community, they’re vital for establishing a sense of presence.
Maps as metaphors: Second Life and Sansar – Inara Pey: Living in a Modem World However, the idea that the world map presents Second Life as a place, adding to our sense of presence, is harder to deny. In fact, given that Second Life is intended to be a single world of (largely) interconnected spaces, its representation via a map can be a vital aspect of reinforcing this view. In other words, the map is, for many – but not necessarily all of us – an intrinsic part of how we see Second Life as a connected whole, a place.
Of course, there are other ways of seeing Second Life.
Remake the stars – New World Notes What Robbie Dingo has done is something Akira Kurosawa only envisioned: brought Van Gogh’s masterpiece to rich, three dimensional life, and for a brief moment, recast it as a living place. (Brief, for the construction was always intended as a temporary project, “so it’s all been swept away now, leaving only the film behind.”) But for a breathtaking moment you get to the most iconic of starry nights recast under the rising sun.
“One of the challenges was to make it look fluid and simple,” Robbie tells me. “If I have got it right, then it should look like something that was thrown together very quickly, but in reality I worked on this in dribs and drabs over a number of evenings.”
There was that guy who accidentally deleted his entire company, but do you remember Michael Landy? He’s one of the Young British Artists, the one who methodically catalogued, disassembled and then shredded all of his possessions — all of them, including clothes, family photos, passport, artwork, car — over a two week period in a performance art piece called Break Down.
Michael Landy on Break Down – Artangel Certain people criticised Break Down as a spectacle, but a spectacle is passive, and this wasn’t. Shoppers wanted to know what was going on; you could divide them into two groups. People who had heard about the project (knowing faces) and people who walked in from the street (quizzical faces). Certain shoppers thought this was a new way of selling things – they would offer me money for parts of my car, little old ladies would bring back clothes, which they had bought at the C&A closing down sale. […]
One day a young woman approached me whilst I was on the platform. She asked would I consider swapping my dad’s sheepskin coat for what she had in her duffel bag. I told her I couldn’t swap it, but she was more than welcome to try and steal it. Eight months later I was with Gillian in Tesco’s in Bethnal Green and I saw exactly the same sheepskin coat, worn by a man, maybe one size smaller than my dad’s. I wondered whether she did steal it in the end and it was having a second life.
So where does one go after something like that? Back to the drawing board.
Break Down – Michael Landy – Google Arts & Culture Like a phoenix from the ashes, this drawing was part of the process of recapitulating an experience that left Landy with nothing. It amounts to an existential anti-shopping list. ‘Having nothing was a kind of regression, so I was interested in going back to being a child, to just having a drawing pencil and paper.’ Retrospectively, he traces the stages of the disassembly process in pen and ink, employing a line-by-line precision with the pedantry of a military re-enactment. He anatomises his life in terms of the humdrum, a vision of wheelie bins, goggles, odd socks and camera crews, scrutinising the idea that ‘somehow at some point we begin to create our own biographies from the things we own or possess’.
That was twenty years ago. How does he feel about it all now?
What was it like when it was all over? In the pub on the last night, he says: “I got very paranoid. I have talked about it as the happiest two weeks of my life, but it was also like witnessing my own funeral. People would come along who I hadn’t seen for years, and then I worked it out: I was only seeing them because I’d in a sense died.”
His work certainly struck a chord, and is as relevant today as it was then (sadly).
The man who destroyed all his belongings – BBC Culture Break Down – which remains Landy’s best-known work – is considered a provocative masterpiece of recent British art. Moreover, because consumerism in the West has only accelerated since 2001 – witness, for instance, the rise of YouTube vloggers such as Zoella who devote entire videos to rummaging through shopping bags in order to celebrate high-street ‘hauls’ – it has also come to seem remarkably prescient.
Yes we do, I think we are more than the sum of our parts.
Actually that cropped up afterwards with the artwork Acts of Kindness on the London underground. It refers to when we don’t have the economic means to offer material things, we have our kindness and humanity to offer, which actually gets overlooked a lot. People don’t even notice they have those elements but they are being kind and humane to others without even realising they are doing so.
