Magnus, an app promoted as “Shazam for the art world,” has run aground after it emerged that some of the data that powered the app, including art prices and images of artworks, was stolen from existing databases and from individual art galleries. Apple has pulled the free app from its store.
‘Magnus Art-Pricing App Pulled from Apple Store Amid Evidence of Extensive Data Theft’
Artnet | Brian Boucher | August 1, 2016
In his ongoing series of relief sculptures titled “Wallwave Vibrations,” artist Loris Cecchini appears to liquify the walls of art galleries by turning them into pools of undulating waves caused by sound.
‘Artist Loris Cecchini Turns Gallery Walls into Vibrating Pools of Liquid’
Colossal | Christopher Jobson | July 26, 2016
Google’s new rendition of virtual reality museums inside the Arts & Culture app isn’t an unexpected move, but with the update the tech giant is also enhancing the museum experience for those who visit in a traditional sense.
‘Can’t tell Monet from Manet? Let Google’s latest app be your tour guide’
Digital Trends | Hillary Grigonis | July 22, 2016
Like method actors and bearded brewmasters, the best art forgers are obsessed with authenticity. But thanks to a handful of new authentication technologies, even history’s most painstaking efforts wouldn’t stump today’s art sleuths.
‘These Four Technologies May Finally Put an End to Art Forgery’
ARTSY | RENE CHUN | JUL 18TH, 2016
Turning the corner in the London’s Newport Street Gallery, Damien Hirst’s latest venture, I’m met by a large, blue, shiny metal sculpture, a Jeff Koons balloon monkey. I’m also met by a bevy of cameras: the young couple comparing shots on their phones, the hipster dude with a SLR slung round his neck, a girl sorting her hair before snapping a selfie.
‘Art for Instagram – is social media ruining art?’
Independent | July 14, 2016 | Holly Williams
In a quest to find Pikachu, artnet News took to the Museum of Modern Art to play Pokémon Go. As the augmented reality video game craze consumes all the Pokéworld’s denizens, we wanted to know how pocket monsters would pair with visual art.
‘We Played Pokémon Go at MoMA, Here’s What Happened’
Artnet | Rain Embuscado | July 12, 2016
The winners of the ninth annual iPhone Photography Awards—an international photography contest that fosters iPhone and mobile photography—have been announced, with Siyuan Niu of Xinjiang, China, coming on top.
‘These Are the Best iPhone Photos of 2016’
Time | Rachel Lowry | July 7, 2016
1.3 billion years ago, two black holes collided. Einstein posited a century ago as part of his general theory of relativity that such an event would send gravitational waves, or ripples into the fabric of spacetime, out into the universe.
‘Physics’s Most Important Discoveries of the Last Century Are Currently in a Berlin Gallery’
ARTSY | MOLLY GOTTSCHALK | JUL 2ND, 2016
What are the mechanisms of control that operate in society today? In the Orwellian fantasy of a dystopian world, cities are filled with surveillance cameras and robots that monitor human activities around the clock — and modern life is not too far from that.
‘A Luminescent Installation Responds to Twitter Users’ Mood Swings’
Hyperallergic | Ari Akkermans | June 30, 2016
A high-tech robot is spinning an insect-inspired installation in the Victoria and Albert Museum’s courtyard. The Elytra Filament Pavilion is a canopy of 40 tree-like hexagons made from transparent glass fibers and black carbon fibers woven by an industrual robotic arm. Inspired by the wings of the elytra beetle, a team from the University of Stuttgart developed a process for weaving fibers around a metal frame and curing them to get ultralight structures. Each piece in the 650 sq. ft. installation weighs just under 100 pounds.
‘Robots Weave a Carbon Fiber Forest in London’
The Creators Project | May 18, 2016 | Beckett Mufson
Things happen fast in the tech industry. Over the last few years, Silicon Valley exploded from a relatively niche movement to the paradigm-shifting phenomenon it is today, with companies like Airbnb and Uber growing into global powerhouses. Many in the art world expected the burgeoning wealth in the area would quickly lead to extensive art collecting. While it’s taken longer than expected, fine art is expanding into the Valley’s culture.
