Art in the age of Netflix

The Dalí Museum isn’t the only one to use new technologies to draw in the crowds.

The Cleveland Museum studied how to best engage visitors in the age of Netflix. Here’s what they found
The Cleveland Museum of Art’s initiative, an interactive three-room experience (and app) called the ARTLENS Gallery, is one of the more comprehensive projects in the museum-tech sphere. It offers the opportunity for visitors to virtually explore artworks up close, create their own digital compositions, and learn about the museum’s collection by taking pictures with their phones.

To pre-empt any charges of gimmickry, perhaps, the museum conducted a two-year study on digital technology and visitor engagement.

Perhaps the most interesting figure had to do with millennials, an elusive demographic whose attention—and money—has long been coveted by institutions.

Millennials were 15 percent more likely to visit the digital galleries than older adults (44 percent compared to 29 percent, respectively) and 88 percent said that the digital component of their visits made them appreciate the value of an art museum.

“We’re not competing with other museums. We’re competing with Netflix,” says Jane Alexander, the museum’s chief digital officer. “You can be six years or 80 years old, you can have an art history degree or not—we want people to realize there’s something here for everyone.”

Accidentally empowering museum audiences

I’ve always believed that the central tenet of interactive art, borrowed from Quantum Theory, is that the act of observing affects that being observed. Perhaps we could see these two recent news stories as examples of that.

Safe sealed for 40 years until museum visitor spins the dial
“I said, ‘That’s quite the time capsule.’ I said, ‘I’m going to try this now for a laugh.'”

He leaned his ear close to the lock, began cranking the lock and listened intently for the telltale click, click, click.

“I put in 20-40-60, three times right, three times left, one time right. Tried it, it’s like, oh my God.”

The door creaked open. The room filled with a cloud of dust and a round of applause.

“When it opens, total surprise and amazement, right? I have a little bit of luck but hopefully I didn’t use it all up on this one.”

Solved: A case of mistaken identity in a Madrid art museum
Pastor, who is 39 years old and currently living in Luxembourg, was so sure he was looking at Rodin that he thought he had misread the caption. While still in the museum, he began googling Leopold—who is remembered primarily for presiding over a genocide in the Belgian Congo. While the two men clearly shared a resemblance, Pastor couldn’t shake the feeling that this was a case of mistaken identity, and he resolved to get to the bottom of it.

Being there — or not

They say there’s nothing quite like being there in person, whether there is on top of a mountain or in front of a painting. I’m not so sure, though.

Louvre is ‘suffocating’ with high volume of visitors, striking workers say
Union officials say that Louvre management is failing to address the issue of overcrowding, and that they are “dismayed” by “the shameful image we give of our establishment”. Staff must deal with “angry visitors” unhappy with conditions while emergency evacuation procedures are inadequate, they say.

Why I won’t be joining the queue at the top of Everest
Everest has become largely detached from the rest of climbing and mountaineering. It has become a trophy experience, drawing too many otherwise without much interest in the sport, validated by media coverage that sees Everest as being endlessly “conquered” rather than passé.

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Game of Thrones is ‘game changer’ for NI tourism
“I’m all for tourism in Northern Ireland but this sort of tourism – herding people in and out – they come to see one thing and that’s it,” she said. “For local residents it is frustrating – the constant buses never stop.” […] There are also issues at the Dark Hedges outside Armoy, County Antrim. Just 10 seconds on Game of Thrones was enough to make it a tourist attraction. Congestion and damage to the trees led to traffic being banned but that is not always obeyed.

Dalí’s back

Another art and AI post, but with a difference. An exhibition at the Dalí Museum in Florida, with a very special guest.

Deepfake Salvador Dalí takes selfies with museum visitors
The exhibition, called Dalí Lives, was made in collaboration with the ad agency Goodby, Silverstein & Partners (GS&P), which made a life-size re-creation of Dalí using the machine learning-powered video editing technique. Using archival footage from interviews, GS&P pulled over 6,000 frames and used 1,000 hours of machine learning to train the AI algorithm on Dalí’s face. His facial expressions were then imposed over an actor with Dalí’s body proportions, and quotes from his interviews and letters were synced with a voice actor who could mimic his unique accent, a mix of French, Spanish, and English.

Behind the Scenes: Dali Lives

Whilst we’re talking of Dalí, let’s go behind the scenes of that famous portrait of him by Philippe Halsman. No flashy, cutting-edge technology this time, just wire, buckets and cats.

