The acceptance of NFT by the traditional art market has been difficult. While some projects have found financial success and critical acclaim, others have languished, unsold, and buried in a heap of visual noise. And, just as the art world was warming up to fine art NFTs thanks to thoughtful projects like Frank Stella’s Geometries on Artist Rights Society ARSNL Platform Where Peter Wu’s digital exhibitions at Epoch Gallerythe crypto landscape has apparently collapsed, casting a chill that many fear will turn into permafrost.

Unprecedented volatility in the crypto market – since bitcoin peaked at $68,000 last November, he and Ethereum lost 75% of their value – resulted in the collapse of the digital currency exchange FTX, a moment which many have compared to crypto’s “Lehman moment”.” As Co-Director of Cowan DeBaets Abrahams & Sheppard LLP’s Fine Art and NFT Practice Group, I have received a constant stream of questions from clients and friends asking if Fine Art NFTs have been completed since the demise from FTX.

My short answer is no.

While the miscalculations – or probably more troubling reasons – behind the dramatic cratering of crypto should not be ignored, the enduring potential offers of blockchain technology regarding a myriad of innovative opportunities to enhance existing paradigms in the art world should not be ignored either.

Despite the rapid pace of growth and education about the existence and potential of Web3 technology, there continues to be confusion between blockchain, crypto, NFTs, and digital assets, resulting in the consumer confusion, especially in the art world. The key here is to understand that blockchain technology and NFTs use crypto to work, but it’s not the same as speculate on cryptos. So using crypto as a tool to save NFTs on the blockchain is a real function that justifies the real value if people want to keep saving information on the blockchain. This should be differentiated from speculating on the artificial value irresponsibly created by inflating a pious crypto future.

Also, NFTs are not magical entities that confer value where none existed before. NFTs are the digital equivalent of empty cardboard boxes that can serve as packaging for assets, utilities, or experiences. An immediately positive outcome of the crypto winter and the FTX bomb cyclone is the revelation that the wrapper is overstated as having substantial value on its own. The real the long-term value will be what is associated with the packaging.

In the world of fine art, this means digitally packaging meaningful artistic expression that will appeal to both digital and traditional collectors.

What is desperately needed are reliable, industry-specific standards and protocols adopted at scale, rather than piecemeal efforts tied to limited commercial ventures. Some standards and protocols may be generic and relevant in various markets, but we need more than a single solution.

After the NFT crypto-orgy of 2021, when boundaries between markets became porous to the point of non-existence, 2022 saw the re-establishment of market boundaries and the recognition that not all NFT projects are equal or universally relevant. The devaluation of the crypto will hopefully accelerate the return to more thoughtful approaches. Planning everything from individual projects to longer-term business strategies needs to take a more vertical perspective, taking into account the specific wants and appetites of consumers. It turns out that while there may be some overlap, consumers interested in video games or collectibles may not be the same as those interested in art projects or philanthropic ventures.

With numerous digital art projects being promoted to showcase at the upcoming Art Basel Miami, we can see that NFTs in the art market are far from over – they are in fact just beginning. Take, for example, the exciting projects commissioned by forward-thinking climate NFT marketplace Aorist.art, including those of Nancy Baker Cahill in conversation with Sophia the Robot, and Quayola’s Evening Effects. Or, the partnership between Tezos and Art Basel which will allow visitors to creating NFTs with German artist Mario Klingemann, which will generate AI portraits of visitors. This is without even mentioning the many independent projects presented in gallery booths and at satellite events.

Art NFTs are not dead, although we may need to rethink the term “NFT” so that it is less evocative to the general public of Ponzi schemes and indiscriminate speculation. Blockchain technology still offers great untapped potential to effect paradigm shifts in the art world, from trusted certificates of authenticity to enforceable implementation of profit sharing, automatic licensing and limitations on display. or the resale of works of art. With less speculation, real innovation, and thoughtful artist advocacy, NFTs can be the rocket fuel of 2023.

Don’t throw the baby out with the bathwater.

Let us focus instead on developing market-specific conventions that can serve as the basis for sustainable business practices; the development of more sophisticated, industry-specific business tools; and a compelling reason for art enthusiasts to care about blockchain’s potential to bring transparency, reliability, and fairness to a historically opaque and imbalanced marketplace.

Like the dot com bust of 2000, the crypto market’s exponential growth in such a short period of time was based on shallow and unsound financial principles and its implosion will pave the way for lasting evolution. Moreover, like the dot com collapse, where survivors laid the enduring foundations for online commerce, these strong values-based blockchain companies will emerge from the tundra to serve as the foundation for digital innovation. future.

Co-founded by musician Pharrell Williams earlier this yearthe Gallery of Digital Assets (GODA) provides a platform for traditional artists to enter the NFT space, and delivered drops of Nina Chanel Abney and Todd James.

But its latest NFT launch was mired in controversy after some of the late artist’s descendants complained.

God launched an auction Monday for symbolic digital recreations of an influential Swedish abstract artist Hilma on Klintthe artwork. The “Paintings for the Temple” Ethereum The NFTs were created by GODA in partnership with Stolpe Publishing, digital art platform Acute Art and the Hilma af Klint Foundation.

Ultimately, two identical sets of 193 NFT digital recreations of Af Klint’s artwork were minted, with one “non-commercial” set donated to the Foundation. Of the other set, 163 NFTs were auctioned this week, with another 30 pieces held by the GODA team. NFTs were launched in tandem with the late artist’s official recieved catalogor a complete collection of his work.

But as the Official Foundation participated in the GODA auction, family members of the late artist (Hilma af Klint died in 1944) spoke out against the launch of NFT.

In an interview with the art publication Hyperallergic this week, af Klint’s great-nephew Johan af Klint and Hedvig Ersman—granddaughter of Erik af Klint, Hilma af Klint’s nephew—challenged the creation of the NFTs, saying they were going to against the will of the artist. Ersman had tweeted the criticism of the sale of NFT earlier this month.

“She considered these paintings to be part of the same project. They were meant to stay together,” Ersman told the publication. “They are not meant to be hung on the living room wall by one person. Now, with the NFT, they are marketing it, using Hilma af Klint’s name and reputation to subvert its message.

An NFT is a blockchain token that represents ownership of an item, in this case a digital recreation of the original physical artwork. NFTs are also used for things like profile pictures, collectibles, and video game items, as well as physical goods and event ticketing.

The work itself is in the public domain, and Hilma af Klint Foundation CEO Jessica Höglund said Hyperallergic that it was not “in [a] possibility of authorizing or opposing such reproductions. However, she said the Foundation has a partnership in place with Stolpe for the recieved catalogand this agreement includes NFTs.

Thursday, just before the end of the auction, GODA tweeted a statement noting that he “[affirmed] that all necessary contracts and agreements are in place to validate the authenticity of the project” via the Foundation. GODA shared a new statement with Decrypt regarding the situation, claiming that family members had “falsely” attempted to represent the Foundation.

“GODA was not made aware of any unhappy family [members] before they start misrepresenting the Foundation on Twitter,” the statement read. “It was the first time that we were aware of concerns. We entered into an agreement with Acute Art and Stolpe Publishing who gave us this opportunity because we are the most legitimate and credible art platform in the digital space.

“Between our parties, we have a very solid legal agreement directly with the Foundation. It is our understanding that he is a distant relative who has no involvement with the Foundation,” the statement continued. “The Foundation has also made an official announcement clarifying this and detailing why the recieved catalog, and by extension the NFT project, is important to Hilma’s work.

