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Articles on this Page
- 05/31/13--06:21: _ANSWERS: Million-Do...
- 06/10/13--08:16: _10 Billionaires Who...
- 06/12/13--08:38: _Controversial Artis...
- 06/12/13--13:15: _People Are Furious ...
- 06/12/13--14:15: _The 5 Worst Damien ...
- 06/13/13--06:48: _The Cover Art For J...
- 06/13/13--08:28: _Bushwick Artists Ar...
- 06/13/13--11:31: _James Franco Create...
- 06/13/13--17:27: _An Art Exhibit In N...
- 06/24/13--08:35: _27 Brilliant Painti...
- 06/25/13--14:09: _A Cricket And An Al...
- 06/27/13--13:43: _This Creepy Art Pro...
- 06/28/13--07:17: _END OF AN ERA: The ...
- 06/28/13--09:31: _This Artist Co-Op I...
- 06/28/13--11:55: _There's A 7-Hour Wa...
- 07/09/13--16:01: _It's Pretty Incredi...
- 07/09/13--16:43: _11 Crazy Photos Fro...
- 07/10/13--13:39: _Art Appraisers Are ...
- 07/10/13--16:01: _10 Unusual Ways Peo...
- 07/11/13--03:01: _The Returns On Art ...
- 05/31/13--06:21: ANSWERS: Million-Dollar Masterpiece Or Child's Art Project?
- 06/10/13--08:16: 10 Billionaires Who Spend A Ton Of Money On Art
- 06/12/13--13:15: People Are Furious With Damien Hirst For Not Making His Own Art
- 06/12/13--14:15: The 5 Worst Damien Hirst Spot Paintings Of All Time
- 06/13/13--06:48: The Cover Art For Justin Timberlake's New Single Is Really Terrible
- 06/13/13--08:28: Bushwick Artists Are Dismayed By An Influx Of 'Street Art' Tours
- 06/13/13--17:27: An Art Exhibit In NYC Lets You Walk Through Rain Without Getting Wet
- 06/24/13--08:35: 27 Brilliant Paintings My Mother Made On Her iPad
- 06/25/13--14:09: A Cricket And An Algorithm Drew This Picture
- 07/09/13--16:43: 11 Crazy Photos From The World Bodypainting Festival In Austria
- 07/10/13--16:01: 10 Unusual Ways People Are Using Snapchat
- 07/11/13--03:01: The Returns On Art Are Less Than We Thought
Here's some additional information about the answers to our quiz: Million-Dollar Masterpiece Or Child's Art Project?
1. Jean-Michel Basquiat's "Ribs Ribs" sold for $5.16 million at a Christie's auction in May 2013.
2. We found this piece of art on Flickr.
3. Jackson Pollock's "No. 5, 1948" sold for a record $140 million at Sotheby's in 2006.
4. The Museum of Modern Art acquired "Strut" by Joe Bradley several years ago; it's currently on display in the contemporary gallery.
5. We found this work on Flickr.
6. Willem de Kooning's "Untitled (Woman)" sold for $1.02 million at a Christie's auction in May 2013.
7. Cy Twombly's "Untitled (Gaeta)" sold for $6.4 million at Christie's in May 2013.
8. Kazimir Malevich was a famous Suprematist school artist known for his solid canvases.
9. The first is by a child; the second is a Claes Oldenberg work that sold for $267,000 at Christie's in May 2013; the third is a Clyfford Still work that went for $20.9 million at Sotheby's in May 2013.
10: This napkin is also from Flickr.
Most billionaires own art: The average billionaire holds $31 million — or .5% of their net worth — in art, according to Wealth-X, a wealth intelligence firm.
But the world's top billionaire art collectors take their hobby to the next level. Wealth-X identified the top 10 billionaire art collectors, who have an average of 18% of their net worth invested in art.
Of the top 10, luxury goods tycoon Francois Pinault is the wealthiest, with around $1 billion of his $9.9 billion net worth is tied up in art. And Hollywood mogul David Geffen has the most valuable collection, with around $1.1 billion worth of art.
