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Art, Technology And The Law: Capture By Paolo Cirio – Intellectual Property – Canada – Mondaq News Alerts



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This bulletin marks the first in a series that will explore
technology-based art and its intersection with pressing legal
issues in the fields of intellectual property and privacy law.

The first work discussed in this series is by digital artist
Paolo Cirio. His work typically invokes legal, economic, and
cultural systems at play in our contemporary information-based
society. This results in interventionist artworks that use web
platforms and interfaces, digital artifacts, photos, installations,
videos, and public art.

His most recent work, Capture, consists of a database of 4000
faces of French police officers, sourced from purportedly public
online sources. The images are then processed using facial
recognition software and posted online, on a web platform created
by the artist specifically for the purpose of crowdsourcing the
identity of the police officers.

The work exists through multiple spheres: as a work of Internet
art (the website described above located at, as a work of public
art (Cirio printed the officers’ headshots as street art
posters and posted them in urban public spaces around Paris), and
as a work of installation art meant for the museum/gallery space
(Cirio selected 150 faces to compose a matrix of prints on a 15
meter gallery wall).

Capture is meant to comment on the “potential uses and
misuses” of artificial intelligence systems, and more
specifically facial recognition software. Cirio questions the
asymmetrical power relationship between the State, represented
through law enforcement, and its citizens. In doing so, he turns a
lens towards issues of privacy protection, image rights, and
copyright, but also how artificial intelligence systems intersect
with these areas of law and upend the legal ramifications inherent
to their use. Cirio’s work also exposes how the legal and
regulatory loopholes that benefit those in positions of power,
often aided by the use of artificial intelligence, may be used
against them, as an act of political subversion. Indeed, Cirio aims
to show that artificial intelligence systems, when left unchecked,
may have particularly harmful consequences for those targeted by
such systems, even the police.

Recently, this work came under fire when France’s Minister
of the Interior, Gérald Darmanin, denounced the work
publicly, calling for the cancellation of an exhibition of the work
at Le Fresnoy – Studio national des arts contemporains, one of
France’s foremost contemporary art institutions. Le Fresnoy
reacted by removing the artwork in question from its Fall 2020
exhibition. This of course begs the question: is Cirio’s work
legal? Could it be exhibited in Canada? Here, we examine Capture
through the lens of various aspects of Canadian privacy and
intellectual property law.

Capture and the Right to Privacy

In Canada, an individual’s right to privacy is a fundamental
right guaranteed by the Canadian Charter and, in Quebec,
the Quebec Charter as well as the Civil
. The right to privacy encompasses a collection of rights
(for example, the right not to be subject to unlawful search and
seizure, the right to confidential treatment of one’s personal
information, etc). It generally refers to the concept that
one’s personal information is protected from public scrutiny,
namely through public or third-party disclosure. An
individual’s consent is considered to be the cornerstone of all
privacy legislation, whether provincial or federal. Indeed, it is
necessary to obtain consent before processing collecting, using, or
disclosing personal information, without which the circumstances in
which such information may be processed are limited.

Personal information is any information that relates to an
individual and allows that person to be identified. Such
information includes one’s name, address, date of birth,
financial information, etc. Personal information may also be
regarded as sensitive, in which case it requires a greater degree
of protection. Information relating to one’s health, biometric
information (i.e. physical or behavioral human characteristics that
may be used to digitally identify a person), and genetic
information are considered sensitive.

In Quebec, a business that conducts its activities within the
province and collects, holds, uses, or communicates personal
information is subject to provincial privacy legislation (the
Act Respecting the Protection of Personal Information in the
Private Sector
). The Act may also apply to
out-of-province businesses provided that some aspect of their
business is conducted in Quebec, which would necessarily include
the treatment of personal information of Quebec residents.
Individuals are not subject to the application of the Act.
However, if an individual infringed another person’s right to
privacy, they could incur civil liability by virtue of Quebec’s
extra-contractual liability regime.

