Art Gallery NSW’s Post

In 2009 Dane Mitchell submitted a brilliant concept to the National Contemporary Art Awards... people complained that this pile of rubbish won the $20K award. (disclosure - I love this work). Creative New Zealand & Manatū Taonga Ministry for Culture and Heritage are trying to emulate this work by funding artists gambling habits & NFT scams over the past year. Other agencies like Callaghan Innovation have warned them.  National Business Review & Stuff have stepped in too... but Creative New Zealand is in the business of Art - & damned if they'll let others tell them how to spot a con artist. People with little or no artistic credibility are self appointed "experts"; the actions of those funded could be criminal; artists & practitioners are actually suffering; our arts & culture sector is distressed! The outcomes are a pile of rubbish with no artistic concept. Over FIVE MILLION DOLLARS funded in one case! We're sure this is just the tip of the iceberg. But worse... Creative New Zealand participates in the scams. If there is one thing the next Government could do is sort this out. Ask reputable & credible artists & practitioners to help! Look to Australia, Creative Victoria require applicants to have an ABN & a structure that makes them legally liable for the funds. https://lnkd.in/gcWmruSe gambling artist >> https://lnkd.in/gWJEQBWt

https://lnkd.in/dB_a86tX Cecilia Parsberg at Handels is an exhibition based on a doctoral thesis in fine art by Parsberg. It consist of two artworks on five different screens, and it's open until October 18. Cecilia Parsberg´s artwork The Chorus of Begging and The Chorus of Giving, 2014, (installation with two screens in the entrance hall of SSE) is part of the doctoral thesis in Fine Art “How do you become a successful beggar in Sweden? An inquiry into the images of begging and giving 2011 to 2016”, by Parsberg (Lund University). What Images does the Begging face? (2014) What Images does the Giving face? (2014) The two films screened in the north corridor of the ground floor (at lill-skärmen) are also part of Parsberg´s dissertation and they accompany the video installation in the main entrance hall. In “What Images does the Begging face?” Parsberg hired an interpreter and interviewed, with consent, fifteen begging persons about how they experience the giving, how they are treated on the streets of Sweden and what image they have of giving. In “What Images does the Giving face?” Parsberg hired a professional market researcher to conduct two qualitative group interviews with eight respondents. Each interview lasted two hours and was filmed, by consent, with two cameras. The starting point was to find out what a beggar in Sweden could do to get more money. Don´t be stupid (two videos), screened in the atrium and in the small room in the staircase behind the auditorium, are also works by Cecilia Parsberg. The screening is part of the filmprogram Borderland - a collaboration between Magasin III and SSE Art Initiative.

Here it is! My findings from the Margate Artist Almanac 🙌 Margate’s creative scene has been shifting dramatically over the past few decades, but who are the artists and organisations coming in and out of the town? The Margate Artist Almanac is about celebrating who’s here, and taking a deeper dive into what they do. As the town’s artist population ebbs and flows, the Almanac is about starting a conversation and documenting who’s who. Led by artists, the Almanac is a non-commercial project that seeks to provide an on-going historic snapshot, database and resource for artists, creatives and organisations. The project is alive and moving — we know you’re not all on this list! If you, or someone else you know, wants to be included please go to https://lnkd.in/evNqTjVs. It is open to anyone who has a creative practice based in Margate, as well as those who have previously lived and worked here. Entries are welcome from: 🎨 all artists and creatives currently based in Margate, or who have lived and worked in Margate at some point 🎨 all independent producers or curators based in Margate, or who have lived and worked in Margate at some point 🎨 all of Margate’s art organisations (including galleries, venues, studios), past and present A huge shout out to everyone who has already filled out the online form and contributed to the Almanac 🙌

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

DAM Projects, Berlin, invites you to the first solo exhibition in Germany of Antoine Schmitt from Paris: Clinamen Preview: Thursday, November 9, 7-9 PM The artist will be present. 7:30 PM Wolf Lieser in conversation with the artist.  November 10 - December 16, 2023 In this room, we are looking at black squares made visible by their absence, pixels gracefully dancing in strange choreographies, messing around, hurriedly crossing to the other side of the screen, or falling in cascades, carried by their own weight. Their movements are mesmerizing precisely because the artist has programmed a clinamen that gently deviates their trajectory and leads them into a seemingly chaotic, but also beautifully synchronized, behavior. Order and chaos are key to the work of an artist who does not “animate” the pixels, but creates situations and rules using code, and then lets the program run on its own. A series of performative events carried out by machines, the artworks build realities that exist in front of us in real time, mirroring the physical, social, and informational systems we are a part of.