The GODA auction ended as scheduled yesterday, with 163 coins finally selling for 1.5 ETH each, or just over $1,800 each. The auction format ranked bidders by how much they were willing to pay, but set the final price based on what the 163rd highest bidder offered.

In other words, the top 163 bidders each paid 1.5 ETH at the end, and buyers received a rebate for any overbid amount. GODA Mint Pass NFT holders also got a refund for a 15% discount on the sale price. The artwork was revealed today, allowing shoppers to see which random piece they purchased from the drop.

This isn’t the first instance of a famous artist’s surviving family members complaining about a seemingly official NFT drop. Earlier this year, relatives of Pablo Picasso complained when the late artist’s great-grandson, Florian Picasso released NFTs inspired by Pablo’s work. The Picasso family resolved the quarrel a little after.

HOUSTON, TX (KTRK) — A group of collectors who met in the crypto world have built a community where both artists and consumers can benefit from digital assets. And now they’ve collaborated with Houston artists and released an NFT, non-fungible token mixtape titled “Welcome to Gang Wars.”

NFTs exist in the crypto world, but they hold real value worth real money. Mad Rabbits Riot ClubMRRC, started as a profile picture project, PFP, as an avatar people use online.

MRRC’s collection of 7,500 unique Mad Rabbit NFTs are digital collectibles that live on the Ethereum blockchain.

Carlos Buentello, creator of MRRC, goes through Nauts in the crypto world. He said they teamed up with Next to who were already collecting NFTs, which made the new project “organic”.

The mixtape features artists from Sideways, a multi-platinum Juno award-winning artist collective based in Toronto, Canada.

“It’s kind of the first of its kind. We’re in uncharted territory here,” Buentello said.

You can think of owning NFT music like owning a vinyl record. You can stream the music anywhere for free, but owning the original copy of this disc makes it valuable. When you own NFT music, your ownership goes to the blockchain which is essentially a public record of your ownership. Make it official.

“As we grow as a brand, our collector will grow with us,” Buentello said. “It’s extremely exciting to hold these NFTs as we continue to develop and create new things the world hasn’t seen with music and NFTs.”

MRRC x Sideways’ “Welcome To Gang Wars” album released its first phase on Nifty Gateway’s web3 platform October 31.

The release date for the second phase, which will be available on web2, i.e. wherever you can stream, has not been announced.

Clever Gateway is an all-in-one platform that makes it easy to buy, sell, and store digital art and collectibles.

“We first started with the first phase, which was 7,500 bunnies. They are all unique in their own way. But, as the story started to develop, we created what we call ‘gang wars.’ And we created these 10 factions where you can choose who you rock with as the story continues to evolve,” Buentello explained. “We created an anthem for each ‘gang,’ if you will. There are 10 gangs associated with Mad Rabbits and there are 10 tracks associated with this drop.”

Several MRRC holders call Houston home, including Kirko Bangz, Donkeeboy, David Anderson III.

Not only are you buying NFT music, but it also comes with digital artwork created by artists from Houston and around the world.

Dallion Richards, co-founder of MRRC, goes through Thruster in the world of crypto.

“A big part of the web3, blockchain and crypto economy is ownership. Individual ownership of digital assets. What we saw take off (in 2021) was avatar ownership. So we created this collectible avator that allowed us to bridge the digital world of fine art into the world of digital collectibles. We wanted to bridge those two worlds with that beautiful aesthetic but also with something that would inspire people to collect the NFT,” Richards said.

The creators said they started this project in 2021 to build a community with shared values. Having a digital community helps provide access to these digital assets, allowing people to become more engaged.

“We understood what the community wanted,” Buentello said. “The relationships we build as we build this project are what’s most important to me as a founder.”

“Our goal is to create that safe space,” Richards added. “We welcome people who have never been in this ecosystem before (the crypto world) and we want to give them access to these unique and special artists and showcase these talents in this world.”

Crypto.com, over the past year, has garnered a number of high-profile partnerships, but these have not inflated the value of Cronos (CRO). In fact, the crypto followed the general bearish trend in the cryptocurrency market.

Crypto.com: a year of prestigious partnerships, CRO does not want it at all

One year after Matt Damon’s infamous “Fortune Favors the Brave” advertising for Crypto.com, the company has secured several major partnerships with as many advertising campaigns.

Among many others, Crypto.com acquired the naming rights to the current Crypto.com Arena in Los Angeles (LA) and sponsorships with Formula 1 (F1), Ultimate Fighting Championship (UFC), National Basketball Association (NBA) Philadelphia 76ers team, French football giant Paris Saint-Germain, Spanish football giant Atletico Madrid and Italian Serie A.

Not only that, last March it was made public that Crypto.com will be a official sponsor of the FIFA World Cup to be held in Qatar in December 2022, becoming the first crypto-trading platform to debut in the fifa world cup.

As far as advertising campaigns are concerned, among the best known is the ad featuring NBA star LeBron James which was posted during the superbowl last February, which is also part of the series “Fortune smiles on the brave”.

Another Crypto.com ad went live last March, during Oscar nightpromoting a fundraiser to support the International Red Cross and Red Crescent to help the people of Ukraine, devastated by the Russian attack.

In September, however, Crypto.com had to pull out of their five-year UEFA Champions League deal at the last minuteof which he was to be a sponsor worth more than $100 million a year.

The likely cause for this “rollback” can be traced precisely to the long “crypto winter” that has hit the cryptocurrency market in general, including Cronos (CRO).

Crypto.com: Cronos (CRO) Trend Follows Overall Downtrend

Also, over the past year, it seems that the company’s prestigious partnerships and advertising campaigns did not have a big impact on the price of the CRO after the crypto hit its all-time high.

And indeed, tracing the various stages, when the Matt Damon commercial first aired in October 2021, the CRO price was $0.21. Shortly after, with the announcement of the Staples Center naming rights purchase, the price had risen to $0.35. Then on November 24, the CRO hit its all-time high, touching $0.97.

Between October and November 2021, investors who bought on the day of the ad and sold at the top earned a 360% return.

From there, the situation for CRO and its investors then changed dramatically, following the general downtrend.

According to a user report on Reddit, Crypto.com’s timeline of significant events did not have the same impact on the price of CRO. In practice, when the FIFA World Cup sponsorship was announced, the CRO fell to $0.42.

Whereas, for example, after the announcement of Atletico Madrid sponsorship in July 2022, the CRO price was $0.11.

At the time of writing, CRO is worth $0.10. As u/gnarley_quinn pointed out, investing in Bitcoin when Matt Damon’s ad ran would have resulted in a loss of around 60%. So, although the volatility of CRO was high, the drawdown was 13% lower than that of Bitcoin over the same period.

Visa card fees

Recently, Crypto.com also had to revise its plan for Visa Midnight Blue, Ruby Steel, Royal Indigo and Jade Green cards, announcing that he will charge fees on foreign transactions that are not in Euros or Pounds.

Therefore, Visa cardholders will have to pay such fees on purchases and their ATM withdrawals from December 19, 2022.

It’s a 0.2% fee for transactions made within the EU and UK, while an additional 2% fee applies for transactions made outside of these countries.

The company clarified that these charges are only applied on amounts above the ATM free monthly limit.

Crypto.com and Visa Unveil New NFT Auction

The two companies also recently announcement the inauguration of the “Visa Masters of Movement” auction on Crypto.coma way to combine football, art and NFT as the World Cup approaches.

It’s a collection of NFTs inspired by iconic lenses marked by the five legendary footballers. Not only that, with “Visa Masters of Movement”, fans will be able to create their own custom digital art on a digitized pitch at the FIFA Fan Festival in Doha, Qatar.

All proceeds from the auction will go to UK charity ‘Street Child United’.

