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Digital-only artwork fetches nearly US$70 million at auction – CTV News

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LONDON —
A digital artwork sold for nearly US$70 million at Christie’s on Thursday, in the first ever sale by a major auction house of a piece of art that does not exist in physical form.

“Everydays – The First 5000 Days” is a digital work by American artist Mike Winkelmann, known as Beeple. It is a collage of 5,000 individual images, which were made one-per-day over more than thirteen years.

The sale of the work for US$69,346,250 put Beeple in the top three most valuable living artists, Christie’s said in a tweet.

The work is in the form of a new type of digital asset – a Non-Fungible Token (NFT) – meaning it is authenticated by blockchain, which certifies its originality and ownership.

The market for NFTs has soared in recent months as enthusiasts and investors use spare savings to buy up items that exist online. Last month, a 10-second video clip featuring an image of a fallen Donald Trump, also by Beeple, sold for $6.6 million on an NFT marketplace called Nifty Gateway.

“Without the NFTs, there just legitimately was no way to collect digital art,” said Beeple, who makes irreverent digital art on themes such as technology, wealth and American politics.

Asked what he thought of the multi-million dollar bids on his work, the 39-year-old graphic designer, who has created concert visuals for the likes of Justin Bieber, One Direction and Katy Perry, said he was lost for words.

“I don’t know… maybe you can put an emoji into the story,” he said. “It’s so crazy.”

For NFTs, the artist’s royalties are locked in to the contract: Beeple receives 10% each time the NFT changes hands after the initial sale.

“I do really think that this is going to be seen as the next chapter of art history,” Beeple said.

NFT FRENZY

Various digital objects can be minted as NFTs and traded as assets, including art, sports collectibles, patches of land in virtual worlds, cryptocurrency wallet names and even tweets. Twitter Inc boss Jack Dorsey is conducting a digital auction of his first ever tweet, in NFT form.

Art NFTs make up around a quarter of the all-time NFT sales volume ($415 million) according to NonFungibles.com, which aggregates sales history data for the Ethereum blockchain, the most commonly used ledger for recording these types of assets.

Musicians are also getting in on the hype, with American rock band King’s of Leon having launched an album as an NFT.

Beeple says the explosion in NFTs is due in part to the increased amount of time people are spending online during the pandemic. Like many enthusiasts, he also believes they could represent the future of ownership.

“Equities have been the predominant asset class for the last hundred years, or whatever. I don’t think it’s guaranteed that that’s always going to stay like that. I think kids today hate corporations… So the idea that they’re just going to automatically blindly give them their money to invest, I don’t know about that,” Beeple said.

But, like many new niche investment areas, there is a risk of losses if the hype dies down. Many NFTs will eventually become worthless, Beeple added.

Although NFTs can function as a legally enforceable contract, they also raise issues relating to insurance, tax and intellectual property, said Max Dilendorf, a cryptocurrency lawyer and partner at Dilendorf Law Firm in New York.

“If you are a buyer of an expensive piece of NFT, you have to know what features and terms you are subject to,” he said.

“From my experience, participants in NFT markets are not really thinking it through carefully.”

Dilendorf said that he expects the entire physical art market to be digitized in NFT form in the next five years.

(Editing by Rachel Armstrong, Alexandra Hudson)

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Moose Jaw Art Guild meets to discuss its upcoming MJMAG exhibition – moosejawtoday.com

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The Moose Jaw Art Guild is excited for their 54th Christmas exhibition at the Museum & Art Gallery

Led by President Karen Walpole, ten members of Moose Jaw’s Art Guild gathered for only the second time in 18 months to discuss their upcoming exhibition. The forms necessary for submission were distributed, and everyone chatted about how their works were progressing.

The theme for this year is “Looking Out My Window,” to be interpreted by the artist. A variety of mediums are encouraged, including drawings, pastels, watercolours, and sculptures.

Many of the works displayed in MJMAG’s lobby will be for sale. The exhibition will open on Nov. 12th, and continue until Jan. 9th of next year. 

Karen Walpole noted that she is “always excited” to share some of the Art Guild’s venerable history, particularly in regards to its role in the founding of MJMAG. She says that, “Back in 1963, the City of Moose Jaw asked what was then the Moose Jaw Fine Arts Guild to comment on their plan to celebrate Canada’s 100th birthday.” 

The Guild took that chance to strongly endorse and lobby for a “Cultural Centre” in Crescent Park near the Public Library. The Moose Jaw Art Museum opened in 1967, and the Art Guild has had an annual exhibition there ever since. 

Jennifer McRorie, MJMAG’s current curator and director, confirms that the Art Guild was “instrumental in getting the art museum established.” She adds that, “In 2017 we celebrated our 50th anniversary, and so we actually presented an exhibition from our permanent collection that was the result of 50 years of collecting the work of Moose Jaw artists.”

The Guild itself was established on a cold February night in 1929, after a presentation by influential Saskatchewan artists Vaughan Grayson and Barbara Barber. That night, the Women’s Art Association of Saskatchewan was voted into existence. In 1957 it became the Moose Jaw Fine Art Guild, and in 1984 it achieved its current form as the Moose Jaw Art Guild. 

This year’s exhibition comes on the heels, obviously, of the enormous disruption of the global pandemic. Nevertheless, the Guild endures, and is always open to new members. Walpole sincerely emphasizes that one purpose of their showings is to, “provide encouragement and an introduction to many of us that want to try our artistic hands, but don’t know where to start.”