#10 Samuel Irving Newhouse Jr. owns $700 million worth of art
Net worth: $7.1 billion
% net worth invested in art: 9.9%
The 85-year-old "Si" Newhouse is the chairman and CEO of Advance Publications, which owns Condé Nast.
He was the original owner of Jackson Pollock's "No. 5, 1948," which was later sold to David Geffen.
#9 Leon Black owns $750 million worth of art
Net worth: $3.4 billion
% net worth invested in art: 22.1%
Black is the founder of Apollo Global Management.
In 2012, he was revealed as the buyer of Edvard Munch's The Scream, for which he paid $120 million.
His collection includes Old Masters, Impressionism, modern painting, Chinese sculpture, and contemporary art, and he sits on the boards of the Metropolitan Museum of Art and the Museum of Modern Art.
#8 Doris F. Fisher owns $800 million worth of art
Net worth: $2.3 billion
% net worth invested in art: 34.8%
Fisher started The Gap with her husband in 1969.
She owns more than 1,000 works, including many by Andy Warhol, Roy Lichtenstein, and others.
See the rest of the story at Business Insider
Controversial artist Damien Hirst has flooded the art market with nearly 1,400 of the same painting.
Well, virtually the same — Hirst's famous multi-colored "spot" paintings have dots ranging from the size of a pin to over five feet across.
But they all have the same industrial uniformity, mainly due to the fact that Hirst has assistants who manufacture the paintings for him.
Hirst has openly admitted that he is only responsible for the first 25 spot paintings, and his assistants have done the rest. But he still told Reuters last year that "every single spot painting contains my eye, my hand, and my heart."
Whether they are the products of assistants or Hirst himself, the artist's name has guaranteed the paintings have sold well at recent auctions — from $53,000 to $1.7 million in the past 18 months, according to The New York Times.
Even so, those numbers are not what they used to be. Hirst's golden boy status in the art world began to tank in 2008 along with the economy, and since then his works of art have resold for 30% less than the original price, according to The Independent.
Perhaps that's why Hirst is now drumming up publicity by revealing exactly how many spot paintings actually exist in a new book by his publisher Other Criteria — 1,365, to be precise.
That number is significantly lower than the rumored 2,000-7,000 paintings in the series, which may increase future auction prices, but it's still a lot.
And despite the market saturation, Hirst is in the process of creating even more spot paintings:
"Damien is working on some spot paintings with very small spots, including a painting with one million spots, which will take number of years to complete," James Kelly, director of Hirst's London company Science Ltd, told The New York Times in an email.
Of course he is.
There are nearly 1,400 of Damien Hirst's "spot" paintings in existence.
The artist has only painted around 25 of them himself.
So who made the other 1,340 or so paintings, which regularly sell for tens of thousands of dollars?
They were done by Hirst's coterie of assistants — a well-known fact. Even so, he told Reuters last year that "every single spot painting contains my eye, my hand, and my heart."
And they all contain his signature.
Damien Hirst was once the art world's golden boy. His conceptual art was snapped up for millions by art collectors, showcased in museums, and taught in art history classes.
But he has also been lambasted by famous critics like Roberts Hughes, who once said of Hirst's famous shark suspended in a tank of formaldehyde: "One might as well get excited about seeing a dead halibut on a slab."
And for many, his art has become a symbol of selling out, with concepts that either shock or disgust and only appeal to rich art collectors with questionable taste.
But the real reason Hirst is such a sore spot for many in the art community is that he doesn't physically create most of his own work.
His $78 million diamond-encrusted skull was made by royal jewelers Bentley & Skinner. The artist's stuffed shark was produced by MDM Props of London, a theatrical company. And his famous spot paintings were, of course, painted by his assistants.
Why? Because he couldn't be bothered to do the work himself.
Hirst once said he didn't paint his own spot paintings because, "I couldn't be f***ing arsed doing it," according to The Guardian.