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BENGALURU: At the end of 2014, the famous American physicist and author Alan Lightman received an email from a young art student in India. The student illustrated some verses from Lightman’s book Song of Two Worlds for an academic project and at the insistence of his teacher, he mailed them to Lightman.

Lightman was so impressed with the illustrations that he published a special illustrated edition of his book and asked if the 18-year-old would illustrate the entire book. Derek Dominic D’Souza of Bengaluru, then just 18, was surprised by the offer. Just in his freshman year of art school, D’Souza hadn’t expected something like this.

“I had never illustrated a book before. So for them to ask me to create this was huge. I felt like an impostor working on it. But my teacher was supportive and the whole experience was uplifting,” he shares.

Now a successful and much-loved digital illustrator, Derek hosted a free-for-all digital art workshop in the city on Sunday ahead of Bengaluru Comic Con 2022. “It’s always been one of my goals, to be at an event Comic Con and also to organize a workshop like this,” he said.

Born and raised in the city, D’Souza says having his studio in his own town was an honor he never expected. D’Souza expressed his admiration for the city, sharing that he quit his previous job just so he could stay in his hometown. “I lived in other places while working for Disney. During the pandemic I came back to Bengaluru and never got to go back. I quit that job and started a new one here , because this city is my home and it’s perfect. I love the cafes, the weather and everything about this city,” he says.

Having developed an interest in art from an early age, D’Souza says he only discovered digital art in recent years. “My interest in digital art started after I joined art college. Before going to art school, I didn’t know much about digital art. I always I knew I wanted to be an artist, but I didn’t know what kind of artist. It wasn’t until I went to college that I realized such a thing existed and could have a future. D’Souza has since experimented with his art style, now settling on a distinct style that has helped him rack up hundreds of thousands of social media followers.

Despite his successes, D’Souza believes the digital art landscape in the country hasn’t been very supportive of budding artists. “Most see art as a hobby rather than a career in this country. So, making a career in art is anything but simple. If you’re looking for serious artist opportunities, it’s mostly in commercials, or sometimes you get music videos.

But there is no large-scale industry that can support artists. It’s very different compared to western countries,” he explains. But the rise of the work-from-home culture, D’Souza believes, has helped artists enormously to find opportunities. “You no longer have to limit yourself to opportunities in one city or one location, you can work anywhere in the world,” concludes D’Souza.

BENGALURU: At the end of 2014, the famous American physicist and author Alan Lightman received an email from a young art student in India. The student illustrated some verses from Lightman’s book Song of Two Worlds for an academic project and at the insistence of his teacher, he mailed them to Lightman. Lightman was so impressed with the illustrations that he published a special illustrated edition of his book and asked if the 18-year-old would illustrate the entire book. Derek Dominic D’Souza of Bengaluru, then just 18, was surprised by the offer. Just in his freshman year of art school, D’Souza hadn’t expected something like this. “I had never illustrated a book before. So for them to ask me to create this was huge. I felt like an impostor working on it. But my teacher was supportive and the whole experience was uplifting,” he shares. Now a successful and much-loved digital illustrator, Derek hosted a free-for-all digital art workshop in the city on Sunday ahead of Bengaluru Comic Con 2022. “It’s always been one of my goals, to be at an event Comic Con and also to organize a workshop like this,” he said. Born and raised in the city, D’Souza says having his studio in his own town was an honor he never expected. D’Souza expressed his admiration for the city, sharing that he quit his previous job just so he could stay in his hometown. “I lived in other places while working for Disney. During the pandemic I came back to Bengaluru and never got to go back. I quit that job and started a new one here , because this city is my home and it’s perfect. I love cafes, the weather and everything about this city,” he says. Having developed an interest in art from an early age, D ‘Souza says he only discovered digital art in the last few years. “My interests in digital art started after I joined art college. Before going to art school, I didn’t know much about digital art. I always knew I wanted to be an artist, but I didn’t know what kind of artist. It wasn’t until I went to college that I realized such a thing existed and could have a future,” he says. D’Souza has since experimented with his art style, now settling on a distinct style that has helped him rack up hundreds of thousands of social media followers. Despite his successes, D’Souza believes the digital art landscape in the country hasn’t been very supportive of budding artists. “Most see art as a hobby rather than a career in this country. So, making a career in art is anything but simple. If you’re looking for serious artist opportunities, it’s mostly in commercials, or sometimes you get music videos. But there is no large-scale industry that can support artists. It’s very different compared to western countries,” he explains. But the rise of the work-from-home culture, D’Souza believes, has helped artists enormously to find opportunities. “You no longer have to limit yourself to opportunities in one city or one location, you can work anywhere in the world,” concludes D’Souza.

An immersive exhibition invites visitors to discover the exciting life of the famous Mexican painter

The gallery announces the appointment of a new director, Chris Michaels

November 25, 2022 to January 29, 2023

Coventry Culture City Trust is delighted to announce that The reel store will host an immersive exhibition exploring the life and work of iconic Mexican painter Frida Kahlo from November 25, 2022 to January 29, 2023.

The Trust is also announcing today the appointment of Chris Michaels as the first director of The Reel Store, where he will be responsible for strategic direction and curatorial leadership. Most recently, Chris was Director of Digital, Communications and Technology at the National Gallery in London, where he served on their Executive Committee. He is a Senior Visiting Research Fellow at King’s College London and a Creative Industries Policy and Engagement Fellow at the Arts and Humanities Research Council. Blooloop named him one of the “Power 10 Museum Influencers” in 2022.

The multi-award winning exhibition Life and work of Frida Kahlo comes to Coventry after its sold-out run in Madrid, which saw over 100,000 visitors. Conceived, designed and produced by international exhibition producer Acciona Cultura in collaboration with the Frida Kahlo Trust, the exhibition combines academic research with an immersive spectacle that puts visitors at the center of the experience. The curatorial team behind the exhibition was led by Roxana Velásquez, executive director of the San Diego Museum of Art, and Deidré Guevara, curator of the exhibition. Frida and me at the Georges Pompidou Museum in Paris

The exhibition uses Kahlo’s personal diary to take visitors into her intimate world, inviting them to explore a fascinating new side of the famous artist through different parts of her identity: as a woman, a painter and an icon.

The immersive and audiovisual show is separated into three parts with a voiceover that highlights the richness of his writings.

The first part shows the artist as an acclaimed public figure in the 1930s and 1940s, exhibiting all over the world and rubbing shoulders with figures such as Pablo Picasso and Alice Rahon. The second section focuses on her personal story, her family origins in Mexico and the two most significant events in her life: a bus accident in 1925 that nearly paralyzed her and her tumultuous relationship with the artist Diego Rivera. The third section of the experience centers on “The Blue House” in Mexico where Kahlo lived, worked and died, and the site where many of his most famous works were painted.

In addition to extracts from Frida’s diary which show personal and hitherto unknown facets of this exceptional artist, the exhibition presents several masterpieces by the painter, including her famous self-portraits. The wounded deer or the one dedicated to Doctor Eloesserand other lesser known works such as The Suicide of Dorothy HaleWhere What the water gave me. It presents an artistic reinterpretation of Frida’s work using a 360º projection. A hands-on exhibit introduces visitors to the artist before entering the experiential galleries.

Martin Sutherland, Chief Executive of the Coventry City of Culture Trust, said:

“We are delighted to welcome Chris as the first Director of The Reel Store. He is at the forefront of digital innovation in the cultural sector and with his leadership, experience and pioneering thinking, I am sure we achieve our ambitious plans for the future.