I think that is what came out of Break Down too. People were really kind to me and really open and when I literally had nothing I started to think, what makes us human, and basically that was humanity and a connection between a person and a complete stranger, that kind of emotional bridge between the self and other.
At a time when indoor art galleries and museums are closed because of you know what, it’s good to see some alternative initiatives. Here, an augmented reality app allowed you to explore 36 digital sculptures from artists around the world, arranged as a riverside walking tour.
How an augmented reality app transformed London into an immersive art gallery – Aeon Videos If you ever hopped on the Pokémon GO craze, you’ll have an inkling of how digital technology is increasingly capable of adding rich new slices to everyday life. The public exhibition ‘Unreal City’, which ran from 8 December 2020 to 5 January 2021 on the River Thames in London – and is, until 9 February 2021, available for at-home viewing – similarly superimposed digital layers on to reality, but with an aim to transform the city into an immersive augmented reality (AR) art gallery.
Have a go at curating your own exhibition at home.
Unreal City at Home – Acute Art Acute Art and Dazed Media are excited to announce that Unreal City, London’s biggest public festival of AR art will now be available to view and interact with from inside your home for one-month only. Responding to new lockdown measures and the popularity of the exhibition in London and across the United Kingdom, Acute Art and Dazed Media will make these site-specific artworks available for audiences all around the world to discover from the safety of their homes via the free Acute Art app.
ART AI – AI generated paintings We use artificial intelligence to create a vast variety of original artworks. This allows us to sell each artwork once, making one of a kind art accessible to all. […] When you find something you really love, you don’t always want to share it. We find that we are emotionally connected to the art we make and the art we buy – we want it just for ourselves. Thanks to our advanced artificial intelligence, ART AI makes owning one of a kind AI art accessible to everyone, for the first time ever.
GANksy – A.I. street artist We trained a StyleGAN2 neural network using the portfolio of a certain street artist to create GANksy, a twisted visual genius whose work reflects our unsettled times. 256 masterpieces are for sale starting at £1, rising by a pound as each one is purchased.
Do you remember Noah Kalina, the photographer who took a picture of himself every day for twenty years? Here’s something similar — less structured, perhaps more melancholic.
The photographer who set out to watch herself age – The New Yorker Over nearly four decades, beginning in the early eighties, the photographer Nancy Floyd executed an epic project of self-documentation, the results of which are collected in her new volume, “Weathering Time.” But it is not Floyd’s strict adherence to a plan that makes her project so compelling. It’s that she completed it with a laid-back kind of tenacity—an anti-perfectionistic, unfixed attitude, which lends her book, a curiously organized archive of some twelve hundred black-and-white images, a meandering charm.
Nancy Floyd has been photographing herself every day for almost 40 years – i-D The resulting “visual calendar”, as Nancy calls it now, consists of over 2,500 photographs. “Most often I’m by myself in these straightforward images, but sometimes I’m with family and friends. As time passes, births, deaths, celebrations, and bad days happen. Pets come and go, fashions and hairstyles evolve, typewriters, analog clocks, and telephones with cords disappear; film gives way to digital and the computer replaces the darkroom.”[…]
I like the surprises that arise when I pull together photographs to create new categories, such as Trousers or Shirts with Word. … I’ve been waiting for years to be the same age as my parent’s in my pictures. This year I made my first image: Mom and Me at 63. Viewing the pictures side-by-side there is no doubt that I am my mother’s daughter.
I’ve got to try this for myself. There must be some interesting juxtapositions to be found within the thousands of photos I’ve got on Flickr, not to mention all the boxes of old prints squirreled away in various cupboards upstairs…
Venice, 1570s, and Paolo Veronese, who had been commissioned by the Dominicans to paint the Last Supper, finds himself up against the Venetian version of the Spanish Inquisition. His depiction of this biblical scene seemed irregular, to say the least. Perhaps even blasphemous?