Art is about expression, moving beyond the limitations of language to convey emotion in a subjective, yet direct way. Although it is not possible to control exactly how one’s art is perceived, this should not be a barrier. The main thing, Walpole says, is “to have the confidence to at least attempt an art form of some kind.”

More information about the Art Guild, its meetings, and how to join can be found on their Facebook page.

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Knitting for Guelph's Art Not Shame: 3 things to know about the organization and fundraiser – GuelphMercury.com

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Knitting for Guelph’s Art Not Shame: 3 things to know about the organization and fundraiser  GuelphMercury.com



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So you want my arts job: Art Installer – ArtsHub

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A rare opportunity saw Andrew Hawley join the National Gallery of Victoria (NGV) as a casual art handler after graduating from his BFA in Drawing at RMIT in 2003.

Eighteen years later, he is now the Collection and Exhibition Preparator at Hobart’s Museum of Old and New Art (Mona), known for their eccentric and challenging exhibitions, and undoubtedly, one of the most exciting environments in which to work in art installations, storage, and exhibition preparations.

He also holds a Masters in Cultural Materials Conservation from the University of Melbourne, and has worked across ACMI, the Victorian Arts Centre, ExhibitOne, POD Museum and Art services, and the Melbourne Immigration Museum.

From Ron Meuck’s 10 metre infant sculpture to Ai Weiwei’s White House (2015) in Mona’s Siloam, Hawley and his colleagues are the answer to your question: ‘But how did they manage to get it there?’

Here, Hawley shares the excitement of working on high-profile exhibitions and discusses the skills you would need to pursue this challenging but rewarding profession.

HOW WOULD YOU DESCRIBE WHAT YOU DO?

In a nutshell; I prepare artwork and other culturally significant material for storage, exhibition and loan, and assist with exhibition/display installation. My role is quite varied but I spend most of my time at our off-site collection store where I design, construct and fit out custom packing units for artworks. These vary from timber crates and travel frames to archival board boxes, archival tubes for rolled works and the occasional solander box. I also ensure artwork is clean and display ready. 

I organise and maintain the off-site collection storage area which involves a lot of 3D Tetris. I work closely with colleagues including registrars, a conservator, a mount maker and several other very highly skilled art handler/technicians as well as a wider team of kinetic artwork and time based media technicians.

I assist with exhibition installation/deinstallation and collection changeover at the museum and some external locations during festivals.

I’m also a qualified paper conservator so I undertake some conservation assessments and treatments when required.

Read: So you want my arts job: Museum Program Producer

HOW DID YOU GET STARTED IN YOUR CAREER?

I finished a fine art degree in 2003 and was looking for something outside the hospitality industry and inside the museum/gallery industry. Luckily, a regular customer at one of the venues I worked in (as a chef/cook), let word slip that the National Gallery of Victoria were hiring casual art handlers to prepare to move into the refurbished premises at St Kilda Road. I got the boss’ details, wrote an application letter, attended a job interview and somehow was successful, despite no prior experience.

WHAT DO YOU LOOK FORWARD TO THE MOST IN YOUR JOB?

Unique challenges and a reliance on lateral thinking for solutions – something I experience almost every day. I also have great colleagues with whom I liaise about all aspects of the job. We learn from each others’ creative perspectives.

I love the excitement of a large or high profile exhibition, including engagement with external or international artists and curators, trying to help realise a vision that may or may not be clear in everybody’s mind. I equally love the calm and solitude of a collection store and the fact that I work so closely with museum objects on a daily basis. If I have a bad day, looking at an ancient Egyptian mummified cat or some 2,000 year old bronze knife coins is very soothing. 

IN AN INTERVIEW FOR YOUR JOB, WHAT SKILLS AND QUALITIES WOULD YOU LOOK FOR?

Similar institutional experience in a similar capacity (eg. art handling, art packing) would be a must. It takes many years to attune yourself to the level of care required around culturally significant objects and irreplaceable artworks.

Other qualifiers would include:

  • A strong work ethic
  • An ability to handle multiple projects with strict deadlines
  • The ability to delegate fun jobs
  • The ability to undertake monotonous or tedious jobs
  • Strong, clear communication
  • Patience
  • Physically fit and able

The ability to look outside oneself and one’s own experience for solutions. It’s a bit of a ‘jack of all trades’ kind of position and a good Jack should know when they need to call on a master of something.

Someone who prefers order and neatness in their professional life. I’m in no way the neatest person in my private life but organising a storage area that keeps artwork safe and secure requires a high degree of attention to detail.

WHAT IS ONE OF THE MOST MEMORABLE INSTALLATION EXPERIENCES/PROJECTS THAT YOU’VE WORKED ON?

There’s been a lot over the years – I’ve done everything from helping carry and install a 10 metre silicon sculpture of an infant (Ron Mueck) to hanging iconic works from Picasso, Munch or Tom Roberts. From installing 100 tiny neolithic arrow/spear heads in one showcase to helping build a large, imperial Chinese house framework on glass balls (Ai Weiwei), and from installing famous AFL players’ jerseys in a sports museum (MCG/Australian Sports Museum) to hanging stills from Kubrick’s 2001 Space Odyssey (ACMI).

It’s hard to pick one moment from one project. In recent times, it’s probably been the preparatory work and final install of big MONA shows like On the Origins of Art, The Museum of Everything and our recent Monanisms 2021 collection based exhibition.

WHAT’S THE BEST THING HAPPENING IN YOUR SECTOR AT THE MOMENT?

We’re still operating and I still enjoy my job.

Read: So you want my arts job: Theatre Technician

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