🎶 Visualising Melodies: Duncan Lockerby’s Artistic Fusion of Sound and Sight Exploring the Synchrony of Music and Art in Modern Creations Let's embark on another art exploration journey! Our focus today is the captivating blend of music and art, brilliantly exemplified by the creative works of Duncan Lockerby. 🌟 Highlight on the Artist: Duncan Lockerby stands out in the art world for his unique skill in transforming musical compositions into visual pieces. Utilising a pen plotter, he transforms the duration of notes from classics like 'Clair de Lune' by Debussy into intricate patterns of lines and shapes. His creations are a harmonious fusion of advanced technology, artistic flair, and a profound grasp of musicality. 📚 Artistic Insights: The interplay between music and visual art is a storied one. The concept of 'synesthesia', where sounds are depicted as visual elements, traces back to ancient civilisations but gained notable prominence with 20th-century artists like Kandinsky. Duncan Lockerby’s modern interpretation of this idea illustrates how contemporary tools can pave the way for new artistic frontiers. 🧐 Curatorial Reflections: In my role as a curator, I am continually astounded by the limitless creativity of artists. Lockerby’s work redefines our understanding of visual art, emphasising that art is an evolving journey rather than just a final piece. His distinctive style invites us to experience art on a more profound, conceptual plane. 💫 The Artistic Phenomenon: Interestingly, the idea of visualising music isn’t new. Have a look at Mondrian’s and Kandinsky’s art for example or going even further backwards, the ancient Greeks believed in the 'Harmony of the Spheres', theorising that celestial movements created a cosmic melody. This ancient concept has been reimagined and brought to contemporary relevance through the innovative works of Duncan Lockerby. www.heiartgallery.com

The article "Did Duchamp Steal Credit for ‘The Fountain’ from a Woman Artist?" presents a compelling and thoroughly researched examination of the controversy surrounding Marcel Duchamp's famous work, "Fountain." The article, anchored by historian Glyn Thompson's research, delves into the long-standing debate over the true authorship of this seminal piece of modern art, suggesting that the credit might actually belong to the German Dada artist Elsa von Freytag-Loringhoven. One of the most striking aspects of the article is the detailed presentation of new evidence. Thompson identifies the handwriting on the urinal as von Freytag-Loringhoven's and points out the unique model of the urinal, which he links to Philadelphia, a city Duchamp never visited. This contradicts Duchamp's claim of having acquired the urinal from J.L. Mott Iron Works in New York, as Thompson argues that this company never sold that particular model. The article also discusses the broader implications of this re-attribution on the world of art. If von Freytag-Loringhoven is indeed the true creator of "Fountain," it not only restores the meaning and power of visual creation but also challenges the foundations of Found Object and Conceptual Art. This re-attribution could potentially burst the bubble of millions invested in these art forms, as Julian Spalding, the author of the forthcoming book "Art Exposed," asserts. Moreover, the article doesn't shy away from presenting counterarguments. It acknowledges the disputes raised by other scholars like Dawn Adès and Bradley Bailey, who question the strength of the evidence presented by Thompson and Spalding. This balanced presentation of both sides of the argument adds depth to the article, making it a thought-provoking read. Overall, the article is a fascinating exploration of a historical art controversy. It not only sheds light on a potentially overlooked female artist but also invites readers to reconsider the narratives we accept in the art world. The blend of historical detective work, analysis, and the implications for modern art makes this article a must-read for anyone interested in art history and the dynamics of artistic credit and recognition.

Here are the 15 most searched Artists in 2023. See the names driving the greatest curiosity among collectors in 2023—and how they stack up against the same list from 2005. The Artnet Price Database began keeping track of the most frequently searched artists in 2005. Eighteen years later, the cast of characters remains somewhat consistent. Nevertheless, the market’s growing hunger for work by contemporary artists—including Yayoi Kusama, Gerhard Richter, and George Condo—is evident, as is dwindling interest in and supply of work by Imp-Mod mainstays like Pierre-Auguste Renoir and Edgar Degas. The reports also underlines the reality of the final prices. Onstage: The winning bid is assumed to be the price. Backstage: Auction houses no longer have to reveal the final price paid for a work of art. Ever since third-party guarantees began popping up at auction, the art trade has been complaining that such transactions are pure theater— private sales executed in front of a live audience.18 Third-party guarantors, many argued, had the unfair advantage of knowing the reserve price. Why? Because in these cases, the irrevocable bid effectively becomes the lowest figure at which an artwork can sell, or the reserve. Guarantors also often get a financing fee for offsetting the risk of either the consignor or the auction house, if it provided an in-house guarantee. That fee amounts to a discount—sometimes in the millions of dollars—if the backer ends up buying the work. Read full report following the link. #artcollecting #artexhibition #artmuseum #artinvesting #artinvestment #artcollector #artnews #artworld #artmarket #artmarketnews #artauction #artgallery #artfair #arthistory #artworld #fair #worldrecord #modernart #impressionism #postwar #contemporaryart #yayoikusama #kusama #gerhardrichter #richter #augusterenoir #christies #sothebys

Our Fall Arts program starts with new works by Barry Ebner. BARRY EBNER: THE ROAD TAKEN September 15 - November 1, 2023 Barry Ebner’s “The Road Taken” is a deep dive into abstraction. Ebner’s latest monotypes explore mark-making and provoke the human psyche to come along for the ride. There’s no turning back, only a view of evolution from distant pasts to uncharted realms. All are invited to view the exhibition, simply click the link: https://lnkd.in/gyeX8ABk We want to know what do you think of the work? What kinds of feelings are evoked when you look at these abstractions?