Chris Michaels, Director of The Reel Store, said:

“I am incredibly thrilled to join The Reel Store as its first director at this pivotal time. The venue is leading the way for a new generation of museums and galleries that are building on the possibilities of digital and we are thrilled to announce life and work of Frida Kahlo as her second exhibition.

We’re sure it will not only provide an unforgettable snapshot of Kahlo’s iconic story, but also bring her thoughts, emotions, and artwork to life. The exhibition invites visitors into the heart of the creative experience, taking them on an intimate journey alongside one of the world’s most beloved and respected artists.

Carla Prat, artistic director of “The life and work of Frida Kahlo at Acciona Cultura”:

“This exhibition is the culmination of a long artistic and academic exercise to move away from the usual narrative of pain/victim and towards one of resilience, courage, female empowerment and genius. The truth is that despite the many biopics, books, and exhibitions about Frida Kahlo, there is still much to learn and remember about her and her paintings. This exhibition screams, “This is how I felt. That’s how I thought. That’s how I was. Remember me !”

Beyond its iconic masterpieces and popular perceptions, the show will take visitors on an unforgettable journey of resilience, hope and bravery. Life and work of Frida Kahlo is presented with a soundtrack by Goya-nominated composer and pianist Arturo Cardelús, which combines traditional European and Mexican music and captures the spirit of Kahlo’s legacy. The soundtrack was recorded with the Budapest Art Orchestra by its conductor, Peter Pejtsik.

The exhibition has already won three major international awards: the “Best Experience Design 2022” at the Innovation by Design Awards Fast Company, the Red Dot Design Award in the category “Brand and Communication Design 2022” and the Silver Award for the “Best Technical Facility “. ‘ at the Eventoplus Awards.

The Reel Store has been made possible by the generous support of Coventry City Council’s Department of Digital, Culture, Media and Sport through the Council’s Cultural Capital Investment Fund, the Government Building Fund through the Coventry and Warwickshire Local Enterprise Partnership (CWLEP), The Patrick Trust, The Linbury Trust, Edward Cadbury Charitable Trust and Coventry and Warwickshire Chamber of Commerce.

-ENDS-

The traditions and art of Yazidi Genocide women survivors have been collected in an archive group, hosted by the United Nations (UN) on the Google Arts & Culture platform. The fruit of a year-long series of workshops in northern Iraq, the Yazidi cultural archives are not simply aimed at documenting the traditions of the small ethnic minority. Basically, they address the mental health crisis currently plaguing the Yazidi community, which has manifested in high rates of depression, post-traumatic stress disorder, and suicide.

The Yazidi Cultural Archive is launched today at the headquarters of Iraq-based NGO Yazda, a lead partner in the project, in Duhok, Iraq, and at the Institut du monde arabe in Paris. Available in English and Arabic, they include four permanent online exhibitions of works, photographs and films created by 16 Yazidi survivors.

In 2014, Yazidis living in Iraq were targeted by the Islamic State, in what the UN and other governments have recognized as genocide. According to the UN, in August 2014, Isis killed 5,000 Yazidi men and abducted 7,000 Yazidi women and girls. About 50% of the Yazidi community has been displaced, about 360,000 people in total. Around 200,000 Yazidis remain in camps today.

“The project builds on research conducted in post-genocide Rwanda, which found that archiving plays a role in restoring mental health,” says George Richards, director of Community Jameel, one of the project’s partners. initiative.

“Where the community feels their cultural identity is in danger and then experiences something as traumatic and devastating as genocide, archiving their heritage offers recognition of their cultural identity. And that in itself helps to strengthen the community’s post-genocide recovery, because they know they are seen, as it seems these days.

The project was spearheaded by Yazda in collaboration with Community Jameel, the UN, and arts organization Culturunners. Additional support and guidance was provided by WHO’s Arts & Health programme, Open Mind Project and the NGO Nobody’s Listening. Yazda held workshops for women survivors from 2021 to 2022, during which women produced paintings and photographs reflecting the event.

Survival strategies

Other archived cultural forms reveal survival strategies during war. Tattooing, for example, was once a traditional practice among Yazidis, but its popularity was declining. But during the takeover, many young women began tattooing themselves, hoping it would make them less likely to be taken into captivity, as tattooing is haraam (forbidden) in Isis’ strict interpretation of Islam. “Instead of tattooing themselves with the traditional designs, they tattooed themselves with the dates they were taken, or the names of villages that had been destroyed, or the names of male relatives who had been killed,” says Richards.

“So the tattoo took on this new meaning for the Yazidi community. He had this very real, almost defensive purpose in captivity. So in this case our recording of the traditional tattoo has this secondary relevance to survivors [in comparison to its new significance]and it was the survivors who created the archives.

“The women who created this archive chose to affirm their identity by documenting Yazidi customs and traditions for future generations,” says Nisha Sajnani, founding director of arts and health at New York University, another project partner. “In doing so, they reflect the strength, dignity and vitality of their community. The partners also plan to evaluate the effectiveness of the program. This will enable them to develop evidence-based policies for dealing with conflict-affected communities, for bodies such as the UN.

The story behind the famous “snapshot”

When I took a look at this majestic The painting, I was a university student who loved to explore different museums across Europe. I always made sure to buy the audio guide so I could learn more about the masterpieces. Out of hundreds of paintings, The Night Watch stood out as a big foot and had a long audio clip. He explained the history of the painting and what the artist painted. However, I didn’t understand why he was so famous and why we still want to see him. Surely the Dutch Golden Age is long gone and now we have digital art and NFTS based on that art. The particularity of this painting is that it is a snapshot of several soldiers on mission. It’s the same detail that made it so controversial. The painting was controversial not because of its subject, but because of how Rembrandt portrayed the members of the group. Rather than giving each of them equal importance, he created the equivalent of a film for the painter: a group of militiamen who have just taken action and are about to leave. According to the Rijksmuseum, Rembrandts was the first artist to paint figures in a group portrait doing something. Painting takes a lot of time and dedication. He wants you to drink in the gloom he brings with him and wants to tell you a story. The story of a division of the Amsterdam civic guard, the Kloveniers militia. In the painting, it is the moving company, led by Captain Frans Banninck Cocq (dressed in black, with a red belt) and his lieutenant, Willem van Ruytenburch (dressed in yellow, with a white belt). With effective use of sunlight and shadow, Rembrandt draws attention to the three most prominent figures in the crowd: the two men in the center (from whom the painting takes its original title) and the woman in the center -left in the background carrying a chicken. Behind them, the company colors are worn by the Jan Visscher Cornelissen sign. The figures are almost life-size.

The mysterious girl in the painting

The painting is famous for three things: its colossal size (12 by 14+1⁄2 feet); the dramatic use of light and shadow and the unusual style of painting showcasing a different perception of movement – ​​as if it were a ‘snapshot’. (Photo: Rijksmuseum)

The The painting is much darker and darker in person. At first glance, you can barely understand what is going on, then you lay eyes on this girl ghost in the middle of all the army men. Who is she? Rembrandt naturally displayed the traditional arquebusier emblem, with the maiden in the background carrying the main symbols. She’s kind of a mascot herself; the claws of a dead chicken in her belt represent the clauweniers (arquebusiers), the pistol behind the chicken represents the shamrock, and she holds the goblet of the militia. The man in front of her is wearing an oak leaf helmet, a traditional arquebusier motif. The dead chicken is also believed to represent a defeated opponent and the color yellow is often associated with victory.

Did the Night Watch lead to the downfall of Rembrandt?

