Several works on view at “Sam Spratt: The Monument Game” at the Docks Cantiere Pietro Cucchini in Venice.
Image courtesy 1OF1. Photography by Anna Blubanana studio.
Art
Lockdown cancels ice rentals, closes museum, art gallery and the Sport and Wellness Centre – ThePeterboroughExaminer.com
The city announced its closure plans Wednesday for the second provincewide COVID-19 pandemic closure that starts on Saturday, including the cancellations of all ice rentals between Dec. 26 and Jan. 22.
Peterborough Transit will continue to operate as scheduled throughout the lockdown, but riders must wear face coverings and maintain two-metre social distancing.
The Art Gallery of Peterborough, the Peterborough Museum and Archives and the Sport and Wellness Centre will be closed to the public, while the Peterborough Public Library will close to the public and bring back curbside pickup service, starting on Dec. 30.
City council will return to virtual meetings in January.
City Hall will be closed to the public until Jan. 22 and people are asked to use phone or online services to reduce traffic at other municipal facilities during the pandemic.
Essential services, including emergency services, public works, transit and wastewater treatment, will continue uninterrupted, according to a press release from the city, with safety measures for staff remaining in place based on public health’s guidelines.
Here’s a look at changes to municipal services that are expected:
Arena Division
All ice rental bookings during the period Dec. 26 through Jan. 22 have been cancelled. A full refund or credit for cancelled dates will be applied. During the holiday season, arena customer service will be closed from Dec. 24 at noon and Jan. 4 at 8:30 a.m. when staff will be available by calling 705-742-7777 ext. 2577 or by email at arenadivisionbookings@peterborough.ca.
Art Gallery of Peterborough
The Art Gallery of Peterborough will remain closed until and including Jan. 22.
Building Services
Beginning Jan. 4, Building Services will provide a modified pickup and drop-off service from their location in the north wing of City Hall. People can access services online or by phone 705-742-7777 ext. 1892 whenever possible. Visit peterborough.ca/building for information, forms and the application process.
Child Care Centres
Licensed centre based and home child care can remain open for the duration of the provincewide shutdown. At this time most licensed child care centres in Peterborough city and county will be open and providing regular full day services for children aged 0 to 3.8 years for the week of Jan. 4 to 8. Families are encouraged to contact their current licensed child care provider to confirm access to care for Jan. 4 to 8.
To support the families of school-aged children, the city will be implementing a targeted emergency child care plan for school-aged children of essential services workers as identified by the province, at no cost to eligible families, from Jan. 4 to 8. Emergency child care services for children of JK/SK and school age (3.8 to12 years) will be available for essential service workers in the city and county.
To be eligible for the emergency child care plan for essential services workers, families must have no other option for child care and be working outside of their home. Families can indicate they are an essential worker and register for emergency child care at OneHSN.com/Peterborough. Registration, approvals and communications will be managed by the chosen Emergency child care agency. Registrations will open Dec. 24 at noon.
Before and after school programs, with the exception of the emergency child care agencies, are required to close from Jan. 4 to 8 and are prohibited from charging fees or otherwise penalizing parents during this time period. For example, parents must not lose their respective child care spaces.
EarlyON Child and Family Centres must close to the public beginning Dec. 26 until Jan. 23. This means that neither indoor nor outdoor programming can be offered during the shutdown.
Families who are currently in receipt of child care fee subsidy may contact your case manager through email or phone if needed.
City Hall
City Hall will be closed to the public until and including Jan. 22. The city will monitor provincial direction on the shutdown and will provide updates on reopening for in-person services as they become available. Beginning Jan. 4, city staff will to be available during regular business hours by phone or email. Call 705-742-7777 or email cityptbo@peterborough.ca. It may take longer to reply to messages depending on call and email volumes, the city advises.
City council
City Council will meet virtually for the Jan. 11 and Jan. 18 general committee meetings.
Community Services
Community Services, Arts, Culture and Heritage, Public Art and the Heritage Preservation Office will be available by calling 705-742-7777 ext. 1822 or by email at communityservices@peterborough.ca.
Peterborough Museum and Archives
The Peterborough Museum and Archives will remain closed until and including Jan. 22.