Federal privacy legislation (the Personal Information
Protection and Electronics Documents Act
) equally is only
meant to apply to businesses. Yet, a recent Federal Court decision
ruled that an individual, who was the sole owner of a website
operating out of Romania, had contravened PIPEDA by
collecting, using, and disclosing on his website personal
information contained in Canadian court and tribunal decisions for
inappropriate purposes and without the consent of the individuals
concerned. This decision is particularly instructive because
liability was imposed on an individual who was solely operating a
website and residing outside of Canada.

The similarities to Capture are indeed noteworthy, since Cirio
collected individual police officers’ images, ran them through
a facial recognition software, and disseminated those images on a
website, which he solely operates, to crowdsource the identity of
the police officers, without their consent. If, for example, Cirio
used the images of Québec or Canadian police officers, they
could potentially take legal action against him pursuant to
Québec’s civil liability regime or PIPEDA‘s
compliance rules.

It is important to note, though, that one’s right to privacy
must be weighed against other fundamental rights or public policy
interests, such as freedom of expression (which includes artistic
expression) and the public’s right to information. These are
certainly two relevant considerations with respect to Capture and
indeed place limits on the right to respect for one’s private
life. The balancing of these rights and policy concerns will
necessarily depend on the nature of the information disclosed and
on the situation of the individuals concerned. With respect to
Capture, one could argue that police officers, as law enforcement
agents acting within their official capacities, might have a lesser
expectation of privacy as compared to a citizen who is not in a
position of state authority, and that Cirio’s freedom of
artistic expression and intention to use Capture as a form of
political commentary might outweigh the individual police
officers’ right to privacy.

Capture and the Right to One’s Image

In Québec and other Canadian provinces, the right to
one’s image is included in the right to respect for one’s
privacy. It includes the ability to control the use that is made of
one’s image. Violation of a person’s right to their image
may arise if, for example, it is published without consent and
enables the person to be identified. The scope of protection is
typically greater in Quebec, as compared to other provinces, where
the right to one’s image is enshrined in the Quebec
Charter, and protection is afforded to any and all
individuals, not just celebrities or persons of notoriety.

Statutory protection of one’s image is also available in
certain common law provinces, although provided for in regular
statutes, not quasi-constitutional instruments. In some other
provinces where no such statute exists, it would be interesting to
explore the applicability of certain common law torts, for example
the tort of misappropriation of personality. Misappropriation of
personality typically applies to the unlawful use of a
celebrity’s image or likeness, although, in recent years, signs
point to a broadening of protection to include non-celebrities.
Even though the bar is relatively low to be considered a
“celebrity” in an image rights dispute, it is nonetheless
interesting to look at how Capture fits into this context. For
example, the police officers whose faces were included in the
artwork are unlikely to be considered “celebrities.” But,
as representatives of the State, might they have a claim to some
kind of notoriety status? As well, a claim for “intrusion upon
seclusion” would likely spark an interesting debate, since the
photographs of the police officers were allegedly taken from their
social media profiles and could therefore hardly be considered

As discussed above, whatever the basis for an image rights
claim, it will always be balanced against other fundamental rights
or public policy interests, such as freedom of expression
(including artistic expression) and the public’s right to
information. Again, these are two relevant considerations with
respect to Capture.

Capture and Copyright

The fact that the photographs were allegedly taken from social
media profiles also raises the question of copyright ownership,
exceptions and licensing. Too often, it is assumed that a photo, an
image, or a work of art that is found online, for example on a
publicly accessible website, is for anyone to use, for free and
without restrictions or limitations. This assumption is misguided
at best, and often wrong in practice. Copyright gives the author or
other rightsholder the exclusive right to, among other things,
reproduce, publish, and communicate the work to the public. It may
thus be necessary to obtain the copyright owner’s consent
and/or an assignment or licence to disseminate the work.