Each work of art contains the soul of the artist. It also contains untold stories that haven’t surfaced in decades. I was very interested in the state of mind of Rembrandt and I wanted to understand why he painted what he painted and what was the result of his work. It was then that I heard of his downfall because of it. How can a $500 million piece of art bring someone down? It is said that Rembrandt’s apparent disgrace was, for many years, tied to The Night Watch. The The painting even inspired conspiracy theories thanks to director Peter Greenaway and his 2007 pic “Night Watching.” This documentary and another titled ‘Rembrandt’s J’Accus’e, argue that the painting’s intricate iconography reveals a murder plot that leads to members of the civic militia, which it depicts as threatening Rembrandt’s life and leading to its ruin. According to myths and theories, when The Night Watch was unveiled to members of the Militia and their wives, the reception was overwhelmingly negative. Viewers thought the painting insulted the militiamen and that it was not “serious art” because everything looked shadowy and confusing. Contrary to myth, which began in the early 19th century, Rembrandt continued to receive commissions from the great and the good for years after completing this masterpiece.

Why is The Night Watch a masterpiece?

As I watched The Night Watch, I wondered what makes it so special. To me it seemed not only too dark but very crowded. I used to see portraits with a person as the main focus. This painting features 34 figures, including members of the volunteer guard, a military standard bearer, a drummer, and a young girl. What Rembrandt did was something completely new, making it one of the hallmarks of the Dutch Golden Age period. Millions of people still flock to see it each year to marvel at Rembrandt’s masterful skills in rendering dozens of nearly life-size individuals. The painting also features Baroque art qualities like a dramatic use of light and shadow and a display of movement. Interestingly, for hundreds of years the painting was covered in a dark glaze and dirt, which misled scholars into believing it depicted a night scene which led to its name” The Nightwatch”. And if that misconception wasn’t enough, just like the Mona Lisa, this painting has survived multiple attempts at vandalism and theft. From an unemployed cobbler to a deranged teacher to an escaped psychiatric patient, all manner of people have tried to tarnish him with knives and acid. This added to the charm of the painting and made people appreciate Rembrandt’s work more after the restoration process. If given a chance, I would love to see this masterpiece again and truly admire the work of an artist who captured the world by creating a snapshot.

The sequel in Behind the Art: Why is Picasso’s Girl in a Mirror Worth About $179.4 Million and What Does the Painting Really Mean?

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Cover

On the cover | October 20, 2022

read more about the cover of this issue

illustrated by Maddie Waters | October 20, 2022

Upon entering the university’s contemporary art museum, you are greeted with soft beige carpets, an open interior, and a warm welcome from the staff. If you’re lucky, you might even spot Loretta Yarlow, curator and director of the museum. When I met her, she was as busy tending to the needs of the unseen works, which lay delicately on the floor of the venue, each ready to be presented in its own meticulously planned place in the museum. Upon meeting me, she immediately extended the offer of a tour, during which I got a passionate behind-the-scenes look at how everything was gearing up for the big day.

With opening remarks from State Senator Jo Comerford, the reception took place in the lobby of the Bromery Center for the Arts, complete with a bar and aperitif table. The crowd of people all had the same respect for contemporary art, as well as the team that made it all possible. Paired with a symposium the very next day, the museum was filled with soft chatter and a warm aura of appreciation and community hard to find in big city museums. This is one of the reasons this place is so unique; its size and almost random placement in the large network of popular art museums across the country makes you wonder how we at all colleges can see in-person installations of previously unseen works by well-known artists such as ‘Andy Warhol.

Yarlow has been chief curator at UMCA since 2005, with previous experience in museums nationwide and around the world.

“Of all the museums I’ve worked at, I’ve always felt that a museum that’s on campus – where I can connect with students, faculty, the research that’s going on, and contemporary artists is always the dream,” Yarlow said.

His words ring true, because the museum is at the center of our lives; Hidden at the edge of the campus pond within the Bromery Center for the Arts, UMCA is a showcase gem, and to think that we as students have it so accessible is inspiring.

As a museum curator, Yarlow expresses herself through the arrangement and selection of her art on a large scale, often having to manage boundaries she cannot control, such as the size of the walls, the length of the paintings themselves. same and even the color of the interior of the building. In the world of Yarlow, everything artistic is also calculated.

“Thinking about what worked with which artists,” Yarlow explained.

“Thinking about the thematic and formal threads that I could weave together in this exhibition. Thematic in terms of art and politics, and time periods with minimal conceptual art. The formal is what young conservatives often do not know how to do. Just thinking about where to position the art, what is shown next, how much space is in between, how to bring visual memory from one place to another,” she continued.

As she continued to speak, I realized how much spatial awareness it takes to populate a museum. It really takes not just an artist’s eye, but also an architectural eye to coordinate the aesthetic. I believe there is beauty in this aspect. The ability to make each work of art shine on its own unique pedestal requires extensive research, talent and self-expression, which Yarlow is brimming with.

Being a curator means that Yarlow had full creative freedom with this exhibit. She really wanted to represent the campus and the community in a way that was relevant to us and our current times, which is what the exhibit was supposed to focus on.

“I wanted to reveal our presence here and let it be known that we have this collection, and this collection belongs to you and me,” Yarlow said. “The goal is to get it out there, get it seen and see what else can be said about it.”

All of the pieces in this collection feel like they have a purpose, although what really strikes me is the part of the museum hidden away in a room below. The artists presented here are less mainstream, but in my opinion, more impactful. In the small room advertised as “We Need to Get Out of This Place – Transportative Art,” curated by UMass graduate students Cecily Hughes and Tirzah Frank, there is art dedicated to feelings of restlessness, fear, and of escape that many of us have felt during the pandemic. Maybe it’s because it’s the first massive historical event I’ve witnessed in its entirety, but it really brought me back to those weird times. I can say with certainty that the unique pieces here by Susan De Beer, Garry Winogrand and others truly fit the description of transportive art which blends well with Yarlow’s chosen themes of politics, photography, conceptual and meditative pop subjects throughout the exhibition. Some pieces even have QR codes paired underneath that take you to lengthy interviews with the artists themselves – a unique feature that makes the experience more interactive.

I almost felt silly asking Yarlow what her favorite piece at the museum was, as she works with the nearly 3,800 pieces in the UMCA collection daily. However, laughing, she immediately took me to see the multiple open plies exhibited by Tauba Auerbach. Stepping out of the 2D art that surrounds it, Auerbach’s work has been featured in major exhibitions at New York’s Musuem of Modern Art, and now at last a small piece sits at UMCA in its colorful glory. Next to it, a small screen shows a video installation of his art closing and opening like a pop-up book. It’s quirky and thought-provoking, and you wonder how many different ways you can present art.

Another piece that Yarlow often likes to show is Tim Rollins’ one that takes up an entire wall. 24 pages of WEB DuBois’ novel “Darkwater” are displayed evenly on a large white wall. This piece is unique because it is a collective piece, each page having been dipped individually in black and gold ink by a student of the Renaissance School of Springfield. It’s supposed to depict a scene from the book itself: DuBois’ birth along a golden river in the Berkshire hills. This piece is particularly interesting when put into context, as you can almost imagine young students meticulously picking out their favorite pages and watering them carefully or not, as they see fit. It’s playful, but also profound, as childhood often is.

After my visit to the museum, as well as my interview with Yarlow, I began to reflect on the importance of art collecting and what it means in today’s society. Art inspires people, making them more productive and happier, which positively impacts the world around them. It’s a subtle domino effect.

“I want people to know that it’s kind of like the food chain – everyone gets fed,” Yarlow said. “For example, we buy a work of art, the artist is paid, we have it in our museum for future research and study. Everyone is fed, the students, the spectators and the galleries.