Peterborough Public Library
The Peterborough Public Library will close at 1 p.m. on Dec. 24 and reopen on Dec. 30 with curbside pickup service in place. Access to the main branch of the Library will be limited to pickup services only. The DelaFosse branch remains closed at this time. Further details are available online at www.ptbolibrary.ca.
Peterborough Sport and Wellness Centre
The Peterborough Sport and Wellness Centre will remain open from 7 a.m. to noon on Dec. 24 and will be closed effective Dec. 25 for the remainder of the provincial shutdown. Wellness Centre memberships will be placed on an automatic hold beginning Dec. 26. Staff can be reached by calling 705-742-7777 ext. 2201 or by email at sportandwellnesscentre@peterborough.ca throughout the closure.
Provincial Offences Act Court
The court administration service counter will be closed for in-person service until and including Jan. 22. Service inquiries and payments can be made by phone 705-742-7777 ext. 2099 or online at peterborough.ca/POA.
Public Operations Centre (Public Works)
The Public Operations Centre (Public Works) administration office at 791 Webber Ave. remains closed to the public. Public Works can be reached for urgent matters at 705-745-1386. This line is monitored 24 hours a day, seven days a week. For non-urgent matters, email pubworks@peterborough.ca, or use the online Report an Issue form at peterborough.ca.
Social Services
Beginning Jan. 4, public access to the Social Services office at 178 Charlotte St. will be limited to two people at a time. Clients are required to wear a face covering and stay in authorized areas only. Social Services client appointments will be done over the phone whenever possible. Current clients can contact their case worker for further information and register for online services through MyBenefits. The local phone number is 705-748-8830 or 1-855-738-3755.
Clients who have bank accounts can contact their case workers about signing up for direct deposit.
All applications for Ontario Works or emergency assistance will be done online at or over the phone, when possible, to minimize face-to-face interaction, following the public health guidance related to social distancing. Applications for other services such as child care fee subsidy and Housing Access Peterborough will also be completed over the phone.
Emergency shelter services will continue to operate as normal, with COVID-19 safety measures in place. Individuals can call 705-926-0096 for emergency shelter services during the Christmas closure, and on evenings and weekends.
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Transit
Peterborough Transit will continue to operate as currently scheduled through the current lockdown date of Jan. 22. Face covering and physical distancing is required. Visit peterborough.ca/transit for service details.
Customer service at the terminal will remain open with only one customer permitted into the facility at a time. A face covering must be worn at all times.
Waste Management
Garbage and recycling collection will continue as normally scheduled. To protect workers, people should ensure that all personal items and personal protective equipment are properly bagged in the garbage.
The Peterborough City/County Landfill will remain open, with COVID-19 safety precautions in place. Face coverings and physical distancing is required. Only electronic payment is accepted (no cash).
The Recycling Depot and Household Hazardous Waste Depot on Pido Road will remain open, with COVID-19 safety precautions in place. More information is online at peterborough.ca/waste.
Making payments to the city
People are encouraged to make use of the numerous methods available when doing financial interactions with the City and avoid using cash.
Property taxes can be paid like any other bill through online or telephone banking using the 15-digit roll number as the account number. Cheques can be mailed to the Tax Office, City Hall, 500 George St. N., Peterborough, Ont., K9H 3R9, or placed in the secure drop box located by the steps at the front doors of City Hall. The City offers preauthorized payment plans by completing an online form that’s available at peterborough.ca
The city does not directly accept credit cards as a payment method for property taxes; however, people can use online bill payment services such as PaySimply, Plastiq or Paytm to pay property taxes online using a credit card. The listed payment services are not affiliates or partners of the city; they may apply service charges and there may be restrictions on the type of credit cards accepted.
For parking tickets, payments can be made online through peterborough.ca, over the phone at 705-742-7777 ext. 1865 or by cheque submitted through mail or using the drop box outside City Hall.
Holiday service update
Many city facilities and services will have modified hours and schedule changes during the Christmas holiday season:
- Arenas: Open Dec. 24 from 6 a.m. to noon and then closed all other days.