He's even gone so far as to recommend his assistants' work over his own: "The best person who ever painted spots for me was Rachel [Howard]. She's brilliant. Absolutely f***ing brilliant. The best spot painting you can have by me is one painted by Rachel," he once said, according to Artlog.
As one story goes, one of Hirst's assistants asked the artist for a spot painting. Hirst told her to "make one of your own," he wrote in the book On The Way To Work. When she said she wanted one made by him, he responded, "But the only difference, between one painted by her and one of mine, is the money.'"
Hirst sees the real creative act as the conception, not the execution, of art. As the progenitor of the idea, he is therefore the artist.
Of course, he's not the only artist who feels this way. Andy Warhol had a factory. Mr. Brainwash has a factory. Jeff Koons has a team of assistants, too. Virtually all of these men admit to little talent and a bunch of ideas.
But no one is quite as annoying about it as Hirst. "I can’t wait to get into a position to make really bad art and get away with it,"he told The Times UK in 2003. "At the moment if I did certain things people would look at it, consider it and then say 'f off'. But after a while you can get away with things."
Since 2009, a third of Hirst's works have failed to sell at auction, and those that have been sold were for 30% less than in 2008.
Turns out, you can only "get away with things" for so long.
Damien Hirst's spot paintings are not all the same.
Sure, colorful spots on 1,365 canvases may start to sound repetitive, but don't worry! They're all totally original.
Each work in the series has spots of a consistent size, though some are as big as 40 inches across and some are just a few millimeters. No two colors are repeated on a single canvas.
One thing does set some of the paintings apart — the artist himself only painted around 25 of the works. The rest were done by his assistants.
Below are the five worst Damien Hirst spot paintings. In the name of fairness, we've also compiled the five best (keep scrolling to see).
Lysergic Acid Diethylamide (LSD), 2000
Iodomethane - 13c, 1999-2001
Controlled Substances Key Painting, 1994
And the best:
Abalone Acetone Powder, 1991
Untitled (with Black Dot), 1988
Myristyl Acetate, 2005
Isonicotinoyl Chloride, 2005
4-Nitropyridine N-Oxide, 2006
Could anyone really disagree?
Like Kanye West (says of himself), actor/singer/designer Justin Timberlake has been known as a trendsetter in the music world.
But the cover art for his latest single "Tunnel Vision" is leaving fans scratching their heads.
The art in question features Timberlake's face in the shape of a woman's silhouette.
But in order to make his face fit the shape of the female body, his nose is turned into a breast. The result is that it looks like Timberlake has a strange growth on his nose.
Judge for yourself below:
"Tunnel Vision" is the third single off Timberlake's comeback album "The 20/20 Experience," following "Suit & Tie" and "Mirrors."
BUSHWICK — First comes the graffiti, then comes the...tourism.
A recent explosion of tour groups and tourism companies visiting Bushwick's street art hubs has commercialized the creative scene and undermined the purpose of public art, some locals say.
Street art gallery curator Jesse Henderson, who's lived in Bushwick the past five years, said he felt the burgeoning commercial tours were hurting both the artists and visitors to the area.
"I think it cheapens the art. Sure these pieces are going to bring a crowd but to spoon-feed it to people seems to take away from self exploration and adventure," said Henderson, a curator at Bushwick's Low Brow Artique and a writer for the graffiti and street art website 12oz. Prophet. "[Guides] are making money just for merely knowing where the paint is...If you're going to make money off the talent of others I think you should at least give back to the artist in some way."
And local filmmaker Cody Swanson, who said he'd spoken with friends about the influx of tour groups, claimed the organized tours were a sign the neighborhood was "slowly becoming less a place of artistic creativity and more a place of celebration of what it supposedly means to be creative."
"It's undeniable the neighborhood's changing, you have prices going up, the influx of new development and condos...and now the idea of graffiti being witnessed by organized tours as a commodified interest sort of means the art is over," he said. "It's putting the creativity in the past."