I’m only scratching the surface of the importance of the art industry, which Yarlow lectured on at his symposium, “The Future of Collecting: Why Collecting Matters.” The symposium will be available for viewing on the UMCA website.

Towards the end of my interview, we moved away from the script and talked more about larger topics, like the future of digital art, as well as unanswered questions like “What is art? ” I started to see how easy it is for art and talking about art to inspire thoughts, ideas and questions that you wouldn’t normally encounter on a daily basis. Even with my limited knowledge of contemporary art, I highly recommend any student to go to UMCA and experience something completely different from what they are used to.

Amelia Wompa can be contacted at [email protected].

Microsoft Bing is getting an AI image generator in the coming weeks that lets users turn text into digital art.

Let’s say a photo of a Shiba Inu as an astronaut would go perfectly with a blog post you write.

You turn to search engines for a free-to-use image, but you can’t find one that matches your criteria.

With Microsoft Bing’s new Image Creator tool, you can generate the exact image you need by entering descriptive text.

See an example of the Image Creator in action below:

Image Creator is powered by DALL-E 2 image generator technology developed by OpenAI.

In a blog post, Microsoft says Image Creator can help researchers create images that don’t yet exist.

All you have to do is enter an image description and Image Creator will generate it for you.

When Image Creator becomes available, you can access it by going to the Bing Images tab and clicking “Image Creator” or the Image Creator icon in the Microsoft Edge sidebar.

Availablity

Microsoft is taking a “measured” approach with the rollout of Image Creator, starting with a limited preview in some places.

The soft launch is due to the novelty of the DALL-E 2 technology.

Microsoft is treading carefully out of a commitment to responsible AI, the company says:

“It’s important with early technologies like DALL∙E 2 to recognize that it’s new and we expect it to continue to evolve and improve. We take our commitment to responsible AI seriously. To help prevent DALL∙E 2 from delivering inappropriate results through the Designer app and Image Creator, we are working with our partner OpenAI, who developed DALL∙E 2, to take the necessary steps and continue to evolve our approach.

Image Creator will use techniques to prevent abuse, including blocking queries on sensitive topics and filters to limit the generation of images that violate Bing policies.

Microsoft will take feedback from the limited preview to improve Image Creator before rolling it out to everyone.

Source: Microsoft

Feature image: Andrey Zhuravlev/Shutterstock

In 2003, the Athenian artist Andreas Angelidakis found himself in Paris with Olivier Zahm, founder of Purple magazine. At Zahm’s suggestion, he visited the French Communist Party headquarters building, designed by Brazilian modernist Oscar Niemeyer as a gift to the party. A trained architect himself, Angelidakis found it nothing less than “sensational and transcendent”. So this year, when Denis Pernet, curator of the traveling art foundation Audemars Piguet Contemporain, invites him to create an installation in his auditorium, Angelidakis seizes the opportunity. He decided to extend his series gentle ruins, the modular display furniture he designed the very year he first saw the building, to form “a disco monastery building site.” An example of how the Brazilians worked organic forms in modernism, the roof of the auditorium protrudes through the front lawn of the premises like a dome inspired by the belly of a pregnant woman. Inside is a womb of grass-green carpet and diffused white light that will house the artist’s multimedia fantasy titled Center for Critical Appreciation of Antiquity.

Studio Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

In conversation, Angelidakis is patient and precise. “There’s a mystical geek vibe to this exhibit,” he says when we meet in Athens in August, dressed in leopard-print shorts and sitting on a sofa block digitally printed with an ancient photo of a Greek column. His top-floor apartment next to the National Archaeological Museum is an Aladdin ordeal cavern. In 30 years of career, Angelidakis has participated in numerous biennials, panels with Hans Ulrich Obrist, stands at Art Basel, conferences at Columbia and published a book entitled Internet Suburb. He was an architect, teacher and curator. “I don’t see exhibitions as a display but as an active ingredient to play with.” He remembers that in 2017, when he showed soft ruins at Documenta 14, security guards called him because visitors were moving parts of the facility: “I said, ‘Perfect!'”

In today’s version, its gentle crumbling columns are accompanied by daybeds printed with archaeological pamphlets, scattered around a column of scaffolding rising through shadows of smoke and light. On the auditorium screen, an infinite tunnel video extends the space like a portal. A metal container – resembling those used in ships, shipyards and refugee camps – houses a “souvenir shop” of Greek figurines and tourist items.

Studio Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

He calls this conglomeration “a system for a gentle stylite house”, explaining that a stylite was a monk seated in prayer on top of a pillar (pens) to be closer to God. He says that on top of the Temple of Olympian Zeus – the largest temple in ancient Athens – there once stood a hut housing a stylite. It was removed in 1870, when the modern Greek government, barely half a century old, pursued an archaeological policy aimed at eradicating nearly 2,000 years of historical adaptations with the aim of producing an idealized Greek aesthetic that would support a unified national identity in stride. of Ottoman rule.

Along with other elements of the temple’s social ecosystem (including coffee huts, commerce, and various ceremonial practices), the hut was erased, not only from physical existence, but also from documentation. Photographs of the 19th-century ruin were doctored as part of this national branding exercise that sought to paint Greece as a whitewashed monocultural fantasy, embodying the classic architectural ideals adored by the West.

Studio Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

At the center of Niemeyer’s auditorium, Angelidakis’ stylite pillar takes the form of a scaffolding tower with its signature digital impression of an Ionian column draped on one side and a construction chute suspended from the other. Athenian buildings have recently undergone many repurposings, to which the chute refers. At the top of the pillar is a metal hut in a signal yellow color to match the chute.

And what about the monk who would be in the hut? “It could be any of us doing our YouTube meditations on the couch,” the artist says. Angelidakis appeals to clubby elements, pointing out that people have turned to ancient temples and modern nightclubs in search of high rituals. “You can be on a column or on medical cannabis or antidepressants, social media, coffee, wine – there are different ways to escape reality.”

Studio Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

The artist recalls the days when the Temple of Olympian Zeus sailed the land, and the video for the installation evokes the classic gay club aesthetic that combines the idealized male forms of Greek statues with the evasive positivity of disco. . Angelidakis ordered 3D-printed figures online, with Ionian column tops (“the gayer column, flower-based, with swirls”) positioned as hats, collars, skirts or pedestals on their bodies in white plastic. “Ken the stylite,” he jokes about these kitschy miniatures, which he filmed spinning on tiny catwalks before superimposing them in the club portal video that airs the bittersweet coverage of the countertenor Klaus Nomi of Donna Summer. I feel love – as emblematic of club culture as the columns are of architecture. “Nomi released this track as he was dying of AIDS.”

The dive into the Angelidakis archive is executed with intellectual expertise, but his motivations for pursuing it are more personal. “I also search myself. I’m still trying to figure out why I’m so preoccupied with antiquity with my psychoanalyst. His father, a building engineer, showed him around archaeological sites when they received guests in Crete. He is not immune to the pervasive nostalgia for Greece, nor the melancholic mythologies of the queer, wound-healing community.

Curator Denis Pernet with Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

By retrieving stylite from history’s scrap heap and blending it with other repressed cultural elements, Angelidakis brings aspects of the urban environment out of the shadows and into them again – while you have fun! Lie down on columns! Remember the club tops! Espace Niemeyer is often referred to as retro-futuristic, an early vision of today’s space age. Angelidakis’ style is also retro-futuristic in its own way, citing the little utopias clubs of the 70s and 80s provided, including their historicist impulses. by Kubrick 2001: A Space Odyssey (1968) is a permanent reference, as is Superstudio. “I like to mix science fiction with antiquity.”

