Sarah Jones (MCIOF) (Dip)’s Post

Jason Farago sums it up in this three critics review of the Whitney Biennial 2024 in New York. "... The Beauty and the Cynicism What can the Whitney Biennial be, now, so late after the end of modernism? Is it a grand intellectual battle, or just an insiders’ chinwag? A polemic, or a party? A get-’em-while-they’re-young (or while-they’re-old-but-underpriced) market showcase, the cultural equivalent of the N.B.A. draft? An atavistic society ritual, a debutante’s ball for the M.F.A. debtset? Choose your own metaphor, but one thing it cannot be is a summation of where art stands in the United States in 2024. When the larger culture is rudderless, and an avant-garde will not come again, the best you can offer — or so this year’s curators, Chrissie Iles and Meg Onli, seem to say — is a cross-section with a point of view. Their biennial is small, with just 44 artists and collectives across four floors of the museum and its outdoor spaces; another two dozen will screen films in the Whitney’s theater and, for the first time, on its website. Indeed, the show is small in other ways: resolutely low-risk, visually polite, and never letting the wrong image get in the way of the right position. ..." https://lnkd.in/giXDtBYx

“Vinyl is the poor man’s art collection” ~ Noel Gallagher [possibly] Last night as part of the Melbourne International Film Festival I saw the excellent documentary ‘Squaring the Circle; The Story of Hipgnosis’. Hipgnosis was the design studio born from the artistic collaboration between Aubrey “Po” Powell and Storm Thorgerson. Hipgnosis created some of the most iconic album covers of the late 1960s and 1970s. Pink Floyd. Led Zeppelin. Wings. 10CC. Wishbone Ash. Peter Gabriel. The Nice. Black Sabbath. AC/DC. Covers that subverted what people (and especially record label executives) expected from album art. The documentary featured some of the (remaining) artists that Po and Storm worked with about the creative process. In short, the process was messy, loud, hard, emotive, manual (this was long before Photoshop), and incredibly free. The imagination and volume of unique ideas pouring out of the pair (and later, their team) was wild. They saw inspiration in kids physics textbooks (the prism used in Dark Side of the Moon), sci-fi novels (the kids climbing the rocks on the cover of Houses of the Holy), the impact of working in the music industry (the burning man on Wish You Were Here), and a lot of the time just the images and ideas that popped into their heads (red footballs in the desert for Elegy). (If this isn’t a further prod for the benefits of reading widely, spending time with different people, going to events, travelling, and generally immersing yourself in the world, I don’t know what is). It was also an insight of how culture moves and shape-shifts, the influence of technology, makes you wonder if whether music is the art form it used to be, and really, if creativity will ever be what it was in the pre-internet era. #creativity #art #music

How would a TOP-20 list of digital artists look if it were compiled according to the standards of the contemporary art? If it were based on facts like amount of exhibitions, collaborations with major institutions, publications, and so on. I found an article (I'll leave the link in the comments) where such a ranking was compiled using an algorithm and the Artfacts database. Can you guess who is in first place?😁 20. Stepan Ryabchenko 19. Alex May 18. Miguel Chevalier 17. Ryoichi Kurokawa 16. Lilian F. Schwartz 15. Marina Zurkow 14. UBERMORGEN 13. Claudia Larcher 12. Semiconductor 11. teamLab 10. Tamiko Thiel 9. Justine Emard 8. Banz & Bowinkel 7. Charlotte Johannesson 6. Tim Berresheim 5. Tishan Hsu 4. Daniel García Andújar 3. Louisa Clement 2. John Gerrard 1. Refik Anadol When it comes to my personal perception of the top digital artists in the world, I would certainly place Ryoichi Kurokawa closer to the top. teamLab is well-placed. Refik Anadol - I feel like it's time to think about someone else for the pedestal. And then, it's a bit sad to see the absence of the veteran Quayola. And it's quite strange without Beeple. And Ryoji Ikeda is ‘one love’, he should be here. I won't start about younger artists) What do you think? Does this match your personal ranking? Is this method suitable for the digital art scene?

I was listening to a documentary on you tube about the Beatles recording and filming of Magical Mystery Tour for inspiration. In particular John Lennon speaking about "I am the Walrus".  In "I Am the Walrus," he never said what he meant outright. He left it open, a puzzle for the listener. That’s what art should be – a challenge, a mystery. Not everyone will get it, and that's okay. Some critics and gallery owners might look at your work and not see its value. They want you to explain it, to put it in a box so they can understand it and sell it. The truth is, many artists do babble on about their work, giving it a righteous meaning that sometimes feels forced. Others don’t say anything at all. Then there are those like Lennon who say, "Figure it out for yourself!" And that’s the real essence of art. Engage with the community, push your boundaries, but don’t let the need for approval dilute your art. Keep it mysterious, keep it challenging, and always let your work speak for itself. Just like Lennon did with my music – never explain too much. Let them figure it out.in Not everyone will get it, and that's okay. Some critics and gallery owners might look at your work and not see its value. They want you to explain it, to put it in a box so they can understand it and sell it. But art isn't about that. You meet all kinds of people – some who genuinely appreciate your work, and others who are just looking for the next big thing to profit from. It's easy to get lost in that, to start creating for them instead of for yourself. But that’s where you have to stand firm, keep your integrity. Your art should remain a challenge, a game that engages the viewer, not a product with a clear label. In the end, should you participate in these competitions and exhibitions? Yes, but with your eyes wide open. Understand the game you’re playing. Engage with the community, push your boundaries, but don’t let the need for approval dilute your art. Keep it mysterious, keep it challenging, and always let your work speak for itself. Start with my paintings below www.levinlandstudio.com