Bushwick musician Troy Odell, who bartends at Bodega Wine Bar surrounded by public paintings by the popular Bushwick Collective street art group near the Jefferson L train station, said he'd seen so many tour groups visiting recently that he felt the whole area had lost its "authenticity."
"Graffiti is edgy and authentic. You lose the authenticity when you have that many people looking for authenticity," said Odell.
Odell claimed that the whole Bushwick Collective area, legally organized and curated by longtime resident and businessman Joe Ficarola, was already different from his vision of graffiti as being illegal and on the fringes.
"Graffiti is guerrilla," he said, claiming that when it became legal and organized it felt "contrived."
Ficarola didn't respond to repeated requests for comment.
But tour guide David Meade, who leads street art tours in WIlliamsburg and Bushwick, said the whole purpose of his growing tours was to be "authentic" and to share the public paintings with people who may never know they existed.
"Authenticity is at the crux of why I do this...it's because of my genuine love and appreciation of the medium and my desire to share it with people," said Meade, who noted that his company Street Art Walk focused on "street art," rather than "graffiti," tours, and that street art was supposed to be open to everyone and to beautify neighborhoods.
"By saying people shouldn't be allowed to come and look at beautiful art is almost an elitist view," he said, adding that his prices were reasonable ($20 per person) because he wanted the tour to be accessible to a wide array of visitors.
Meanwhile, another bartender at Bodega Wine Bar agreed with Odell that recently he had seen visitors "come through all the time" on tours or on their own to photograph the work, and he claimed the attention was definitely contributing to the neighborhood's gentrification.
But he said he didn't feel the influx of groups was negative.
"It doesn't bother me," said the bartender Jerrod Seifert, adding that he understood the appeal given the unique creative vibe in the neighborhood. "It's nice to have more people on the street."
James Franco is reuniting with his pals Seth Rogen and Jason Segel among many others in apocalypse comedy "This is the End" out this weekend.
In the film, you'll see a lot of artwork of the actors referencing previous works some have collaborated on together.
All of it was created by Franco.
He even put together a grand mural of the main cast in Los Angeles.
Tons of artwork that James Franco painted for "This is the End" will be seen in the film.
They'll hang in Franco's home.
Franco set out to paint all of his main cast mates.
See the rest of the story at Business Insider
"What do you do with a rain room?"
That simple yet intriguing question was one of the driving factors behind London-based artists rAndom International—founded by Stuart Wood, Florian Ortkrass, and Hannes Koch—creating their immersive spectacle Rain Room.
Initially appearing at the Barbican in London, where it became the most successful installation in their history, it's now currently in its second iteration, appearing in New York at MoMA as part of MoMA PS1's EXPO 1: New York.
The piece lets visitors walk inside a room that's pouring down with water, but as they walk around it ceases to fall where they're standing allowing them a glimpse into what it's like to control the rain.
People have reacted to the experience in a variety of different ways, snapping the piece on their smartphones is a common one, but people also huddle together or stand alone, wander around as if in a dream or giggle excitedly.
The nature of Rain Room and the unusualness of the experience means it fosters a variety of reactions and engagement from the audience—and it's these interactions that place it beyond just an installation into a performative piece.
Each iteration has been built as a site-specific piece, for instance the Barbican version made use of the curved wall of the exhibition space while the MoMA iteration is in a much larger area. This gave the studio a chance to experiment with how it was presented and play around with how it was approached, giving the piece another dimension as it evolves to fit different environments.
In the video above the group discuss the genesis of the installation, along with how the creation of the piece was, for them, a journey into the unknown driven by curiosity.
Rain Room is on view at MoMA, as part of MoMA PS1's EXPO 1: New York through 28th July 2013.
I recently went down to Washington DC to visit my mother, Debra, who lives in the nearby suburbs.
Professionally, she's in linguistics, and involved with training people to go overseas.
But as long as I've known her (my entire life), she's been an avid artist and painter, and lately she's become obsessed with creating paintings on her iPad.
I've been aware that people are doing art on their iPhones and iPads, but mostly I'm used to just seeing people's photographs, and not much else.