- Bensfort Landfill: Open 8 to 11:45 a.m. Dec. 24 and 8 a.m. to 4:45 p.m. on Dec. 28, 29, 30 and 31, then resuming with regular hours Jan. 2 to 22.
- City Hall: Open Dec. 24 from 8:30 a.m. to noon and then closed all other days.
- Garbage and recycling collection: In Ashburnham Ward and parts of Northcrest Ward, Dec. 25 collection moves to Dec. 28 while Jan. 1 collection moves to Jan. 4.
- Hazardous household waste facility: Open Dec. 24 from 8 a.m. to noon and 8 a.m. to noon on Dec. 31, then resuming with regular hours Jan. 2 to 22.
- Recycling drop-off depot: Self-serve operations open around the clock through the holidays and through January with COVID-19 precautions.
- Memorial Centre box office: Closed all through the holidays and through to Jan. 22.
- Peterborough Museum and Archives: Open Dec. 24 from 8:30 a.m. to noon and then closed all other days.
- Peterborough Public Library: Open Dec. 24 from 10 a.m. to 1 p.m., with curbside pickup from Dec. 29 to 31 and then from Jan. 3 to 22.
- Provincial Offences Office: Open Dec. 24 from 8:30 a.m. to noon and then closed all other days.
- Social Services Office: Open Dec. 24 from 8:30 a.m. to noon, closed for rest of holidays and then reopening Jan. 2 to 22 9 a.m. to 3:30 p.m. weekdays with a maximum of two people at a time.
- Sport and Wellness Centre: Open Dec. 24 from 7 a.m. to noon and then closed all other days.
- Peterborough Transit: Last Dec. 24 run at 7:15 p.m., no service Christmas Day, 7:30 a.m. to 7:15 p.m. Boxing Day and Dec. 27, last run on Dec. 28, 29 and 30 at 11:15 p.m., last run at 7:15 p.m. on New Year’s Eve no service on New Year’s Day and then normal service Jan. 2 to 22 with COVID-19 protocols.
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Art
In Venice, 1OF1 and Collector Ryan Zurrer Introduce Web3 Phenom Sam Spratt to the Art World – ARTnews
Digital artist Sam Spratt is living the artist’s dream. This week, he celebrated the opening of “The Monument Game,” his first-ever art show. But it wasn’t a group show in some DIY space in New York, where he is based, like so many artists typically start out, but a solo exhibition in Venice, during the art world’s biggest event of the year—the Venice Biennale. How did Spratt–a virtually unknown name in the art world–make such a tremendous leap? With a little help from his friends, of course, including Ryan Zurrer, the venture capitalist turned digital art champion.
“Something the capital ‘A’ art world doesn’t recognize is the power of the collective, it sometimes leans into the cult of the individual,” Ryan Zurrer told ARTnews during a preview of the opening. “But this show is supported by the entire community around Sam.”
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Spratt’s Venice exhibition was put on by 1OF1 Collection, a “collecting club” set up by Zurrer to nurture digital artists working in the NFT space. Since its launch in 2021, 1OF1 has been uniquely successful in bridging the gap between the art world and the Web3 community. Last year, 1OF1 and the RFC Art Collection gifted Anadol’s Unsupervised – Machine Hallucinations – MoMA to the museum, after nearly a year on view in the Gund Lobby. Zurrer also arranged the first museum presentations of Beeple’s HUMAN ONE, a seven-foot-tall kinetic sculpture based on video works, showing it first at Castello di Rivoli in Italy and the M+ Museum in Hong Kong, before sending it to Crystal Bridges Museum of American Art in Arkansas.
With “The Monument Game,” Zurrer is once again placing digitally native art at the center of the art world. While Anadol and Beeple had large cultural footprints prior to Zurrer’s patronage, Spratt is far earlier in his career. But, what attracted Zurrer, he said, was the artist’s shrewd approach to building a dedicated, participatory audience for his work. He did so by making his art a game.
“When I first started looking at NFTs, I spent a long time just figuring out who the players were,” Spratt told ARTnews. “The auctions were like stories in themselves, I could see people’s friends bidding, almost ceremonially, to give the auction some energy, and then other people would come in, and it would get competitive, emotional.”