We had a great discussion with legendary film maker and writer, Rumbi Katedza on Big Business PepTalk on Capitalk100.4FM today. Rumbi shared with us her life story, a testimony of dedication, commitment, resilience and lasting impact. She advocated for a paradigm shift on how we view the arts sector, and its contribution to business, economy, culture and so much more. Just in case you missed the conversation, here are some of the nuggets that came out of this conversation. The art industry is indeed a significant economic powerhouse, encompassing various sectors such as visual arts, performing arts, music, film, fashion, and more. And here are a few reasons why arts is considered a big business: 1. Economic Impact: The arts generate substantial revenue globally, contributing to local economies through art sales, ticket sales for performances, festivals, and exhibitions, as well as tourism and hospitality industries around cultural destinations. 2. Employment Opportunities: The arts sector creates employment opportunities for individuals such as artists, performers, designers, curators, technicians, marketers, art dealers, gallery owners, and many others. It supports a diverse range of careers and job prospects. 3. Cultural Diplomacy: The arts play a vital role in promoting cultural understanding and diplomatic relationships between nations. Through exhibitions, cultural exchanges, and collaborations, art can foster dialogue and bridge gaps between diverse cultures. 4. Creative Industries: The arts form an essential part of the creative industries, which includes sectors like design, advertising, publishing, film, architecture, and more. These industries contribute significantly to national economies and innovation. 5. Cultural Heritage Preservation: The arts help preserve cultural heritage by conserving traditional practices, languages, rituals, and artifacts. This preservation not only enriches society but also attracts visitors and tourists interested in experiencing different cultural traditions. 6. Social Impact: Art has the power to inspire, educate, and bring communities together. It promotes social cohesion, provides a platform for self-expression, and can be used as a tool for activism, advocacy, and addressing social issues. Given its economic and social impact, supporting and investing in the arts can yield substantial benefits for communities, individuals, and businesses alike. Look out for our next guests, Clive Mono Mukundu, Michael Mahendere, Plot Mhako, Christopher Takunda Mugaga Urbane Create Agency Beyond Borders Logistics TSOKA™️ International

Näkypaikka is on view until 17 December, welcome! Kohta's last exhibition this year gathers five active Finnish artists, of whom two currently live and work in other European countries, and also features one artist who is no longer alive. The curatorial point of departure was a hunch that these artists might have something in common, and that Kohta could be turned into a ‘vision-portal’ to other realities – hidden or suppressed, imagined or engineered – and an ‘action-space’ that artists can subvert and twist to their own needs – visual, narrative or both. We envisioned a exhibition that finds its own symmetry with on-site productions and existing works coming together as a ‘vision-place’, which is a literal translation of the exhibition’s Finnish title. Näkypaikka was supposed to mean ‘theatre’, but the word can in fact only be found – along with its synonym katselupaikka, ‘view-place’ – in lists of coinages proposed by the first translator of the Bible into Finnish, Mikael Agricola (1510–57). When we use it now, 500 years later, we are effectively inviting Finnish-speakers to interpret and understand it in their own way. (The current Finnish word for ‘theatre’ is teatteri.) Artists in the show: Henna Hyvärinen, Marja Kanervo, Jussi Kivi, Laura Lohiaita, Benjamin Orlow and Veijo Rönkkönen More info: https://lnkd.in/d5tQY5Hu Photo: Jussi Tiainen

Looking forward to this launch on Thursday pm in London. Special issue 12.2 includes my article 'Above and below: The sounding of haunted geologies'

Happening this Thursday, 2/15, 6-8pm: artists: signs and symbols gallery is hosting a "needs, wants & gives" group conversation/exchange bring your needs & resources to share I have been conducting these conversations for years. Usually what happens is: --artists meet new artists --we share resources --we work toward solving problems --we get exhibition opportunities, jobs, etc. --we make connections We will have snacks and beverages. Bring yourself, your needs, resources, a cushion to sit (if you'd like!), to relax and share. Where: https://lnkd.in/ee5BWgnw AND: for those who haven't seen the show, this is an opportunity to come by after normal gallery hours. See you then! Photo: conversation with artists in Louden Studio, 2019.

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If marathons had a cinematic equivalent, "Exergue" would be it - a 14-hour deep dive into into the 2017 edition of Documenta's, the prestigious German quinquennial art show (documenta und Museum Fridericianum gGmbH), swan song, where curators and artists dance on the edge of the world’s doom. Amid the backdrop of global crises, the film parades an art world chronically attending its own farewell party, weaving through a labyrinth of financial debacles, controversial exhibitions, political undertones, and the constant fear of becoming irrelevant, all set against a party that’s perpetually on the brink of ending but never quite does. It sounds like the art world's equivalent to watching a series finale where every character refuses to leave the stage, insisting the show must go on - even if it's just them left in the audience. Is anyone planning on grabbing a big bucket of popcorn and seeing this film? Watching a 14-hour documentary sounds like the perfect way to realize that my attention span isn't even as long as the "Skip Intro" button on Netflix. While I get that the films length is in part a testament to the eternal cycle of art - where every ending is just a setup for another grand, albeit slightly chaotic, beginning - I’m too worried my couch might file a restraining order against me. https://lnkd.in/gxUiQVKV