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The story behind the surreal photograph of Salvador Dalí and three flying cats
The original, unretouched version of the photo reveals its secrets: An assistant held up the chair on the left side of the frame, wires suspended the easel and the painting, and the footstool was propped up off the floor. But there was no hidden trick to the flying cats or the stream of water. For each take, Halsman’s assistants—including his wife, Yvonne, and one of his daughters, Irene—tossed the cats and the contents of a full bucket across the frame. After each attempt, Halsman developed and printed the film while Irene herded and dried off the cats. The rejected photographs had notes such as “Water splashes Dalí instead of cat” and “Secretary gets into picture.”

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Time.com have a great interview with Philippe Halsman’s daughter Irene on what that shoot was like.

The story behind the surrealist ‘Dali Atomicus’ photo
“Philippe would count to four. One, two, three… And the assistants threw the cats and the water. And on four, Dali jumped. My job at the time was to catch the cats and take them to the bathroom and dry them off with a big towel. My father would run upstairs where the darkroom was, develop the film, print it, run downstairs and he’d say not good, bad composition, this was wrong, that was wrong. It took 26 tries to do this. 26 throws, 26 wiping of the floors, and 26 times catching the cats. And then, there it was, finally, this composition.”

Coincidentally, Artnome’s Jason Bailey has been using AI and deep learning to colorize old black-and-white photos of artists, including that one of Dalí’s.

50 famous artists brought to life with AI
When I was growing up, artists, and particularly twentieth century artists, were my heroes. There is something about only ever having seen many of them in black and white that makes them feel mythical and distant. Likewise, something magical happens when you add color to the photo. These icons turn into regular people who you might share a pizza or beer with.

Making an exhibition of yourself

The faces are real this time, though the galleries aren’t.

Put your head into gallery
Georgian artist Tezi Gabunia wants to trigger a dialogue about hyper realistic issues in art. His modus operandi is falsification. In his work “put your head into gallery”, Gabunia wanted to bring the galleries and the art to the people, and not the other way around.

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Whilst the images are striking, I wonder if he’s just pandering to our vanity, though. I mean, look at the queues.

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Put Your Head into Gallery

Art-adjacent

I’ve never thought of myself as an art snob but, after reading this piece about a Winnie-the-Pooh exhibition at Boston’s Museum of Fine Arts, perhaps I am?

Exit through the novelty exhibition: Winnie the Pooh, destroyer of art museums
Visitors to the Metropolitan Museum of Art or the Art Institute of Chicago may reasonably expect to enjoy millennia-old fiber arts or Jeff Koons ego trips—a fully encompassing assemblage of artworks, in other words. And in recent years, the encyclopedic mandate of global art institutions has become still more generous, such that it now includes not just art, but the art-adjacent.

Perhaps it all began with the inclusion of high fashion, as typified by the hit Alexander McQueen and Jean Paul Gaultier retrospectives that won over New York City earlier this decade. Next came pop culture, with, for example, the traveling exhibition “David Bowie is,” which garnered some two million visitors globally. And now, with the arrival of “Winnie-the-Pooh: Exploring a Classic” at the Museum of Fine Arts, Boston, the novelty exhibition trend has cynically bottomed out into outright mania for triviality. […]

The deepening entrenchment of exhibitions like “Winnie-the-Pooh: Exploring a Classic” in the art world’s consciousness has brought with it a sense of malaise. While Klaus Biesenbach’s infamous 2015 Björk spectacle at the Museum of Modern Art led even Jerry Saltz to warn that MoMA was on “a suicidal slide into becoming a box-office-driven carnival,” this Pooh exhibition has been received with ambivalence.

Get over yourself

It must take a considerable ego to venture down this path.

‘Art bastard’ Robert Cenedella sues New York’s biggest museums
Is the art world fixed? That’s what the artist Robert Cenedella charges in a lawsuit against what he terms a “corporate museum cartel”—the Metropolitan, the Whitney, MoMA, the Guggenheim and the New Museum—for conspiring against artists. […]

Cenedella, who has not been exhibited in any of the museums he is suing, is seeking a jury trial and damages totalling $100m.

Needless to say, the museums disagreed.

This artist sued museums for $100 million for declining to show his work. But a judge Isn’t buying it
A lawyer for the museums, William Cavanaugh of Patterson Belknap Webb & Tyler, called Cenedella’s claims “implausible” during oral arguments on Monday, adding that many people experience professional disappointment, but “few of us would try to transition that into an antitrust suit.” He requested that the case be dismissed, arguing that Cenedella had failed to demonstrate antitrust standing, a conspiratorial agreement among the museums, or any adverse effect on competition from the alleged conspiracy.

The judge agreed and the case was dismissed.