‘Techies: The New Breed of Art Collector’
The Huffington Post | May 5, 2016 | Stephen Tanenbaum
And while Photoshop and other programs allow users to do that, not everyone knows how to use them. That’s where Ostagram, a Russian website, comes in. The site allows users to simply upload photos and filters, and mix any two together to create a new image.
‘A Russian website lets users mash any 2 images together to create beautiful — and bizarre — results’
Business Insider | April 26, 2016 | Anjelica Oswald
The last we heard from multimedia choreographers Adrien M and Claire B, they’d just released a video spot for The Movement of Air, in which dancers manipulated a variety of projection-mapped tornadoes, smoke columns, and floating papers. In their latest video, which shows off their ever-expanding exhibition XYZT, the two artists show abstract landscapes across four dimensions—the horizontal (X), vertical (Y), depth (Z) and time (T).
‘An Interactive Installation Lets You Manipulate Time and Space’
The Creators Project | April 26, 2016 | DJ Pangburn
On Tuesday, art insurance company Hiscox released its fourth annual report detailing the state of the online art trade. Their findings, which examine data gathered by art market research firm ArtTactic, confirm indications in last month’s TEFAF report that the cooling of the global art market has not yet affected online sales—on the contrary, they are at an all-time high. Below are five takeaways from the 2016 report.
‘The Online Art Market Is Booming—Here’s What You Need to Know’
Artsy | April 22, 2016 | Abigail Cain and Isaac Kaplan
The Dalí Museum takes you through the mind of Salvador Dali in a new VR experience. Bridget Carey goes for a ride and talks to the creators.
The possibilities of virtual reality go way beyond video games.
The Dali Museum in St. Petersburg, Fla. is taking guests on a journey through the mind of Salvador Dali with a new VR experience called, “Dreams of Dali.” Watch CNET Update to learn about the program and how you can experience it at home:
‘Dive inside a Dalí painting with virtual reality’
cnet | January 15, 2016 | Bridget Carey
I-phones and headphones, with bright light bulbs and Adidas trainers, green greasy fries and PlayStation controllers, these are a few of Craig Martin’s favorite things.
Welcome slabs of vivid color restrained within the fine precision of black tape in Transience at the Serpentine Gallery. Michael Craig Martin is a master in his craft, carrying a lexicon of ‘style-less style’ uses minimal means to recreate technology drawn from 1981 to 2015. A memento-mori to the obsolete technology and a highlight to our mechanically driven world that has shaped our culture, this exhibition is a showstopper. Mainly due to the wallpapered tape-art the artist has directly drawn on the gallery’s wall reminiscent of kitsch 90’s fast food restaurant. Whilst the turquoise walls devouring the central room of the gallery with a high dome ceiling could be anything but unnoticed, but do fall cold and mundane against the bright lit paintings which they hold. Despite the riotous hues animating multiple compositions, the paintings carry elegance in their muted precision- one that would make an architect envious of Craig-Martin’s patience. With work such as a set of portable tellies that have been left unseen since their 1989 showing in Whitechapel the exhibition has pulled out all the tricks in the book.
We shift from room to room metaphorically-from analogue to digital, sinking in a pool of emotional shock. The empty screens of the laptops and iPhones radiate a saintly light, as we see the bare shapes of the once glorified floppy discs, portable tellies and audiocassettes- now outdated and their usage forgettable. Despite their ephemeral nature and our discarding of them they bounce back to the 21st century through the use of color, making us almost forget how irrelevant they are. As if walking through a land of the ‘technologies-fallen’ army of mechanical waste the artist stated that he is just a witness rather than a judge of the modern world-his sickly green radioactive fries imply otherwise…Light bulb, fast food is unhealthy. And his satire, in a piece that looks like a funny Rothko impersonation, of the back of a credit card, is a commentary for the oligarchs using modern art as trophies.