So I asked her if I could share some of the artwork (as an example of what the iPad is capable of) and also if she'd describe her process.
Last fall, I started commuting from my new home in Maryland to my office in Washington, DC. Driving in rush-hour DC is dreadful, and it turned out that taking the Metro in was far less so, despite some headaches. My partner bought me an iPad for my daily trips and I immediately started using it for drawing, first with Paper 53, with my finger, and then with Art Studio and a stylus. Both programs are incredibly satisfying and close enough to the sensation I have when I do my normal pencil drawings or pastel paintings.
With Paper 53, I ended up with a series of portraits of fellow Metro riders, everybody exhausted in the mornings and even more so headed home in the evenings. Later, when I started using Art Studio I was able to get more detailed; it’s a far more sophisticated program using layering and infinite color shades. There was enough online instruction about PhotoShop (very similar) and from other Art Studio users that I was able to get the basics very quickly. The amazing thing to me is how many people stopped me on the Metro, saying they’d never seen anyone use it for drawing before; funny, because when I first started seeing iPad TV ads, all I really noticed was the possibility for doing art. I’m pretty obsessed with the whole thing; I can’t imagine living – or commuting -- without it now.
Her website is here.
See the rest of the story at Business Insider
How does a cricket become an artist? Try placing it in one of Harvey Moon's drawing machines where its movements will be tracked by a camera and turned into original works of art. Bugs Draw For Me, just one of Moons' impressive setups, are "happy collaborations" built in his Chicago studio where he creates the system, a set of rules, and allows a machine to do the rest.
The machines are created from motors and servos, while the drawings they create are defined by algorithms which determine the machine's movements and gestures. For Moon the art isn't necessarily the drawing that the machine produces, but rather the performance of the machine in the act of drawing.
Part of that process is how, often, a machine can fail at what it was told to do. "That loss of communication and that failure for a machine to communicate properly is what I find exciting and the randomness in which it produces these results." Moon says above. An example of this is found in his drawing machine that pulls satellite imagery from Google Earth and draws it randomly, creating "impossible maps" which showcase the failures of machines and their inability to communicate properly.
With their mechanical movements that break down the act of drawing, it's what the machines can highlight about ourselves and our interaction with the world that interests Moon. For instance, the way a machine incrementally drawing an image shows us the gradual progression of the creative process, which is something we might miss if it was drawn with the dexterity of a human hand. "It plays with a different way of producing work, where we don't have to rely on our own physical bodies to produce art, we can extend our system beyond our own hands." Moon notes.
You can check out some of the images the machines have drawn below.
Jean Baudrillard, the French philosopher whose ideas inspired The Matrix, didn't live long enough to sign up for a Facebook account.
It's a shame. As somebody who wrote about reality and simulations, he would've seen his theories echoed in the way social media allows us to create a virtual persona—and how that persona starts to become equally, if not more, important than our real life selves.
Geoffrey Lillemon and Stööki explore similar conceptual territory with Like to Death, a subversive project that explores Facebook's digital shelf-life. Inverting Facebook's most popular interactive mechanism--the omnipresent "like"--the project actually disintegrates a bit with every thumbs up, whereas not liking it will preserve the project from experiencing an untimely digital death.
Upon loading the Like to Death website, users are presented with flickering, pixelated white light on a black void. In the middle, the robed figure of Death, flanked by three symbols. On Death's fingers, four heads in place of rings. Lillemon and Stööki describe these symbols as “demons”—an alternative to terms like digital personas or simulacra. As more and more people “Like” the project, the portrait gets destroyed “by being engulfed in flames and particles.” And if users refresh the page, they will see Death undergoing further disintegration as likes accumulate.
Stööki, founded by Luke Hippolyte, Nadia Abbas and Quincey Cassell Williams, is in one part an independent jewelry and apparel label, but also an art collective. Based in London, Stööki is interested in fusing jewelry with garments, and transforming “graphic art into a 3D form.” Geoffrey Lillemon, a leading figure in the contemporary Net Art movement, works with digital 3D animation and modeling. His style is one that's clearly inspired by the Tumblr generation's lo-fi, DIY approach to visual art.