An artist sued museums $100 million for rejecting his work
In his 32-page opinion (paywall), which was almost as harsh as a critic’s unfavorable assessment of an artwork, judge John Koeltl explains that he’s dismissing Cenedella’s case because the artist hasn’t shown there’s an actual controversy that can be resolved with a lawsuit. “Although the plaintiff assures the court that his work is of a quality that would be shown in the defendant museums if not for the alleged conspiracy, this subjective boast alone cannot substantiate the plaintiff’s claim that enjoining the alleged conspiracy would lead the defendants to begin purchasing his work,” Koeltl writes.

That artnet.com article concludes with:

Despite the dismissal, Cenedella remains undaunted. Responding to the decision, he told artnet News via email: “This lawsuit was never about me. It has always been about exposing the secrecy and insider dealing of the art world, in which curators, dealers, and donors conspire to profit off of the work of a select few artists, regardless of talent or artistic merit. […] This lawsuit was just the first step. I will not stop my efforts to make the art industry more transparent, fair, and accessible for artists. I believe now more than ever that the art industry in America needs to be regulated.”

Why must people jump to conspiracies when faced with a situation they don’t understand?

Why a new study about finding art-world success doesn’t mean what you think it means (and other insights)
Our columnist examines how art-market research published in the journal ‘Science’ may not be as specific to the art world as we think.

Medicinal museums

In a nice follow-up to those posts about art as therapy from Alain de Botton, here’s news from Canada about putting that into practice.

Doctors in Montreal will start prescribing visits to the art museum
“In the 21st century, culture will be what physical activity was for health in the 20th century,” predicts Nathalie Bondil, Montreal Museum of Fine Arts director general, in the Montreal Gazette. … Now, it’s joining forces with Médecins Francophones du Canada, an association of French-speaking doctors, to allow member physicians to prescribe art. Hélène Boyer, vice president of the medical association, explained to the Gazette: “There’s more and more scientific proof that art therapy is good for your physical health. It increases our level of cortisol and our level of serotonin. We secrete hormones when we visit a museum and these hormones are responsible for our well-being.”

Sounds familiar? Maybe not, anymore

Another online museum to lose yourself in.

Conserve the sound
»Conserve the sound« is an online museum for vanishing and endangered sounds. The sound of a dial telephone, a walkman, a analog typewriter, a pay phone, a 56k modem, a nuclear power plant or even a cell phone keypad are partially already gone or are about to disappear from our daily life.

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Web design through the ages

Ok, not so much ‘through the ages’, as ‘since 1995’, but you get the idea. This online museum is the brainchild of Petr Kovář, a user experience designer from the Czech Republic.

Web Design Museum
At present, Internet Archive keeps the visual form of over 327 billion websites, the oldest of which date back to 1996. This service is undoubtedly a great aid to anyone who would like to look at the internet past. Unfortunately, it does not enable to follow past trends in web design or to go through websites originating only in a certain period. The thing is that Internet Archive is not a museum with carefully sorted exhibits that would give visitors a comprehensive picture of the web design past with the use of selected examples. It is more like a full archive of the internet.

Therefore, Web Design Museum sets the main objective to trace the past web design trends, and to give general public the full picture of the web design past with the use of selected exhibits. At the same time, it seeks to use selected websites to outline the development of websites from the most distant past until present.

Take a look at how our tastes have shifted over the years. It’s strange to think that, however old-fashioned they appear now, all of these designs would have been thought of as bang up-to-date, cutting-edge even, at the time.

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It’s nice to see k10k again though, that still looks great.

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Whilst we’re on the subject, here’s a post about the Internet Archive and one about Geocities. Ah, those were the days.

Design Museum’s political exhibition gets political

It was supposed to be an exhibition about politics …

Design Museum to exhibit political graphic design from past decade
An exhibition at London’s Design Museum will present the most poignant political graphic iconography from the past decade, created in the wakes of events such as the Charlie Hebdo attacks, Brexit, and Donald Trump’s presidency.

… but the Design Museum’s Hope to Nope exhibition is caught in a political controversy of its own. Here’s a post from one of the groups of artists involved, BP or not BP.

Artists say ‘Nope’ to arms
This morning, we’re part of a large group of artists, designers and activists who have written to the Design Museum asking that our work be removed from the current Hope to Nope exhibition of political art. […] Why are we demanding our stuff back? Because last Tuesday, 17th July, the museum hosted an arms industry event as part of the Farnborough International arms fair.

They’re not the only ones unhappy with where the Design Museum gets its funding from.

30 artists have requested their work be removed from Design Museum exhibition
The letter states that, “We refuse to allow our art to be used in this way. Particularly jarring is the fact that one of the objects on display (the BP logo Shakespeare ruff from BP or not BP?) is explicitly challenging the unethical funding of art and culture. Meanwhile, many of the protest images featured in the exhibition show people resisting the very same repressive regimes who are being armed by companies involved in the Farnborough arms fair. It even features art from protests which were repressed using UK-made weapons.”