In the case of Capture, it has been well-publicized that Cirio
did not obtain such prior consent, or at least, that he believes
the images to be in the public domain. However, some or all of the
photographs may arguably be covered by copyright. For example, if
any of the images were taken by a photographer (whether
professional or amateur) and found on a newspaper’s website,
copyright likely vests in both the photographer and/or the
newspaper. Alternatively, if the images were downloaded from a
social media website, such images may also be covered by copyright.
Social media sites, however, typically provide permissive terms and
conditions such that images that are uploaded to those sites are
covered by a non-exclusive, transferable, worldwide license for
distribution within the social media platform in question. As such,
if one were to download an image from a social media site and
redistribute it elsewhere, a license would need to be obtained
prior to such use.

There are, however, a certain number of exceptions to copyright
infringement, and if the use of the copyrighted work falls within
one or more of these exceptions, an otherwise unauthorized use may
be considered “fair dealing.” Such use would therefore be
considered a defense to copyright infringement. However, unlike
other jurisdictions such as the United States, in Canada, for
dealing to be considered “fair,” it must necessarily fall
under one of the statutory exceptions provided for in the
Copyright Act. It is worth noting, though, that no
exception exists for artistic expression per se.
Consequently, artworks may come within the scope of fair dealing on
account of such exceptions as research, satire, parody, or

It is also worth mentioning that, in Canada (as in France), an
author has moral rights in their work. These include the right to
the integrity of the work, and they allow the author to preserve
its intended meaning. Assuming that the police officers’
photographs were not taken with the initial aim of being
subsequently included in such an artwork, and the author of a given
photograph took issue with its inclusion in Capture, a moral rights
claim could be considered.

Capture in an Era of Automated Decision-Making

In Canada and Quebec, algorithmic (or automated)
decision-making, as it relates to the treatment of personal
information, is not currently subject to a particular legislative
framework. However, that will soon change at the provincial and
federal level. Bill-64 in Quebec and Bill C-11 at the federal level
will modernize privacy legislation, namely to introduce the concept
of algorithmic transparency. Indeed, the introduction of automated
decision-making concerns in privacy legislation is a relatively new
development introduced by Europe’s General data Protection

Automated decision-making refers to an automated process, that
may or may not rely on an artificial intelligence system and that
processes personal information so as to generate predictable,
quantifiable results (for example, an online loan application or a
telemedicine app’s triage questionnaire). If Bill-64 and Bill
C-11 pass in their current state, they will introduce legal
obligations for a business to inform individuals when they use
their personal information to render a decision based exclusively
on an automated process.

Such legislation will also allow individuals to request from a
business that they be informed about which personal information was
used to render the automated decision and what were the 
principal factors and parameters that led to that decision.
However, given that AI systems typically rely on complex algorithms
and, as a result, lack explainability, such requirements might be
rather illusory. A work like Capture indeed captures the
incongruity behind such measures, by showing how quick and easy it
is to build a database that relies on algorithmic facial
recognition tools.


Paolo Cirio’s work, and Capture specifically, builds on
previous art forms and practices where art, technology, and the law
collide. One need only look to the many appropriation artists who
have been sued over the years for copyright infringement to see
that the art world is not exempt from legal scrutiny. Here,
Cirio’s work certainly raises important issues. In interacting
with his work, we are left to wonder: How far can an artist go in
their artistic and political commentary? When an individual’s
fundamental rights are at stake, has the artist gone too far? Or,
in his attempt to denounce law enforcement’s use of AI to
police individuals, has he not gone far enough?

The content of this article is intended to provide a general
guide to the subject matter. Specialist advice should be sought
about your specific circumstances.

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Art for art's sake – Strand



(Content warning: some videos [especially Understanding Contemporary Art 8.1] show artworks with unsettling themes or images of blood.)

With our winter break coming to a close and lockdown forging on, we could all use some lighthearted entertainment. As the winter term starts and students gain excitement for a new beginning (and new year), there is an opportunity to learn and expand our art education. Abbozzo Gallery is helping make art education easier and more accessible with a new educational project. This unique, video-based project is broken down into eight chapters: chapter 1: introduction to modern and contemporary art, chapter 2: understanding an artwork, chapter 3: starting an art collection, chapter 4: the art market, chapter 5: investing in art, chapter 6: the role of commercial art galleries, chapter 7: conceptual art, and chapter 8: photography.