Asked to describe Like to Death's “mortal time based experience,” Lillemon had this to say:
“It's art that may or may not last as long as archiving is possible. In this case we take a portrait of Death, and his state of existence is drastically altered and diminished by people clicking the 'Like' button until it is completely destroyed. If people like it to death, then it's gone forever. But if they don't like it, then it keeps on existing. So the way I see it is, if they 'like' it, they don't want it to live; therefore not liking it means they like it.”
Stööki often use social media to engage with their audiences, but recognize the pitfalls of this type of social interaction.“It's ironic that some people have a constant battle with saying things like 'I'm going to delete my Facebook, or I'm trying to give this a break and stick to Twitter, and then two months later they are back on it,” said Stööki. “It's more about making a point when it comes to Like to Death—we are all aware of online personas, but we never really explore the fact that it takes many of us to build a social network and many of us to destroy it.
“We don't actually realize the power of 'Like' and 'Share' just gets stronger and stronger. Who knows, one day we may be able to vote just by clicking on one 'Like' button,” they added.
The tiny metal pins used as admission tickets at The Metropolitan Museum of Art are officially no more.
According to The New York Times, the small, colorful tin tokens have become too expensive, and the world-famous museum will switch to a new paper ticket system that uses detachable stickers.
“We realize, without sounding crass, that it’s a beloved brand and a beloved symbol,” Harold Holzer, the Met’s senior vice president for public affairs, told the Times. “One of my assistants has a whole rainbow of the colored buttons on her desk.”
According to the Times, the museum ordered 1.6 million buttons four times a year at a cost of three cents per button. The new paper sticker-tickets will cost only a penny.
It makes fiscal sense, but people are still taking to Twitter to express their disappointment.
the Met is getting rid of their metal admission pins and i'm actually distraught because i can't find any of mine :(— Jackie Close (@jackieaclose) June 28, 2013
I still have Met pins from when I was little and my parents took me for the first time.— Brennan Monaco (@Brennan) June 28, 2013
Sad but those Met pins seemed to fall off more than should have .... http://t.co/gNQyWlP4rZ— Scott Talan (@talan) June 28, 2013
The 42-year-old token system had come to symbolize not only your entry into the Met, but an iconic souvenir that has even been used in works of art like Ji Eon Kang's "Dress."
For anyone who wants to stock up on the tiny buttons while they still can, head to the Met this weekend — the New York museum won't officially stop selling the tokens until this coming July 1, when it switches to its new seven-day-a-week schedule.
And for those who have all 16 colors of the pins (they changed daily in random order), keep them as collectors items — they'll be worth something someday.
Startup Dashboard Co-op has changed the face of the historic east Atlanta neighborhood called Edgewood Avenue from just plain old back to gold.
Edgewood Ave had once been a thriving community until its residents abandoned the area. For decades following the end of segregation, the rows of neglected buildings stood empty until a contemporary art company decided in 2011 to rip down the boards that covered the vacant buildings' dusty windows.
The idea was to "let the public see what the building[s] looked like in its best dress," says Courtney Hammond, co-founder of Dashboard Co-op, a startup that seeks "raw space" for contemporary artists.
At the time, Dashboard had only existed for one year and Hammond and her co-founder, Beth Malone, had no idea what kind of impact their six-hour show would do for development in the neighborhood. "Our intent back then was to show high quality artwork and have interesting platforms to show it in," Hammond tells Business Insider.
How well has it worked?
Today, Edgewood is one of the most popular and active nightlife corridors in the city.
Turning spaces into gold
Since 2010, Dashboard has hosted around 12 shows — each show costing an estimated $33,000 to produce. Though Hammond says her talented team never spends as much as they're supposed to.
To find spaces, Hammond and Malone do a lot of wandering, talking to people, and searching through tax records.
When they were approached by a developer about Edgewood, Hammond and Malone were intrigued — they had both attended college near the area.