The letter and full list of signatories are published in full on Campaign Against Arms Trade website.

Design Museum – Campaign Against Arms Trade
It is deeply hypocritical for the museum to display and celebrate the work of radical anti-corporate artists and activists, while quietly supporting and profiting from one of the most destructive and deadly industries in the world. Hope to Nope is making the museum appear progressive and cutting-edge, while its management and trustees are happy to take blood money from arms dealers.

The Guardian quotes a statement from the Design Museum in response to this.

Design Museum challenged over private ‘arms industry’ event
“The Design Museum is committed to achieving its charitable objective to advance the education of the public in the study of all forms of design and architecture and is thus a place of debate that, by definition, welcomes a plurality of voices and commercial entities. However, we take the response to Tuesday’s event seriously and we are reviewing our due diligence policy related to commercial and fundraising activities.”

They’ve acknowledged (kind of?) the controversy on their exhibition webpage …

Hope to Nope: Graphics and Politics 2008-18
As of 1 August, some artwork has been removed from the exhibition, before the exhibition closing date of 12 August, at the request of the lenders. As a result, and until the end of the run, the exhibition will now be free to visit. […] ‘We are sorry for any disappointment caused for visitors. We believe that it is important to give political graphics a platform at the museum and it is a shame that the exhibition could not continue as it was curated until its original closing date’.

… but have not made their peace yet with the artists and designers involved.

Design Museum attacks its own exhibitors, defends working with arms dealers
We were shocked to see the Design Museum’s latest statement about our request to remove our art from the Hope to Nope exhibition. Rather than engaging with the issues we and other exhibitors have raised, the museum has instead made the bizarre (and offensive) suggestion that over 40 artists and groups featured in its exhibition have all somehow been duped by some mysterious ‘professional activists’.

Too many organ donors

Atlas Obscura takes us to Windham County, Vermont, to a local history museum with an unusual stock problem.

The Vermont town that has way too many organs
In its heyday, the Estey Organ Company factory was the beating, bleating heart of Brattleboro, Vermont. It produced more than half a million organs in total and, at its peak, employed more than 500 people. On a fateful day in 1960, however, the assembly lines shut down and workers departed. After nearly a century in operation, the organ factory had gone silent.

And then, like the most improbable boomerangs, the organs started coming back.

Keen to preserve some of the town’s heritage, people started donating their unwanted organs back to Brattleboro, to the town’s historical society. Soon they had enough to open a dedicated organ museum, based in the old factory, but still the organs kept coming.

“In a way, it’s my fault that we have all these organs,” says George. She was generous with the old factory space, which at first provided ample room. But after years of accepting any and all organ donations, many of the buildings began to fill up. It was a unique predicament for any local society. What do you do with hundreds of antique, mostly unplayable organs?

Organs are such strange instruments. You wouldn’t describe a violin as a machine, as such, but that term seems to fit some of these examples.

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They came in an astonishing range of shapes, sizes, and uses, from children’s toys, to living-room centerpieces, to the crown jewels of community churches and theaters. Some of the organs were designed to fold up into little suitcases and could be taken anywhere. The historical society has photos of chaplains playing portable Estey reed organs in World War II, and the society boasts that their organs have pumped out tunes on six of the world’s continents (poor Antarctica).

#artworldproblems

I would say staff at this museum dedicated to the Fauvist artist Étienne Terrus need to look into hiring a few skips, as they’ve got a lot of rubbish to get rid of.

‘Catastrophe’: French museum discovers half of its collection are fakes
Eric Forcada, the art historian who uncovered the counterfeits, said that he had seen straight away that most of the works were fake. “On one painting, the ink signature was wiped away when I passed my white glove over it.”

Meanwhile, from works of art that shouldn’t be in galleries, to those which were but are no longer.

Bad week for art world as Jeff Koons piece is smashed and imitation Happy Meal thrown away
May evidently did too much of a good job, as a cleaning crew working at the Marco Polo HongKong Hotel which hosted the Harbour Art Fair, mistook it for the real thing and threw it away. “A lot of my pieces involve very small alterations to familiar items: changes that aren’t maybe obvious at first glance,” the artist explains, adding that “initially, I didn’t find it funny at all. But later I realised it meant my imitation had been a success.”

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The iPhone and its ilk as museum exhibits for future generations

My and my phone taking a picture of me and my phone

“Putting an iPhone on display in an art museum is an easy, if still unusual, decision to make. Preserving an iPhone in such a way that museum-goers of the 22nd century will be able to appreciate its form and its function, as well as its role in cultural history, becomes somewhat trickier.”

http://artsbeat.blogs.nytimes.com/2014/02/10/preserving-the-iphone-for-future-generations