This organizational method allows for easier access and absorption. The videos are collected through YouTube, which provides captions for those who are deaf or hard-of-hearing, and the descriptive nature of the videos allows for the visually impaired to participate. There is a concern regarding some of the videos that rely heavily on images, however, meaning that visually impaired individuals cannot utilize them in their learning. Each section provides a series of videos presented as lessons, interviews, documentaries, and panel discussions to help us consume the material while teaching us about art.

Although the videos differ in length and in publication date, this does not dictate the amount of information given. Some shorter videos focus on one subject and look at it in depth, while longer ones provide overviews of modern and contemporary art and vice versa. The amount learned from each video simply depends on how much time or interest you have to give; one can still gain a good basis of understanding by picking and choosing videos with the presentation format that best works for them. I will not be discussing each video in length but will highlight some key points or ideas.

chapter 1 starts with a video about abstract art. It discusses the lack of understanding that existed when abstract art first emerged. As with anything that is new and that challenges traditional ways of thinking, people initially lacked mechanisms for understanding abstract art. Artists like J.M.W. Turner, James Abbott McNeill Whistler, and Victor Hugo demonstrated that abstract style is not necessarily abrupt through their depictions of real things, like landscapes, to show that such subjects can look abstract, too. In other words, abstraction does not entail a total disregard for realism, a style that was highly regarded at the time. Abstraction was not widely accepted, as many were not used to taking on the perspective that this art form provides. This style shifted the lens by which people considered and looked at art. The change in art that abstraction demanded occurred in parallel with the changes brought on by the Industrial Revolution in the nineteenth century and the development of photography, which contributed to the emergence of abstract art.

The development of photography allowed artists to pursue their interests in depicting natural things in non-naturalistic ways, as seen in the works of Matisse and Andre Derain at the turn of the twentieth century. Before photography, people wanted to depict and have things depicted as accurately as possible, which allowed art to act as a form of record. With the development of photography, a medium that takes a snapshot of the scene or subject in front of the lens at a given moment, artists were allowed to begin experimenting with the abstract and non-realistic. As a result, new art movements occurred such as Fauvism, Cubism, Futurism, Expressionism, etc.

Art was used to portray new thoughts, feelings, levels of consciousness, and processes while calling on works from many different cultures. This widespread art movement allowed for subjectivity, and it has a timeless quality of critically analyzing art and our world. Although many saw abstract art as a drastic change, abstract forms had already existed in the traditional world (e.g. religion, currency).

Some of these educational videos use sophisticated terminology (which is usually defined or explained), while others use pop-culture references relevant to the time of publication to help viewers gain an understanding of the material. For example, the second video gives basic information—like the fact that modern art embodied an era of experimentation spanning approximately from the 1860s to the 1970s—to the analysis of such information, as is seen with the statement that art mirrors society, thus allowing viewers to analyze themselves and the world. Given that the video was produced in 2014 and was intended for junior/senior high students, it provides a good starting point for those new to art history while solidifying the knowledge of those previously acquainted with it. The second video, like many others, provides a general overview of art history leading up to the birth of modern art and modernism itself. Since these videos were produced earlier in time, some of the beliefs or theories purported about art reflect the scholarship at that time. It is important to note that art continues to grow and change.

The next few video chapters are a series of contemporary and modern art classes from Open Online Academy, New York. The instructor uses his own literature to teach and provides a more thorough account of art compared to the previous video. By using and explaining relevant terminology, the instructor allows viewers to become familiar with such terms and learn how to apply them to art. He importantly points out a helpful tool for understanding new art forms: by juxtaposing them with the prior style(s). The instructor pinpoints Manet’s Music in the Tuileries, 1862 as the hallmark of the turn to modernist art, regarding the lack of both a vanishing point and the traditional use of depth. This series has specific videos on particular artists to better contextualize one’s understanding of modern art, and concludes with contemporary art. The use of well-known artists grabs the attention of newcomers while adding some lesser-known paintings for comparison. Artists such as Duchamp, Kiefer, Pollock, and Rothko are discussed in terms of their contributions to modern art and the beginnings of contemporary art, which started around 1960.

