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Posts Tagged ‘Cubism

“What strip mining is to nature, the art market has become to culture”*…

Nyan Cat meme, sold for $590,000 as an NFT (non-fungible token)

Before Christmas, the only uncertain-times-era art world innovations I could think of were online art fairs and anonymous Instagram callout accounts. Now more innovation has arrived, and it’s come from outside, from the spheres of online culture and cryptocurrency speculation. Crypto has its origins in a mistrust of authority in various forms, from government-backed fiat, to the banking system, to the financial industry. Now it’s also challenging art world elites…

Cryptocurrency’s exploding again. NFTs (non-fungible tokens) in particular. The Nyan Cat meme goes for $590,000. The “ape in a fedora” CryptoPunk goes for $1.54 million. An animated gif of Trump’s bloated, naked corpse by someone called “Beeple” goes for $6.6 million, setting a new record for any Millennial artist, dead or alive. Christie’s launches a two-week sale of one of his works. It closes tomorrow and has already broken the record again. Current bid: $9,750,000…

The old gatekeepers have been losing their power for a while now. In his New York Times profile of KAWS (Brian Donnelly), who’s just opened a major retrospective at the Brooklyn Museum, Michael H. Miller writes, “One art reporter told me … that certain directors at Gagosian, the largest and most profitable gallery in the world, would automatically move anyone known to own a KAWS down on their waiting list to buy something.” Nevertheless KAWS is unstoppable. He has his career-defining homecoming museum show, his Peter Schjeldahl writeup, his many pages of coverage, his giant sculptures looming over Manhattan’s Park Avenue and Brooklyn’s Greenpoint waterfront, and, a couple years back, in 2019, he shocked the art establishment when his painting The Kaws Album (2005), a remake of The Simpsons’ remake of the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band cover, sold at Sotheby’s Hong Kong for $14.8 million. Images and sculptures are accruing value in new ways: KAWS came up making street art and toy collectibles, and Beeple (Mike Winkelmann) made his name through Instagram and concert visuals. They symbolise the return of populism to the arts. I recently wrote for the Spectator about the trend of bad figurative painting that occupies the bardo between content and art: paintings that are easy to enjoy, and also to post. With NFTs, we’ve made another leap from art that’s easy to post, to art that simply is the post.

The old ways of valuing an object at auction (backdoor dealings, price fixing, and clandestine, corrupt practices) are coming up against the new ways (wild speculative mania and hyperstition) and falling short, for now. Beeple and KAWS, who have dominated the year’s artistic discourse, are outsiders that made it to the top. But it’s a very boring sort of outsider art, made by nerds for other nerds…

So much of today’s culture is a poor-quality remake of something better and more compelling. KAWS bootlegs pop-cultural staples like Mickey Mouse, the Simpsons, Peanuts, and SpongeBob in his own depressive comic style, while Beeple takes Mickey, again, Pokémon and Shrek, plus politicians like Joe Biden, Hillary Clinton and Kim Jong-un, and composites them into dystopian CGI montages. There are two paths for the golden-age American cartoon star: to be withdrawn, like the lascivious skunk Pepé le Pew, or, worse, to be reimagined as bad art, as childish and nostalgic art for those that don’t like ideas, or beauty…

There’s just too much of everything. There are too many different Oreos. 65 flavours in 8 years is too many. Too many Hot Chicken Wing Oreos, Waffle & Syrup Oreos, Jelly Donut Oreos, Supreme Oreos. There’s too much content that appears different but is the same. Too many identities are available to us. Too many manias. Too many hysterias. Examine nearly any aspect of society and you can see it’s gone too far. The reason so many flavours of Oreos are invented, according to the cookie’s brand director, is that this overabundance of choice reminds us of and drives us back to the original. It reminds us of how much we like the old Oreo, the Platonic ideal of the Oreos of childhood, the Proustian Oreo with the glass of cold milk. When there’s too much of everything however, at some point the original is lost, the memory is lost, and all that remains are faded, flat, hollowed-out derivatives…

The most popular series of NFT collectibles are algorithmically generated. And what they reveal, compared to the rest of culture, is a broader and more prevalent trend of art and entertainment that has the uncanny feeling of having been made by algorithm, even though it wasn’t. A painter and performance artist once told me, in the brutalist basement of the old Met Breuer, that Future had destroyed the future. Trap music has taken over the world, and it all sounds more or less the same now. It might be amazing, but it sounds the same. It’s supposed to sound the same. That’s the idea, what makes it so powerful. A talented producer can make a song in ten minutes on a live stream. A talented producer can make a song in less time than it takes to listen to. It’s never been quicker to write a song than now. Songs keep getting shorter and shorter. Records keep getting shorter and shorter. It’s a numbers game. I can write these columns pretty quickly now. This is an age of great speed and competition. We’re all looking for more popularity, new ways to find an edge; and yet, all this competition only seems to lead to blandness and mediocrity, rather than breakthroughs. Nor does it lead to collapse; even accelerationism doesn’t work. We want too much content, too fast, and it just leads to this endless algorithmic churning, this paint-by-numbers effect. You see it in art. In Netflix documentaries. Spotify playlists. Op-ed pages. The news. The latest manufactured outrage. Well-reviewed first-person novels about nothing. All so dreadfully banal and repetitive. This is what results when everything is forged in economies of dollars, of ether, of attention. Most culture now has the feeling of having been made by algorithm; and the reason for this, is that humans have begun to act like algorithms…