Spratt released his first three NFTs on the platform SuperRare in October 2021. The sale of those works, the first from his series LUCI, was accompanied by a giveaway of a free NFT to every person who put in a bid. Zurrer had been one of those underbidders (for the work Birth of Luci). While Spratt said the derivative NFTs were basically worthless, he wanted to give something back to each bidder. Zurrer, and others it seems, appreciated the gesture and Spratt quickly gained a following in the Web3 space. The offerings he gave, called Skulls of Luci, became Sam’s dedicated collectors that now go by The Council of Luci. 47 editions were given out and Spratt held back three.
All the works from LUCI are on view at the Docks Cantiere Cucchini, a short walk from the Arsenale, past a rocking boat that doubles as a fruit and vegetable market and over a wooden bridge. Though NFTs typically bring to mind glitching screens and monkey cartoons (ala Bored Ape Yacht Club), the ten works on view depict apes in a detailed, painterly style and emit a soft glow. Taking cues from photography installations, 1OF1 ditched screens in favor of prints mounted on lightboxes.
“We don’t want it to look like a Best Buy in here,” said Zurrer.
Each work represents a chapter in a fantasy world that Spratt dreamed up. Though there’s no book of lore to refer to, there seems to be some Planet of the Apes story at play in which an intelligent ape lives alongside humans, babies, and ape-human hybrids. Spratt received an education in oil painting at Savannah College of Art and Design and he credits that technical training with his ability to bring warmth and detail to the digital works. He and the team often say that his art historical references harken to Renaissance and Baroque art, though the aesthetics—to my eye—seem to pull from commercial illustration and concept art. That isn’t too surprising given that this was the environment that Spratt started off in after graduating SCAD in 2010.
“After school I was confronted with the reality that for a digital artist the only path was commercial,” Spratt said.
He did quite well on that path, producing album covers for Childish Gambino, Janelle Monae, and Kid Cudi and bagging clients like Marvel, StreetEasy, and Netflix. Spratt also enjoys a huge audience of fans who have followed him as he’s migrated from Facebook to Tumblr to Twitter and Instagram, posting his hyper-realistic fan-art on each platform. Despite the apparent success, Spratt spoke of the work with bitterness.
“I was a gun for hire. A mimic, hired to be 30% me and 70% someone else,” he said.
Spratt’s personal life blew up when he turned 30 and he traced some of the mistakes he made in his relationships with the fact that he had spent so much of his career “telling other people’s stories.” NFTs seemed like a way out of commercial illustration and a way into an original art practice.
For his latest piece in the LUCI series, Spratt digitally painted a massive landscape set in this ape-human world titled The Monument Game. For the piece, Spratt initially sold NFTs that would turn 209 collectors into “players” (since another edition of 256 NFTs was given to the Council to “curate” new champions”). Each player would then be allowed to make an observation about the painting. The Council of Luci would vote on which three observations were best, and those three Players would receive one of the Skulls of Luci NFTs that Spratt held back. By creating these tiers of engagement, with his Council and player structure, Spratt pushes digital collectors to give the kind of care to his work that more traditional collectors do.
A work at “Sam Spratt: The Monument Game” at the Docks Cantiere Pietro Cucchini in Venice.
Image courtesy 1OF1. Photography by Anna Blubanana studio.
“Jeff Koons said that the average person looks at a work of art for twenty seconds,” Lukas Amacher, 1OF1’s Artistic Director and the curator of the show, told ARTnews. “Sam has found a way to get people to engage in his work for much longer.”
The game Spratt has designed for the Venice exhibition might seem too gamified to fit the art world’s notion of art, but as Amacher and Zurrer suggest, in the Web3 environment, value is built by finding alternative ways to create investment and attention in what are typically immaterial digital artifacts. And it’s working. Thus far, the LUCI series has generated $2 million in primary sales and about $4 million in additional secondary volume. The challenge now, as it has been for the past three years, is to see if art’s gatekeepers will take this work seriously.
At the presentation of The Monument Game in Venice, an observation deck, built by platform Nifty Gateway, sits in front of the mounted work. Participants can click on the painting on the screen and write down their observations of the work in front of them, no NFT required. The first observation came from star curator Carolyn Christov-Bakargiev, the director of Castello di Rivoli and curator of Documenta 15: a tribute to art dealer Marian Goodman. The second was from Zurrer. Who’s next?