An analysis of these art movements allows one to identify the questions that such movements raised about art, like with ready-made art. The focus on meaning and challenging the definitive was new to people who were used to looking at realistic artistic compositions. Many people disliked and continue to dislike modern and contemporary art but fail to recognize its meaning and significance. Understanding contemporary art first requires learning more about it, which, in a way, makes this art less intellectually accessible. Like abstract art, ready-made works use the familiar (i.e., recognizable forms) and change or challenge their meaning in an engaging, philosophical discourse.

Ready-made art or paintings like Whistler’s challenge the definition of art (is art really even definitive?). A video from The Guardian also questions art, in an honest way, by asking and suggesting answers to the question, “What is art for?” Important ideas are called into question regarding who gets to define art. In Whistler’s case, he was central to debates and underwent lawsuits that called these exact ideas into question.Although these videos focus on the most popular or important pieces of these artistic movements, one should note that there were many contributions to these movements from all over the globe. Europe, especially Italy and France, was seen as the birthplace of or leading contributor to many art styles, but one should still consider art coming from all areas during these times.

The TEDx Cornell Tech chapter addresses common issues and challenges faced when considering modern and contemporary art in order to help viewers understand the role and social impact of these movements. The video argues for an increasing inaccessibility to art, which is ironic if you think about it. In the age of technology, art is more physically available, yet to many is considered more intellectually out-of-reach. Overall, this video suggests some reasons for this and how we can ameliorate them.

Although technology is quite impressive, it is not seamless, as exemplified in the next video’s play-back issue (which may be dependent on the specifics of location or network connection—another downfall of technology that I am sure many of us are familiar with).

I hope that the discussion of Abbozzo Gallery’s educational project has sparked your interest. As aforementioned, this is not a comprehensive summary of the entire chapter but highlights some important and interesting ideas that are cohesive throughout the chapter. with art, it is best to be your own critic and go and judge for yourself. I hope you enjoy the project and take this opportunity to learn more about art!

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Fantasy just one spot on young local artist's exploration of art – Yorkton This Week



The great thing about art is its diversity.

There are different styles and mediums to satisfy the tastes of varied artists and of those viewing the results.

article continues below

For artist Jewel Reynolds, the variety is one of the things which has inspired her creativity.

Obviously fantasy is a preferred theme for you. Why? What is about fantasy you like?

“Iactually started out with realism and a passion for wild cats, like Iwas obsessed,”said Reynolds. “Ididn’t like house cats I only liked wild cats, me and my dad actually painted one of my rooms with all the wild cats you could think of on one wall. It was amazing and Iloved it.

“Meand my siblings would bike ride all the way to the Guzoo which was five miles out of town (she grew up at Three Hills, AB.), and feed the animals, this way we would get a free pass in.

“I would bring my sketch book and just have a day of drawing the animals until it was two then we would bike back.”

But as an artist Reynolds’ focus evolved.

“I also went througha phaseof drawing people,” she said.

“Then Ifound it got borderline boring so I started experimenting.

“Iwould make crazy alien creatures and I found it more fun to come up with stories about places that creature would live, why they needed wings or pale blue eyes, why they looked they way they did.

“Or, just in general coming up with an environment that’s out of this world.

“They just became art pieces Icould explain and share.”

Today, fantastic permeates much of Reynolds’ work, although at only age 30 Reynolds, who has lived in Yorkton since 2016, may yet evolve her work.

Whether she does change her focus, it will just be another step on a path started when she was just a youngster.