One of the booklets in the “gift shop” container is titled Future Memory Club. He covered pages of ancient archaeological pamphlets with his own sketchy musings, featuring current-day keywords like Ukraine, monkeypox and micro-dosing. “I asked the Archaeological Society if I could reprint the original pages but they said no.” Maybe they were nervous about his approach. “People idolize ancient Greece as the birthplace of democracy, but you had to be a rich man over 35 to be an Athenian citizen and vote.”

Angelidakis is interesting for many reasons – his progressive treatment of Athenian conditions, the funky DIY furniture in his apartment, the “queer brutalist” island home he just built, the intense relationship he shares with his fierce Pomeranian. , Lupo. He was studying architecture at Columbia when it first abolished the use of hand tools and required students to design only on the computer. “I was lucky to be part of it. The beginning of virtuality.’ Texture mapping, rendering, and video compositing produce his style, and he’s been “in digital archeology” for 20 years.”

Studio Andreas Angelidakis. Photo credit: Vassilis Karidis. Courtesy of the artist

It was 1965 when the PCF (French Communist Party) tasked Niemeyer with imagining an inspiring headquarters from which to lead the left-wing future they thought they saw. A member of his Brazilian counterpart, the architect had just left Rio de Janeiro for Paris in voluntary exile from the right-wing government of his native country. Located on the Place du Colonel Fabien, named after a hero of the French Communist resistance of World War II, the headquarters opened in 1981, one of seven buildings in France by the architect, the last of which is no only opened this year at Château La Coste in Aix-en-Provence. Espace Niemeyer combines the formal clarity and clean lines of the larger modernist vision with freeform curves and expressive flourishes, resulting in a building that is both modest and charismatic.

The Espace Niemeyer foundation was created after the building was classified as a historic monument in 2007 to ensure its maintenance, raising funds by renting its refined design environments. Arts organizations, media companies and luxury brands have staged productions here, including Netflix and Prada. The interest of the curator Pernet is both aesthetic and philanthropic: paying to exhibit there contributes to its preservation and opens it to the public. “I wanted to bring Angelidakis’ Athenian perspective on cities and culture to a Parisian audience,” says Pernet. “The way he uses urban planning and the digital to comment on society means you don’t have to be an art world insider to understand his work.” Angelidakis’ preoccupation with utopian fantasies and architectural ruins fits perfectly with how we have come to look back at the visions of mid-century architects, including Niemeyer, and the dilapidated state of many of their buildings today.

Space Niemeyer, Iimage credit: Dimitri Bourriau

That Audemars Piguet, the last family-owned Swiss watch brand, invited a contemporary deconstructivist Athenian artist to exhibit at the headquarters of the Paris Communist Party, designed by Niemeyer in protest exile, as contemporary European governments increasingly lean to the right, perfectly reflects the collapse of the meaning in which culture is immersed today. This irreverent shuffling creates a sublimely entertaining presentation of decadence, interpreting Angelidakis’ theme of ruin and reflecting a post-ideological condition. “The crisis was one of my subjects,” says the artist. “Postmodernism was the beginning of our current notion of crisis as something recurring that is part of our civilization. In constant crisis, what is right and wrong? Might as well go all the way and make a niche temple with a Stylite monk in the Niemeyer cupola. §

As a public service, 97.9 WHAV presents Community Spotlight at no cost to benefit non-profit organizations in Greater Haverhill. To submit event news, fundraisers and other community calendar announcements, click on the image.

The Tims, Punk in the Park and Neck Dive are among the highlights of the last Haverhill Art Walk of the year this weekend.

The Haverhill Art Walk is a monthly event that runs from June to October and spotlights local businesses and underutilized spaces with art, exhibits, demonstrations and musical performances.

The final festival takes place Saturday, October 8, from 3-6 p.m. throughout downtown Haverhill at Washington, Wingate, Essex and Emerson streets.

In Washington Square, Punk in the Park is presented by Heaventown Haverhill, a community of local artists, musicians and enthusiasts who encourage creativity in the Merrimack Valley. Live musical performances include Jonee Earthquake Band, Stereo Vulture, Diablogato and The Grubs.

Shoetown Art Center is hosting a sidewalk art sale and exhibition of student and staff work at 200 Merrimack St. Additionally, the Tom of Buttonwoods Museum guides a walking tour of Italian architectural heritage beginning at 4:30 p.m. , outside the Merrimack Valley Regional Transit Authority bus station.

Live music and art will be on display along Washington Street, as The Tims will play at G’s Restaurant, 35 Washington St., and Grace Marchese will exhibit her art at Exit Realty, 41 Washington St.

More music courtesy of Neck Dive happens in Columbus Park, while Rosemary Smith leads the final hula hoop event of the year.

On Wingate Street, Array of Trades showcases over 20 artists at the Art Market and Winged Rabbit, 53 Wingate St., pottery, fused and stained glass, paintings, digital art, photography and jewelry of local artists. Featured.

For updates and details visit the Haverhill Art Walk Facebook page. Questions can be emailed to [email protected].

Related

The real magic of Artificial Inktober

New York, NY – September 30, 2022 – An international artist creates 31 designs for Inktober 2022 using artificial intelligence.

American artist Allan Linder has created a collection of AI-generated artwork using prompts from the official Inktober 2022.

If you’re unfamiliar with Inktober, it’s a month-long drawing challenge in October that focuses on better inking skills by giving the artist a different prompt every day. Linder has participated in many of these challenges over the past few years using traditional pen and ink drawing techniques.

This year, Linder decided to do something different by using Midjourney’s AI to create the art based on the Inktober prompts. Below are the first ten days created in advance. Check back for updates.

Each of these illustrations is created using a variety of techniques available to the artist and hundreds of hours of work. These illustrations are original handmade illustrations, using artificial intelligence, digital painting, image synthesis, latent scattering, image to image, rapid engineering, 3D rendering and vector fractal design , creating a dynamic media collage with hundreds of layers.

The Inktober Artificial Collection will be released as an NFT collection for $1 each.

Allan Linder is an award-winning multidisciplinary artist with 25 years of experience in painting, drawing storyboards for film and television, character design, animation and illustration.

The Chelsea Artists Gallery Our mission is to provide all artists, regardless of age, race, gender or creed, the opportunity to present their work without censorship.

For more information please call 929-277-8407 or email [email protected]

Media Contact
Company Name: The Chelsea Artists Gallery
Contact person: Bo Jenkins
E-mail: Send an email
Call: 929-277-8407
Country: United States
Website: https://www.theartistsgallerychelsea.org/

180 Studios presents a major new exhibition from digital art collective, Universal Everything at 180 The
Strandopening on October 12, 2022.

Inspired by decades of visual culture and futurists’ attempts to depict the body in motion, the digital art collective all universal will present Life formtheir largest UK solo exhibition to date, at 180 studiospopulating a sprawling network of underground spaces at the heart of 180 Strand with an extensive collection of forward-looking moving image artwork. Using state-of-the-art digital technology, Universal Everything is able to create moving digital life and explore a wide range of human behavior and natural phenomena, from evolution, parades and crowd dynamics to the diversity of the ecosystem of our planet. For many featured works, Universal Everything uses generative systems that evolve and change over time and audience interaction, meaning no one who experiences Lifeforms will see the same show twice.

Presented and commissioned by 180 Studios, the exhibition will bring together 14 individual ‘lifeforms’, which will exist in distinct spaces or ‘habitats’ created by Ab Rogers Design. Lifeforms also includes the world premiere of new works by Universal Everything Primordial, Maison Autonome and Into the Sun. Universal Everything’s work was first featured at 180 Studios as part of LUX: New Wave of Contemporary Art in 2020 with a revamp of Transfiguration, which will be included in Lifeforms. The studio has also exhibited in cultural institutions such as the ZKM, the Barbican, the V&A, La Gaite Lyrique and the Science Museum.

