Art
44th annual Penticton Art Auction set for early December – Penticton Western News – Penticton Western News
After almost two years of adjusting on the fly and being forced to reschedule events, the Penticton Art Gallery is set to go ahead with the 44th annual art auction on Dec. 5.
The gallery is giving people the opportunity for a sneak peek on the evening of Dec. 3 so that they can explore all the art that is being sold.
The weekend-long event doesn’t have to wait though. Online pre-bidding opened on July 26 and is set to end 24 hours prior to the start of the live auction.
This year’s event will be conducted both in-person and virtually, via Zoom, and anyone attending the live auction at the gallery will be required to show proof of vaccination.
“If you don’t have a vaccine passport and would like to arrange a private viewing, please contact the gallery and we can make alternative arrangements,” said Penticton Art Gallery Director Paul Crawford.
Among the items available for auction include Andy Warhol pieces from his “Marilyn” series. The opening bid for the Warhol items was $1,500, with an estimated value of $5,000. After Marilyn Monroe’s death in 1967, the artist began to work on his now-famous series.
This year’s auction at the gallery will contain no shortage of historic items available for sale. James Irwin’s NASA flight suit is also up for auction, with an opening bid of $4,500 and an estimated value that the gallery calls “priceless.”
A woolly mammoth tusk rounds out the gallery’s list of “priceless” items but in this case, the piece had an opening bid of $1,750.
READ MORE: Mammoth finds at 44th annual Penticton Art Gallery auction
To view the complete list of available items, the gallery asks that you visit pentictonartgallery.com/annual-art-auction.
“The Penticton Art Gallery champions the transformative power of the Arts through an annual program of thought-provoking exhibitions,” said the gallery’s director.
Crawford said in the latest bi-monthly gallery newsletter that they’ve seen a 60 per cent reduction in revenue over the last 18 months that they had previously earned through a number of fundraising programs, amid the COVID-19 pandemic.
Despite that, he told the Penticton Western News on Thursday that even though he doesn’t know what to expect out of this year’s auction, he’s excited about the gallery’s immediate future.
“As we come to the end of the year, I hope you can help support the Gallery through the purchase of one of our Soup Bowl packages, a work from our Under $500 Exhibition + Sale, Annual Art Auction, the purchase of a membership, early bird tickets to the 2022 Ignite the Arts Festival, or a charitable donation this year,” he wrote in the letter.
READ MORE: Ignite the Arts Festival gets Penticton council’s blessing and funding
Successful bidders will be notified via email within 48 hours of the auction’s closing.
The live auction begins on Dec. 5 at 1 p.m., with the deadline for registration coming on Dec. 4 at 4 p.m.
As of Nov. 25, the auction has raised $8,295, which is 33 per cent of the gallery’s goal for the event.
To register for the live auction, email info@pentictonartgallery.com.
In addition, to get in on the pre-bidding festivities virtually, you can visit 32auctions.com/PAG2021.
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Art
Unique art collection on display – CTV News Vancouver
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Unique art collection on display CTV News Vancouver
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Art
This N.B. artist joined an online movement. Now her art is being shown across the world. – CBC.ca
Since joining a community that dreams of an internet free from giant corporations that can exploit users’ time and data, Victoria West’s digital artwork has been exhibited across the globe.
West, a photographer and digital artist based in Burton, 30 kilometres southeast of Fredericton, has had her work shown in Paris, Rome, Barcelona, Townsville in northeastern Australia, Miami, New York City, and even a museum in Albuquerque, N.M., — all through connections she’s made in Web3.
West warned it was a “rabbit hole,” but what she found in wonderland she doesn’t believe she’d find anywhere else.
Web3 is a future version of the internet.
Web1, West said, was the first version of the internet, in which users passively consumed information.
As the 2000s dawned, Web2 emerged, and users could now post their own content — think Twitter, blogs, YouTube. People are now creating more and more in digital spaces, but the downside of Web2 is that corporations are technically still the owners of all that creation, and they could take your data and potentially do with it as they please.
Enter Web3, which still exists more in theory: nobody and everybody owns the internet. This version aims to be decentralized. It doesn’t eradicate the distrust some people have in mega companies like Google and Meta — it just removes the need for it, because no one person or organization can own the blockchain Web3 operates on.
West said within Web3 there’s an art movement, with artists working together and taking control of their work. Imagine if Leonardo da Vinci had an internet connection, as well as Raphael, Michelangelo and Donatello. It’s the renaissance all over again, West said, except it’s happening with digital art.
“And it’s happening online on a much bigger scale.”
Before learning about W3 in 2021, West said she was in a photography bubble.
Photography isn’t the art form West imagined herself pursuing when she was younger. But when she bought a camera after the first commercial digital models arrived on the market in the mid-2000s, she was hooked.
“I was bothering everybody around me to take their portrait,” she said.
She built up her portraiture business, becoming involved with the Professional Photographers of Canada and competing in photography contests. Still, West didn’t want to just capture moments — she wanted to make them.
That’s when artificial intelligence came on the scene.
West was using Midjourney, a generative AI program, when it was still in beta testing. Around the same time she became involved with Web3, she experimented with blending AI-produced textures into her photography. In her business, AI quickened her workflow and allowed her to change backdrops and furniture.
While creating a piece in 2023 called When I Die, West wanted to design a man underground with roots blossoming into a tree. Well, there aren’t any blossoming trees in Canada in February, West joked — so she made the tree using AI.
“I feel like someone took handcuffs off me, and I’m free,” she said.
Lauren Cruikshank, an associate professor in culture and media studies at the University of New Brunswick, has spoken about the use of AI in universities, but she also thinks about it through an artistic lens.
From the camera to spell check, Cruikshank said the same discussion happens with each new medium: how much of the artistry belongs to the artist, how much to the tools they’re using?
“For some people where it gets uncomfortable is where the role of the human is minimal compared to how much the AI tool is creating or having creative influence,” she said.
With AI, Cruikshank agreed there are degrees — there’s a difference between prompting an AI to generate an image of a beautiful sunset and claiming it as your artwork and what West is doing, combining AI with her own artistry.
“That sounds really compelling to me,” Cruikshank said.
When West first saw Lume Studios on Broadway in lower Manhattan, the place she’d eventually display Eden’s Dye, her immersive art exhibit, she knew she wanted it immediately.
She collaborated on the exhibit with some of her Web3 friends. Los Angeles actors and poets Laurence Fuller and Vincent D’Onofrio wrote poetry to accompany each piece of art, which West created using both photography and AI. A coder friend joined the crew, and the result was a floor-to-ceiling immersive exhibit. West’s collaborators also choreographed performances to complement the art, using music produced by AI.
“Why wouldn’t I do that if I can?” West asked. “It’s freeing, I think, and lets you push the boundaries of photography and what you can do with it.”
While the exhibit leaned heavily on romantic, classical themes and Baroque aesthetics, Eden’s Dye is almost a premonition: minted, digital artwork taking up entire walls in people’s homes, flowers growing from code, experiencing art in virtual realms.
Demand will only grow, West said. Technology will progress and the internet will change. But what she really wanted was for people to walk into Eden’s Dye and be amazed by the art they were experiencing.
“They came because of the art, and they were there enjoying the art. You don’t really need to understand anything beyond that.”
Art
Niagara quilt expo to explore history of modern art form – Welland Tribune
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These aren’t your grandma’s quilts.
Being a grandmother herself, Lorna Costantini said she’s not a huge fan of the above phrase, but she can’t help but use it to describe modern quilting.
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