"[When I was a student], all of the windows in those buildings were boarded up," Hammond says. "I had never seen inside any of those buildings."
"There were two thriving businesses (Sound Table and Vesuvius) that were divided by one block on Edgewood Avenue. The street was very dark and pretty intimidating to walk down."
The developer wanted Dashboard to bring attention to the vacant buildings between Sound Table and Vesuvius. After contacting every building owner on the block, the team was given permission to use five buildings as platforms for seven artists.
"We love when the space becomes the artwork and the artwork becomes the space."
"We're pretty tenacious ... persistent ... whatever you want to call it," Hammond says. "We gave the artists a part of a building and asked them to build an immersive installation for the public that complemented the architecture of the space they were in."
Edgewood's debut art show brought in around 2,000 people in one night.
"We promoted the show as an 'art stroll' … people just moved up and down the street. Afterward, some of the owners called to tell us that a few visitors had contacted them about opening up businesses. Now every one of those buildings are filled."
Another show Dashboard hosted took place at the Goat Farm when it was still a 12-acre abandoned 19th-century cotton gin factory. Today, it's The Goat Farm Arts Center, a thriving arts incubator serving as a living and working space for one of the most densely packed groups of artists in the nation.
It only took a few shows before the founders realized that Dashboard's productions caused a "ripple effect" in neighborhood development.
"We have loved seeing how clever, talented artists can transform a section of a city, if only for just a moment, that in time changes the whole game for the area," Hammond says.
It all started in "a smelly, smoky Atlanta bar"
Hammond and Malone met at Georgia State University when Hammond was studying sculpture and Malone majored in art journalism. But it wasn't until their late 20s when they met in "a smelly, smoky Atlanta bar" to discuss platforms for installation artwork that plans for Dashboard were drawn up.
"It turned out we both noticed that the economic decline had resulted in a lot of vacant buildings." The two began exploring buildings that they wanted to use for shows, especially vacant, boarded up ones.
"We find that abandoned buildings are really interesting. We can go in and transform the entire space because it's like a clean slate. It helps to have artists who are inspired by the space ... it gives them inspiration to build off of that space."
"We love when the space becomes the artwork and the artwork becomes the space."
The art explosion in Atlanta
"There are so many organizations that started around the same time we did ... it was basically right around the time that, art-wise, we were at rock bottom economically," Hammond says.
"And now there's so much happening with the people who stuck around. It's this tenacity that has given this city a competitive edge in the art world."
When creative people gather together, it attracts other young creative people.
"If you look at demographics, the downtown area is much younger than it was a few years ago," she says. "There's this competition that's good. It isn't about making art anymore. It's about making good art."
Hammond says that Atlanta has given Dashboard the platform that a bigger city — such as New York — never could have, because there simply isn't any free space in more crowded cities.
Although Atlanta will always be home for the Dashboard founders, Hammond says they hope to impact other small growing cities around the country in the near future.
But as of right now, they're happy bringing the rest of the country to Atlanta.
The wait for the Museum of Modern Art's new installation "Rain Room" is currently seven to eight hours long, all because a blog mistakenly wrote that today was the last day of the exhibit.
Spoiler: It's not.
MoMA tweeted earlier today warning visitors of the long wait time:
A note about #RainRoom: the current wait is 7-8 hours. It was blogged somewhere that today was the last day. It closes 7/28, not 6/28!
— Museum of Modern Art (@MuseumModernArt) June 28, 2013
See what the "Rain Room" looks like below.
Instagram recently rolled out its new video feature, which offers users the chance the create short films up to 15 seconds long.
Even though it has only been a few weeks, users are already testing the artistic limits of the video-sharing app, uploading avant garde short films using hashtags such as #creativefilm or #videoart.
We were interested in the most experimental and abstract of these, the sort of clips that you might see in some hole-in-the-wall art house theater, so we searched around and embedded the best so that you could watch them right here.
So grab a pair of headphones and take a look!