Universal All: Life Forms
180 The Strand, London, WC2R 1EA
October 12 – December 18, 2022
11 a.m. – 7 p.m., Wednesday to Sunday

Tickets are available now. For more information on Universal Everything, you can follow them on instagram and visit them website.

Then watch: Marija Bozinovska Jones transcends the limits of language by visualizing embodied forms of intelligence

Technological advances are changing the overall functioning of end-user industries. Sudip Saha, COO at Future Market Insights, examines the evolution of the latest technologies such as NFTs, Metaverse and Web 3.0, how they are fueling digital transformation and how organizations can prepare to reshape their industries.

The integration of various features of technology, such as artificial intelligence, machine learning, augmented reality, virtual reality and the Internet of Things, is an evolving nature of work and an accelerated workflow . This, in turn, increases the rate of productivity and provides promising results to end user industries. Moreover, the use of technology is not only related to large enterprises, but has also spread to small and medium industries, thus transforming the workflow of business models.

The exchange of information on the Internet is the main driver for the increasing use of advanced technological capabilities. The latest entrant in the technology arena is Web 3.0, non-fungible tokens and the metaverse. These technological components have the potential to replace, redesign and deliver effective work in a technology driven world. With the use of these technological features, companies are constantly trying to take the plunge to reach more consumers.

The emergence of the metaverse and the development of web 3.0 are making the virtual world a reality. Metaverse will not only help people interact with each other, but also help them advertise, make new connections and expand business opportunities using a virtual avatar. Additionally, the integration of NFTs to sell digital art has opened doors of innovation and opportunity for end-user industries in the digital world. Let’s see how advanced technologies such as Web 3.0. NFTs and the metaverse are reshaping end-user industries.

Web 3.0: Ensuring Smooth Workflow Operations

Web 3.0, the third generation of Internet access provider (WWW), offers intelligent, associated and open sites. It makes the existing interface of websites more user-friendly. Growing adoption of blockchain technology, Internet of Things with the tendency of people to invest in cryptocurrency and NFTs are increasing the reliance on Web 3.0

For example, business sectors are ready to leverage 3.0 to rethink their existing work models. With the integration of Web 3.0, companies are redesigning user interfaces to achieve better results. Future Market Insights indicates that the enterprise web security market is expected to recording a CAGR of 7% by accumulating a market value of US$7.6 billion by the end of 2032. Another major factor propelling the adoption of Web 3.0 is the security it offers. Thus, with the integration of web 3.0, users can not only exchange information without the risk of cyber-attacks but also make workflows robust.

With the integration of Web 3.0, users can access the services provided by the metaverse without any special permissions. This makes the metaverse more accessible through Web 3.0. Not only does web 3.0 ensure the confidentiality of information, but it also stores and secures information without the intervention of a third party due to its decentralized nature. Web 3.0 and Metaverse complement each other perfectly due to the distinct features it offers. While users can create virtual avatars in the metaverse, they can sell, interact, and buy goods through NFTs.

Learn more: 3 predictions for non-fungible tokens (NFTs) and the metaverse for 2022

NFT in the Metaverse

NFTs are the latest attraction for consumers and have the potential to last longer as they are an integral part of the digital world. Through the use of NFTs, consumers can buy and sell products using cryptocurrency and trade valuable assets at desired prices. Metaverse not only provides the much-needed digital shift that businesses need, but also helps people understand the capacity of the virtual world. As each NFT is 100% unique, the chances of trading a particular piece of art (image, video, or GIF) should multiply in the digital world.

Metaverse not only helps people feel, learn and experience without being present in the practical world, but also has become the virtual marketplace for NFT trading. Major competitors in the consumer products market maximize the use of the metaverse by advertising their products in the same. Future Market Insight indicates that the mainstream metaverse market is expected to have a Stunning double-digit CAGR of 24.5% on reaching a market value of US$500 billion end of 2032.

The booming e-commerce market has now reached new heights as the metaverse offers a virtual shopping experience that feels almost real. For example, Nike, the sportswear company, created Nikeland on the Roblox platform which helps users socialize, engage, and participate in company promotions. This, in turn, makes consumers more connected to the brand and gives them a first-hand experience of new launches of different products. Another consumer goods company, Forever 21, has taken it a step further by allowing users to create their own Forever 21 stores in the metaverse. Using this, users can create online retail stores, design the interior as per their vision and hire virtual employees for the same. Thus, users gain the experience of learning business, shopping, and interacting with other users to understand the requirements of a business.

Changing the dynamics of the digital world

Now that we know the multifunctionality of web 3.0, NFTs and the metaverse, here is how these components can revolutionize the way businesses operate.

Internet 3.0: The development of web 3.0 has created a secure space for the exchange of information for various business entities. Thus, most end users are transforming their existing business models and redefining them to meet the needs of Web 3.0. The growing adoption of Web 3.0 is increasing the presence of the metaverse and enabling the secure commerce of NFTs.

Metaverse: The penetration of the virtual world has created countless opportunities for business growth in the metaverse. Businesses are now looking for opportunities that will help them connect with consumers on a personal level. Thus, the opportunity for business expansion has shifted from exchanging products to creating virtual retail stores.

NFT: NFTs are widely used to monetize skills and can be used to buy and sell assets such as art, fashion, memes or music. NFT creates a safe space for careers or unconventional work spectra that are not marketed to the mainstream world. Thus, NFTs provide a way for people to invest in things they love and want to own. With the use of the metaverse, buying and selling NFTs has become easier.

Digital first

The rapid evolution they can undergo is the advantage of Web 3.0, the metaverse and nascent stage NFTs. Thus, the developers of these components are open to constant technological changes and customize them to provide unique experiences to users. Moreover, the fusion of these components promises to provide a virtually rich experience to users.

In the future, the use of these components will not be specifically limited to personal use only. Major consumer goods companies, edtech industries, food and retail industries, and IT industries plan to connect, interact, and grow using the metaverse and NFTs. The growing use of the metaverse has the potential to create opportunities for unconventional career choices, making it an economically sound platform for users.

In the coming years, the integration of Web 3.0 will become more important. This, in turn, will increase the reliance on the same. As Web 3.0 strengthens the presence of the Metaverse and the Metaverse supports the use of NFTs, the interdependence of these components promises to provide a rich experience for users around the world.

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Prime Minister Sheikh Hasina visited the photo exhibition on the Padma Bridge at the United Nations (UN) headquarters on Wednesday.

She witnessed the exhibition held on the curved wall at the first level of the UN headquarters, said the deputy press secretary to the Prime Minister, KM Shakhawat Moon.

He said some foreign guests, including the President of the United Nations Economic and Social Council (ECOSOC), Lachezara Stoeva, were present during the Prime Minister’s visit to the exhibition.

The Prime Minister told the foreign guests, “We built the Padma Bridge with our own funds because its construction was a challenge for us. The World Bank tried to accuse us of having made allegations of corruption, but it was later proven that there was no corruption. .”

The exhibition opened on September 19 and will run until September 24.

A total of 25 images are exhibited at the photo exhibition.

Foreign Minister AK Abdul Momen, Goodwill Ambassador Mohammad Ziauddin, Minister of State for Foreign Affairs Shahriar Alam, Minister of State for Education Mohibul Hassan Chowdhury, Principal Secretary for Foreign Affairs Masud Bin Momen and Prime Minister’s Principal Cabinet Secretary Md Tofazzel Hossain Miah, among others, were present.