The Lost Last Supper – Yale University Press Blog That dog, what is the dog doing there, a dog in the vicinity of Jesus, this is surely blasphemy? He should have painted Mary Magdalene there, should he not? Yes, but he did not think she would look right in that spot. And that bloody nose? That’s not fitting, is it? Yes, but it was intended as a servant who had had an accident. And what about that man there, the one who looks so German, armed with a halberd? That would take some time to explain. Please answer! You see, we painters are accustomed to taking the same liberties as poets and madmen, and so I painted those two halberdiers, one eating and the other drinking at the foot of the stairs, yes, but so that they can immediately be of service, because I believe that a man as wealthy as the host would have had such servants. And that fellow who looks like a court jester, with a parrot on his fist, what is he doing there? He is there for decoration, as is customary. And who is sitting at the Lord’s table? The twelve Apostles. What is Saint Peter doing, the first one sitting there? He is carving the lamb into portions for the whole table. And the man beside him? He is holding up his plate. And the next one? He is picking his teeth with a fork. Who do you think was actually present? I believe there was only Christ and his apostles, but if there is any space remaining in a painting then I fill it with figures of my own invention. So did someone commission you to include Germans and jesters and people of that sort? No, Sirs, but I saw that I had lots of space, so I could add a great deal.
The Holy Tribunal determines that this rabble is not worthy to accompany such a sacred event, and orders the dog, the bloody nose, the tooth-picker, the Germans, all of it, to be painted over. But the artist, with the permission of the Dominicans, has a better idea.
He barely changes the painting at all, he just gives it a different name, and that is what it is still called today in the Accademia: Feast in the House of Levi, and if paintings were allowed to have a subtitle, in this case it might be: or, Hoodwinking the Inquisition.
There are a lot of faceless enforcers of state violence. That’s a theme in The Labyrinth. While doing this, those images started pouring in from the protests in the US. When I started thinking about it, it was from protests in Spain in 2016 or 2017, I remember thinking it’s so weird that a democracy can have these thugs on the payroll to do these things. […]
It felt really weird when I really saw stuff in the news… reality is worse than your imagination.
Reality may be worse than your imagination for that artist, but it’s better for this one.
I thought I had already shared a link here to Anna’s witty and poignant Enough animation, but I can’t find it now, so I guess I didn’t. So here it is.
Staff Pick Premiere: Enough is enough – Vimeo Blog Mantzaris’ work lives somewhere between tragedy and comedy – a duality beautifully realized in her visual aesthetic. Her characters are stuck in a modern world defined by a sense of loneliness and isolation, where communication is either muffled or noisy, but never pleasant. … “I knew I wanted the characters to be quite awkward, imperfect but yet sympathetic,” explains Mantzaris. “I wanted them to have a soft feeling to contrast the not so soft actions.”
New Banksy-style art appears in Bristol’s famous Vale Street – Bristol Live Banksy murals tend to poke fun at current affairs, so suggestions were made that the sneeze referred to Covid-19. One Totterdown woman added that it could be a nod towards the strong wind on Vale Street. Vale Street is known for being the steepest street in England and is home to an annual egg-rolling competition.
Time for another post about trees, I think. Here are a couple of links that have been languishing in my drafts folder for a while.
Gramazio Kohler Research, ETH Zurich plants ‘future tree’ in Swiss courtyard – designboom This structure — known as the ‘future tree’ — combines state-of-the-art design techniques, material science, and robotic fabrication to create an eye-catching architectural object. Demonstrating the latest research of Gramazio Kohler Research at ETH Zurich, the ‘future tree’ consists of a funnel-shaped, lightweight timber frame structure built by a robot, and a bespoke concrete column created using an ultra-thin 3D printed formwork. The entire design and fabrication were developed as inseparable and fully digital processes.
The photographs documenting its construction are extraordinary.
Ai Weiwei: Iron Tree – Yorkshire Sculpture Park Iron Tree is the largest and most complex sculpture to date in the artist’s tree series, which he began in 2009. Inspired by the wood sold by street vendors in Jingdezhen, southern China, Iron Tree comprise of 97 tree elements cast in iron and interlocked using a classic – and here exaggerated – Chinese method of joining. Iron Tree expresses Ai’s interest in fragments and the importance of the individual, without which the whole would not exist.
Artificial trees of a different kind, now. OK, so the trees are real, but their glitch-art shapes certainly aren’t natural.