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.
Of, or For Mary Wollstonecraft? – History Workshop Hambling asserts that it is a sculpture, rather than a statue, that is for Wollstonecraft, not of her. A video to mark the unveiling of the statue premiered on the Mary on the Green social media profile in which Hambling describes the design as ‘a tower of intermingling female forms, culminating in the figure of the woman at the top who is challenging, and ready to challenge, the world.’ The ‘intermingling’ forms are suggestive of a historic community of women, out of which the more detailed, lone female figure is born into the ‘now’. This design choice is intended to represent the legacy of Wollstonecraft’s feminist work.
But, as this piece from The Art Newspaper says, even backlashes get a backlash.
What I like about Hambling’s figure is that it is nude, but not erotic. Wollstonecraft would have recognised the honesty of Hambling’s focus. “For man and woman,” she wrote in The Vindications of the Rights of Women (1792), “truth… must be the same; yet the fanciful female character, so prettily drawn by poets and novelists, demanding the sacrifice of truth and sincerity, virtue becomes a relative idea, having no other foundation than utility, and of that utility men pretend arbitrarily to judge, shaping it to their own convenience.” Naked, stripped of outward signs of wealth and privilege, we are all equal.
This status, for a very different woman, is also proving controversial, though for very different reasons.
Is Margaret Thatcher’s hometown ready to put her on a pedestal? – The New York Times [W]hile the unveiling of a statue is usually a festive occasion, few in Grantham expect Mrs. Thatcher’s homecoming to be celebrated as a hero’s return. “If you’re a Conservative,” said Graham Newton, the news editor of the weekly Grantham Journal, “you want a statue, and you want her recognized. But if you’re not, there’s a lot of people who — not to put a fine point on it — hated her.”
“She was never very fond of Grantham, and so Grantham was never very fond of her,” said John Campbell, a biographer, pointing out that Mrs. Thacher rarely visited the town as prime minister, and did not mention it in speeches. “She was happy to leave it behind,” he said.
“You come out of the museum and the first thing you’re going to see is a 26-foot-tall Marilyn Monroe with her entire backside and underwear exposed,” Grachos pointed out. “We serve over 100,000 school-age children that come to our museum every single year. What message does that send to our young people, our visitors and community to present a statue that objectifies women, is sexually charged and disrespectful?”
In his project, A Product’s Self Portrait, Rotterdam-based visual artist Helmut Smits commits a playful approach to this topic. Because photography is a material process, Helmut has been magically creating 27 pinhole photos of products, using 27 matching pinhole cameras made from their packaging.
who took us to his lodging close by, and did shew us a little flower-pot of his doing, the finest thing that ever, I think, I saw in my life; the drops of dew hanging on the leaves, so as I was forced, again and again, to put my finger to it, to feel whether my eyes were deceived or no. He do ask 70l. for it: I had the vanity to bid him 20l.; but a better picture I never saw in my whole life; and it is worth going twenty miles to see it.
Around the time Peyps was poking the painting of Verelst, another northern European painter, Cornelis Norbertus Gijsbrechts, was also causing confusion with the brush, creating his masterpiece known as The Reverse of a Framed Painting (ca. 1670), an image that is, to modern eyes at least, his most striking.
I love it, but I wonder how it was initially shown off. The gag would be wholly lost if this painting of a frame was itself framed. But weren’t all paintings framed?
I’ve been revisiting my post earlier in the week about the online worldwide Van Gogh exhibition. As well as high resolution scans of the actual paintings, the curators have documented the backs of them too — sturdy, wooden frames covered in gallery stickers. They remind me of airport tags on luggage.
Wheatfield with Crows was in Manchester? I would have loved to have seen that.
Has anyone checked for any radio signals being transmitted to Jupiter?
DPS Aero Bureau encounters monolith in Red Rock Country – DPS News Official Statement from the Bureau of Land Management: “Although we can’t comment on active investigations, the Bureau of Land Management would like to remind public land visitors that using, occupying, or developing the public lands or their resources without a required authorization is illegal, no matter what planet you are from.”