"Aqua" by ldnusabdagh: There's as much reason to watch this video for its sounds as its visuals; the splatter of water comes across crystal clear.
Follow ldnusabdagh on Instagram.
"EXTREMITY" by jbgart: Try not to get lost staring at this medley of hands.
Follow jbgart on Instagram.
"Surfing" by Petertandlund: Put some music to it, and this could easily be an opening credits scene.
Follow Petertandlund on Instagram.
See the rest of the story at Business Insider
Over 29,000 bodypaint enthusiasts gathered in Austria last weekend for the 16th annual World Bodypainting Festival.
Artists and models from 45 countries, including India, Kazakhstan and the Philippines, competed in the "Mecca of Bodypainting" event.
This year's theme was "Planet Food," and competitors showed off their intricately painted food-themed bodies.
The entire body is used as a canvas during the festival and though all models must wear underwear, they are free to go topless.
Artists compete in categories such as brush, sponge, and airbrush.
The artists take hours to create their living works of art.
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No Picassos will adorn Bernie Madoff's prison cell walls.
And high-end collectors eager to get ahold of the $17 billion Ponzi schemer's art — out of spite or otherwise — can bid on his 61 piece collection at auctions at Sotheby's in Manhattan and Stair Galleries in Hudson, New York, Bloomberg reports.
Though the collection is extensive, not every art appraiser is impressed.
"It's a fairly lackluster group," art appraiser Victor Wiener told Bloomberg. “If you think about the amount of money this man had, he could have been buying fabulous paintings.”
The highlights include a 1947 Picasso lithograph depicting a black bull, a set of six 1973 bull lithographs by Roy Lichtenstein and a small 1952 Matisse crayon drawing of a woman’s head.
While there also are important postwar artists -- Andy Warhol, Jasper Johns, Frank Stella, Brice Marden, Cy Twombly, Ellsworth Kelly -- most are represented by works on paper that are part of large editions.
For years trustees have been liquidating Madoff's toys — like yachts and sports cars — to benefit his victims.
The items, formerly festooned in Madoff's Manhattan and Queens offices, have an insured value of more than $575,000.
Snapchat, the service that lets users send photos and videos that automatically delete themselves 10 seconds after a recipient opens them, is a surprisingly versatile tool for people willing to get a little creative with it.
While it has a reputation for being used by teenagers for sneakily sexting each other, the app has found use as a way to discretely message coworkers and to create some really awesome artwork.
Creating works of art
This guy has some really fun drawings that he made within Snapchat.
Making mock-war correspondent stories using little green Army men
The idea behind the section, or subreddit, is to take pictures of little green Army soldier toys posed in random locations and to come up with fakes stories for the missions that they are sent on.
Quickly solving crossword puzzles
Kanyi Maqubela put a fun post up on his blog a few weeks back about using Snapchat to let friends help you with crossword puzzles.
By sending a picture of the empty puzzle and the clues to a bunch of his friends, he was able to solve the New York Times' notoriously tricky crossword in minutes. Pretty neat.
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It’s commonly believed that few assets hold their value better than art. After all, if hedge fund managers are filling their houses with art then it must be a smart thing to invest in, right? Not so fast. This interesting paper sheds doubt on the idea that art is as good an investment as is commonly believed:
“This paper shows the importance of correcting for sample selection when investing in illiquid assets with endogenous trading. Using a large sample of 20,538 paintings that were sold repeatedly at auction between 1972 and 2010, we find that paintings with higher price appreciation are more likely to trade. This strongly biases estimates of returns. The selection-corrected average annual index return is 7 percent, down from 11 percent for traditional uncorrected repeat-sales regressions, and Sharpe Ratios drop from 0.4 to 0.1. From a pure financial perspective, passive index investing in paintings is not a viable investment strategy, once selection bias is accounted for. Our results have important implications for other illiquid asset classes that trade endogenously.”
By Arthur G. Korteweg, Stanford Graduate School of Business
Roman Kräussl, Universite du Luxembourg
Patrick Verwijmeren, Erasmus University Rotterdam