“I was interested in art at a really young age because my father, (Robert Sieben), is an artist so I would always draw and colourwith him,” she said.

The passion grew from there.

“Art was always my favouritething to do in school,” said Reynolds.“I used to do lots of crafts and was even encouraged to enter colouring contest and events at a young age.”

Reynolds’ interest in varied mediums started at a young age too.

“My first wood burning was of a lynx drinking water at a watering hole,” she said. “My dad came into my room one day and said ‘Jewel I can trust you right?’, then proceeded to hand me a old school wood burning kit. He just wanted to ensure I didn’t tell my mother and that I didn’t burn the house down or hurt myself. That was in grade eight I do believe.

“I used the back of the original burning kit wood sheets provided, needless to say it snapped in half and I ended up just getting rid of it.”

But the journey had begun.

“My earliest art piece that was recognized in my school was in Grade 5,” said Reynolds. “We ended up painting it on a piece of paper to hang in the gymnasium for a performance, I actually still have a picture of the original art piece, My teacher Miss Wiebe laminated it for me and put a boarder around it.

“I just remember being proud and kinda upset since the paper that the art work was painted on had fallen the night before, and they hung it back up up-side-down.

“I was also recognized for art in Grade 6 and Grade 7 and received medals.”

Gaining some in-school recognition fired Reynolds’s interest farther.

“It wasn’t actually the piece that spurred me it was the people that encouraged me,” she said.“Myfamily was always saying ‘Jewel that’s cool you should sell it and make something of it’.

“Sometimes friends or classmates would say ‘wow that’sgreat. Can you draw me something?’

“I always had a great support from my family, my friends my teacher Miss Wiebe.”

And the encouragement continues to help.

“Finally I created my first painting collection due to my great partner Caleb Campbell,” said Reynolds. “So many times Ihave asked him his thoughts or advice about things.

“He also encourages me to finish projects and art pieces before Iwould just give up and walk away.”

But, where does Reynolds gain her inspiration, especially as her work takes on a fantastical focus?

“Sometimes Ihave dreams that are so wacky and random, but some of my art has come from those dreams,” she said.

“Some art Ihave painted is inspired by photos or just little cute things Irun across via social media.

“But most is just from my imagination.

“Some of my art work coming out now Ihave actually done while super young but held onto because Iwanted to make its day-view into the world as wondrous as Ienvisioned, and wanted to work out all the kinks and mishaps before Iput it out there.”

So does Reynolds have a favourite among her works?

“Honestly this is impossible to answer,” she said. “Ihave done art my entire life and Idon’t think I can pick a favourite.

“A lot of my older stuff was not as good as where I am today with my own style and likes, so more current work is more my favourite.

“Honestly, I cant tell you which one I like more because Ilike each one for their own reasons.

“And, Ifind them all beautiful in their own way.”

It’s much the same when it comes to what medium she likes best.

“I have tried tons of mediums,Isew, draw with markers, pencil crayons, carve, resin, paint with acrylic, oil or watercolour,” said Reynolds. “Ieven recently started trying upholstery and tattooing.

“Ijust like learning new things, and Idon’t think Iwill ever stop trying new things. All of the mediums I’veused so far Ilove. Ican’tpick one over the other.”

Now Reynolds is taking another step, putting her creations out there for the public to purchase. It was not an easy step to take.

“Honestly yes I’mhorrible at advertising myself and not much confidence when meeting new people,” she said. “I just recently was encouraged by Caleb to try and he gives me the confidence to even just put it out their. I’m kinda a recluse when it comes to going out; it’sonly to replenish my stash of crafts or tools and Istruggle with talking about my art work.

“More or less I hoping my art speaks for itself.”

Anyone interested in her works can contact hervia Facebook or email at

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Will Online Art Auctions Be 2021's Hot New Trend in the Art World? – Yahoo Finance



Park West Gallery, the world’s largest art dealer, is thriving and breaking records with their new live-streaming online auctions.