Even Utah’s mysterious monolith may be no match for Google Earth – The Verge A Utah DPS public affairs officer didn’t immediately respond to a request for comment about the supposed location of the monolith. And I’m not printing the alleged coordinates beyond confirming that the place is remote and highly inhospitable. In all seriousness: please don’t visit the mysterious Utah monolith.
That said, the monolith-hunting process is impressive in its own right. And the evidence for its location, put forward by Reddit user Tim Slane, is strong. Slane pinpointed the coordinates of a small redstone canyon with a narrow gap that closely matches the social media photos. Satellite images from Google Earth reveal something in the middle: a hard-to-see object that casts a sharp, tall, and narrow shadow across the ground. The object seems relatively new. Google Earth photos from 2013 and mid-2015 show no trace of it, but it’s clearly visible by October of 2016, when the surrounding ground has also been apparently cleared of scrub.
Looks like the aliens have come back for their property.
Earthlings, it seems, not aliens, removed the Utah monolith – The New York Times He did not photograph the men who took down the sculpture, saying he “didn’t want to start a confrontation by bringing out my camera and putting it in their face — especially since I agreed with what they were doing.” But a friend who accompanied him on the trip, Michael James Newlands, 38, of Denver, took a few quick photographs with his cellphone.
Deborah Roberts reminding us that even a flat sheet of text isn’t a level playing field.
As well as saying that Black lives, history, respect and status matters, I should have added spelling.
The Spell Checkers Agenda – Kottke The piece above is part of a series called Pluralism by artist Deborah Roberts — it’s a collage of dozens of Black names marked as misspelled by Microsoft Word’s built-in spell checker. I don’t know about you, but this makes me think about the neutrality of technology, how software is built, who builds it, and for whom it is designed.
Glasstire and Contemporary Art Review Los Angeles have more on this piece, and how it fits in with Deborah’s wider body of work.
Naming and shaming: Deborah Roberts at Art Palace – Glasstire Other text pieces involve roughly printed words like bad offset printing. In the best of these, Roberts prints black-sounding women’s names (Tynisha, Shawanna, Roneshia) in a jittery, repeated overlay of red and black. Printed over them in a nearly-illegible, but unmistakable, light yellow, are four white women’s names: lean in close and you can barely discern Bethany, Lindsey, Becky, Haley.
Deborah Roberts at Luis De Jesus – Carla Opposite Human nature and Golden Smile hung the triptych Sovereignty (2016), a hand-drawn set of three serigraphs of black women’s names that Roberts sourced from friends. The far right in the triptych was a dense list of 213 names, from Khepri to Sharnell. All, however, were underlined with that all-too-familiar squiggly red line—these names were ostensibly misspelled, unrecognizable to word processing programs. The drawing on the left side of the triptych contrasted the list by featuring a sole name— Sharkesha—in large serif font. This work followed a similar logic to the collages: the viewer’s gaze moved from the minute to the masses and back again. However, the simplicity of this solution—names, listed— can’t be ignored. Sovereignty suggested a way to begin to humanize the silent figures that Roberts depicts, or at least to begin to find words that do the work.
Dutch museums unveil free digital collection of 1,000+ artworks by Van Gogh – My Modern Met Van Gogh Worldwide is a new project by a group of Dutch museums which presents a digital collection of over 1,000 of the artist’s masterpieces. Building off the digitized collection begun several years ago by the Van Gogh Museum in Amsterdam, almost half of the post-Impressionist works of this prolific artist are now available to view—with scholarly commentary—from the safety of your own home.
Take a wander yourself, there’s so much to take in.
Van Gogh Worldwide Van Gogh Worldwide is a free digital platform providing art-historical and technical data about the work of Vincent van Gogh (1853–1890). The artist produced a total of approximately 2000 artworks, and the aim of Van Gogh Worldwide is to present data for these in an accessible way, via a user-friendly website.
The resolution of each image is wonderful, allowing you to get closer to the paintings than you probably could in real life.
And you can even view the paintings in a raking light, to get a sense of just how heavily textured and expressive these were. Not quite as three-dimensional as Timur Zagirov’s wooden blocks, but still.