The isolated impersonal objects hovering in each painting detach the viewer from an emotional connection. The vivid cold colors, coupled with their one dimensionality provide a mechanical distance between the viewer and the painting. How can you get attached to an object broken down to become intangible luminous colors? And how are these inanimate objects so dear to us today where we can’t live without the blank spaced rectangle resembling an iPhone? It is quite embarrassing for us to see how attached we’ve become to something that is prancing in front of our face as lifeless as Craig-Martin has illustrated. All this while I try to take pictures with my iPhone of an iPhone…
Perhaps the most captivating piece was Martin’s Eye of the Storm (2003), which stood out in a cornucopia of objects. Lacking shadows, or color complexity the piece seems like it has been dragged out of a computer screen. In controlled chaos the piece offers us a view in the vortex of a warped reality, there is cohesion amongst the chaos.
The paintings render into abstraction and unfamiliarity, isolating each color clearly bordered by the tape, but never quite forgetting what is being represented. In a placid, mute environment they are indifferent contradicting their colorful nature. One thing is for sure, you’ll be leaning in trying to catch off guard a piece of tape that was misplaced but to your disappointment-or for architects satisfaction for fine lines- there is none.
If you think these drawings fall too flat the incompetence might be lying from your side of the line. Sometimes you just have to stick to the surface, because there might be something erupting if you dwell in too deep.
25 Nov-14 Feb
Michael Craig Martin: Transience on view at Serpentine Gallery, Kensington Gardens
For more information check out: www.serpentinegalleries.org
We are back (to the future) with another ARTCUBE competition-as we challenged you this week to see the rise of the planet of digital age. It is obvious that art is taking a ride down on Photoshop lane nowadays and has successfully produced work that is arguably as good-if not better – as the original methods used in art. Art caught in an in-between stage of real and virtual, it is a parallel that produces an intriguing body of work. In any case, we are excited to reveal to all of you our Top Ten favorites who have GIFen in their submissions in this tech savvy revolution.
Slip off your shoes, submerge into a ball pit and watch a film of … well I am not entirely sure. Sometimes, art is just plain weird, but at Jon Rafman’s solo show at Zabludowicz Collection, I caught a glimpse of the future and had a blast doing so.
Entering the mad, mad world as simulated by Rafman is beyond any coherent, determined description I could ever manifest, but I will muster my eloquence to unpick the unfolding absurdity.
The atmosphere is dark like the blue-black of the deepest sea, then drawing you in are beacons of artificial light. Illuminated immersive sets are sporadically stationed around the space – the first encounter being the ball pit, Still Life (Betamale). Under the mass of pearly iridescent balls, you gaze up towards a screen playing a film of endless digital imagery spliced together in a twisting, cryptic narrative. Buried in the pit, you feel the life-consuming weight of the Internet, like the late nights lost to the dark-side of the web.
Regain your composure and nestle into Mainsqueeze (Hug Sofa) where the sofa literally hugs you, but similar to Still Life the effect is perilously close to smothering. Although, we need comforting as we watch an anime couple making out and a bodybuilder crush a watermelon betwixt his thighs. Soothed on the outside whilst your mind is a mess – the sensation is extremely unsettling.
Relentless, seductive, repulsive: the video works by Rafman are composite and engrossing as you descend deeper into unreality. However, often the sculptural sets overwhelm the moving image. Sticky Drama is the foremost example – inside the kitschy teenage room defiled by splashes of florescent green slime, I was too distracted by the detritus of a pre-teen girl to spare my attention to the film. The screen feels so separate to the space that this disjuncture ultimately spoils the immersion.
The pièce de résistance requires a bit of a hunt and wait. Wandering along the tangled paths of a hedge maze, you pass Rafman’s glitchy busts in pursuit of the treasure in the centre – an Oculus Rift. Experiencing this virtual reality system, as you are transported up and over the maze everything feels familiar and yet foreign, and genuinely I gasped at the sheer believability of the appliance.
If you can endure all that – congrats and don’t worry – because a well-deserved rest comes in the form of a massage chair and waterbed to watch the next assortment of films. It all may seem ridiculous but Rafman’s work is not stupid, as the boundaries between virtual and reality become blurred, the life we lead online and our existence offline are no longer distinguishable.
I left Zabludowicz feeling a little braindead, disorientated and blinking in the sunlight of real life. I had just been on a journey, in and out of a digital world. Then, it dawned on me; we are already trapped in this world of our own making.