SOUTHFIELD, Mich., Jan. 19, 2021 /PRNewswire/ — Has the global pandemic changed how people are buying art? There is growing evidence to show that art collectors are enthusiastically embracing online auctions as an appealing and safe alternative to purchasing art in-person.

Park West Principal Auctioneer Jordan Sitter auctions off two paintings by artist Jon Rattenbury.
Park West Principal Auctioneer Jordan Sitter auctions off two paintings by artist Jon Rattenbury.

Park West Gallery was one of the first art dealers to pivot to online auctions during the earliest days of the COVID-19 outbreak. Founded in 1969, Park West is the largest art dealer in the world and they have been holding live-streaming online auctions for their collectors over the past nine months.

“We knew collectors would love our new online experience,” said Park West Gallery Founder and CEO Albert Scaglione. “But what we didn’t anticipate is how quickly that segment of our business would grow.”

Since the start of 2021, Park West has seen record sales and attendance at their online auctions. In fact, over the January 15-17 weekend, the gallery sold 1,559 works of art, the largest number of works that Park West has ever sold during an online auction weekend—breaking their previous record set only two weeks ago on New Year’s weekend when a special three-year-old guest auctioneer brought down the hammer on the record-breaking sale.

“There are many benefits of auctioning art online,” said Scaglione. “One of the biggest benefits is the selection you can offer. When we’re auctioning at an event or on a cruise ship, there is a finite amount of art we can fit into the space. But, when we’re online, the variety of art that we can offer to our clients is simply incredible. And we’re taking advantage of that every week.”

One of the highlights of this past weekend was record-breaking sales from two of Park West’s hottest new artists, Ashton Howard and Jon Rattenbury. Howard is a Florida native who has won critical acclaim for his works of “Fluid Realism”—a technique he invented that captures the light and movement of water in a truly unique fashion. Jon Rattenbury, a popular contemporary artist, is well-known for his “dimensional acrylic” paintings, which give his landscapes an otherworldly level of texture and depth.

The January 15-17 weekend also saw record sales for works by the late great Jean-Claude Picot, the renowned Post-Impressionist who passed away in August 2020.

“We’ve really seen a huge uptick in our online art auctions in 2021,” said Park West Principal Auctioneer Jordan Sitter. “I had a client last weekend who knew us from our cruise auctions who had never attended one of our online auctions before. She saw some of our recent press coverage and decided to attend her first one. She ended up spending over $100,000! Art collectors are really responding to this new format.”

This new surge in online art collecting aligns with 2020 research from Barron’s, the Dow Jones & Company magazine, which noted that the COVID-19 crisis could fundamentally boost online art sales and predicted that the shift to online platforms for art collecting could be “both permanent and transformative.”

About Park West Gallery

Park West Gallery is the world’s largest art dealer, bringing the experience of collecting fine art to more than 3 million customers since 1969. Whether it’s masterpieces from history’s greatest artists or the latest artwork from leading contemporary icons, Park West offers something for everyone through its accessible art exhibitions and auctions all over the world. You can learn more about Park West Gallery and its over 50-year history at

Park West also hosts live-streaming online art auctions every weekend. To learn more about Park West’s online collecting events, visit

CONTACT: Tom Burns

Principal Auctioneer Jordan Sitter tells viewers about an original work by Florida artist Ashton Howard.Principal Auctioneer Jordan Sitter tells viewers about an original work by Florida artist Ashton Howard.
Principal Auctioneer Jordan Sitter tells viewers about an original work by Florida artist Ashton Howard.
Principal Auctioneer Jordan Sitter and Park West Gallery Director Morris Shapiro hosted the gallery's record-breaking January 15-17 online auction weekend.Principal Auctioneer Jordan Sitter and Park West Gallery Director Morris Shapiro hosted the gallery's record-breaking January 15-17 online auction weekend.
Principal Auctioneer Jordan Sitter and Park West Gallery Director Morris Shapiro hosted the gallery’s record-breaking January 15-17 online auction weekend.

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SOURCE Park West Gallery

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