What non-fungible (which is to say, unique) tokens show us, is the absolute fungibility of culture today: its hazy, interchangeable meaninglessness. How it all belongs on a blockchain. How it all belongs on an infinite self-generating playlist ouroboros. It all belongs on a streaming service that slowly steals the hours and the heartbeats from inside you. When you look at the Discover Page Hotties, you look back into your own soul through a clouded mirror. “Online,” a mysterious anonymous cipher writes to you, “so much is dependent on an algorithmic matrix of mined data that the user’s identity is distilled so accurately that you can’t breach the identity that’s fed back to you via the screen. So no chance encounters, just a recurrent overlap of what you already are.” If life was once about chasing after a dream, it’s now about running away from the comfortable, hypnagogic lifestyles prescribed to you by the culture we create together, reflexively and imitatively. You’re living inside other people’s dreams; and these are not good dreams. So much of modern life is algorithmically scripted so as to exclude surprise or chance, and you must try to break free of this script every day. Rejecting all this post-death culture is a good place to begin…

The art world, disrupted by crypto: Dean Kissick (@deankissick) on why that’s a sad thing: “The Downward Spiral: Popular Things.”

See also “NFTs Weren’t Supposed to End Like This,” by Anil Dash, the co-creator of the NFT; further to which, this thread from Jonathan Zittrain.

And finally (as a cap on what’s turned out to be a trio of posts about scarcity, post-scarcity, and what matters in our economy; earlier here and here), “Red Bull, Elon Musk, and Matt Gaetz“… “post-scarcity is just another way of saying decadence.”

* Robert Hughes, writing presciently in 1989

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As we appraise art, we might spare a thought for an artist who, roughly a century ago, played an outsized role in revolutionizing the art world of his time, Pablo Picasso; he died on this date in 1973. Picasso is universally regarded as one of the most influential artists of the 20th century; he is known for co-founding the Cubist movement, for the invention of constructed sculpture, for the co-invention of collage, and for the wide variety of styles that he helped develop and explore.

Picasso in 1908

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“I have a sweater obsession, I guess”*…

 

More at: “This guy makes sweaters of places and then takes pictures of himself wearing the sweaters at those places.”

* Drake

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As we perl one, knit two, we might send challenging birthday greetings to Francis Picabia; he was born (Francis-Marie Martinez de Picabia) on this date in 1879.  A French avant-garde painter, poet and typographist, Picabia experimented with Impressionism and Pointillism before becoming a Cubist. He then became one of the early major figures of the Dada movement in the United States and in France, and was later briefly associated with Surrealism.

See his work at the major retrospective now hung at the Museum of Modern Art in New York and on their web site.

Francis Picabia, 1919, inside Danse de Saint-Guy

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Written by LW

January 22, 2017 at 1:01 am

“And what is the potential man, after all? Is he not the sum of all that is human?”*…

 

Early Netherlandish painter Hieronymus Bosch’s visionary triptych, The Garden of Earthly Delights, has stoked discussion since it was completed (sometime between 1490 and 1510); critics and scholars have confidently proclaimed it everything from a “didactic warning on the perils of life’s temptations” to an “erotic derangement that turns us all into voyeurs, a place filled with the intoxicating air of perfect liberty”… occasionally both.

Photographer Lori Pond was moved to incorporate Bosch’s vision into her own photographic work after she visited the Prado in Madrid, where his masterpiece has been on display since 1939.

After an emotional reaction to the painting and its mythologized mysteriousness, Pond decided to create a series of photos based on Bosch’s work — isolating details from Earthly Delights, as well as The Temptation of St. Anthony, and The Last Judgment.

The photos themselves look like they could be more minimalistic paintings by Bosch, but the arrangements you see were mostly achieved in-camera. Pond used materials gathered from swap meets, and enlisted the help of a motley team made up of a taxidermist, a prosthetics designer, her friends, and their closets…

More examples from Pond’s portfolio at Bosch Redux on her site; more back ground at “Arresting Photographs Remake Images From Hieronymus Bosch’s Grotesque Biblical Fantasies” and “Recreating Hieronymus Bosch.”

Then wander over explore the wonderful interactive documentary “Hieronymus Bosch, The Garden of Delights” (part of the transmedia tryptich: this interactive documentary, the documentary film “Hieronymus Bosch, touched by the devil,” and the Virtual Reality documentary “Hieronymus Bosch, the Eyes of the Owl,” coming this April).

And finally, check out the “newest” Bosch painting, recently (re-)discovered.

* Hieronymus Bosch

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As we follow in St. Augustine in praying that God grant us “chastity and continence, but not yet,”  we might send modern birthday greetings to Joseph Fernand Henri Léger; he was born on this date in 1881.  Best known as member of the Cubist movement (in which he was unique for his use of cylindrical shapes, earning him the label “tubist”), Léger was also sculptor and filmmaker.  Indeed, in his later life, he added book illustration, mural creation, stained-glass and mosaic work, and set and costume design to his repertoire.  In those later years, his gravitated to modern subject matter, which he treated in simple, bold, and accessible ways– for which he’s now considered an important forerunner of Pop Art.

Léger’s Nudes in the Forest (Nus dans la forêt), 1910

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Written by LW

February 4, 2016 at 1:01 am

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