“Sam Spratt: The Monument Game” is on view until June 21 at the Docks Cantiere Pietro Cucchini in Venice.
Art
Explore local comedy, art and music: Five things to do this weekend in Saskatoon, April 19-21 – Saskatoon Star-Phoenix
Take in improv comedy, art discussions and shows, locally-produced theatre and live instrumental or choral music.
Published Apr 19, 2024 • Last updated 1 hour ago • 2 minute read
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Unseasonable snow this week isn’t slowing the arts down; nor should it hamper the enjoyment of events around town. Get out and take in a variety of comedy shows, art exhibitions and theatre this weekend.
1 — Laugh along with the Soaps
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Saskatoon Soaps Improv Comedy presents We Love the ’90s. Return to the 1990s improv-style, complete with flannel, grunge and gangsta rap jokes coming faster than the old dial-up internet connection. The troupe performs live comedy based on audience suggestions, so be prepared with your classic references and ideas. The all-ages show is Friday at the Broadway Theatre at 8 p.m. Learn more at broadwaytheatre.ca.
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2 — Chat with a local artist and take in an exhibition
The Ukrainian Museum of Canada presents an artist talk by its second artist in residence, Amalie Atkins. The Saskatoon-based artist discusses her residency and how her creative expression resonates with the history of Ukrainian heritage. The free event is Saturday at the museum at 3 p.m. Atkins’s exhibition will be on display through May 18. Learn more at umcnational.ca.
GlassArt showcases glasswork by members of the Saskatoon Glassworkers Guild. The annual show features unique works made through a variety of processes and techniques. Artists are in attendance and there will be some demonstrations. The exhibition runs Friday through Sunday in the Galleria at Innovation Place. Learn more at saskatoonglassworkersguild.org.
3 — Experience live, local theatre
Live Five Independent Theatre presents Bat Brains (or let’s explore mental illness with vampires), a new comedy by Sam Kruger and S.E. Grummett. Inspired by a months-long mental breakdown, the dark comedy follows Scud the vampire, who hasn’t left his house in 53 years. The arrival of an unexpected visitor launches Scud on a journey through his home, his mind and beyond. The show opens Friday and runs to April 28 at The Refinery. Learn more at ontheboards.ca.
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4 — Sing along with a local choir
The Saskatoon Men’s Chorus presents the spring concert, Meetin’ Here Tonight. Enjoy gospel and classic favourites with special guests: bassist Bruce Wilkinson, baritone Adam Brookman and the Outlook Men’s Chorus. Sunday at Zion Lutheran Church at 2:30 p.m. Learn more at saskatoonmenschorus.ca.
Cecilian Singers present their spring concert, Come Sing with Me. The singers are joined by three guests: soprano Kelsey Ronn, violinist Wagner Barbosa and percussionist Darrell Bueckert. The concert is Sunday at Grosvenor Park United Church at 3 p.m. Learn more at ceciliansingers.ca.
5 — Listen to historic instruments
The University of Saskatchewan presents Rawlins Piano Trio, the final concert of the season in the Discovering the Amatis series. The chamber music performance features violinist Ioana Galu and cellist Sonja Kraus from the piano trio. They are joined by flutist Joey Zhuang and violinist Véronique Mathieu. Showcasing the historic Amati string instruments, the concert is Sunday at 3 p.m. in Convocation Hall at the U of S. Learn more at leadership.usask.ca.
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In 2023, Boris Eldagsen revealed that he won a prestigious photography award by submitting an AI-generated image. Now, a London gallery is putting on an exhibition of his work to demonstrate the power of AI in art.
Not long after the Sony World Photography Award Creative Category winner was announced last year, the victor came clean with a surprising revelation. German photographer Boris Eldagsen admitted that his first prize-winning photograph ‘The Electrician’ was actually an AI-generated image.
Eldagsen had created the image using the popular AI-image creating tool DALL-E 2. He turned down the prize, citing his motivation for entering to see if “competitions are prepared for AI images. They are not.”
A year on from his famous refusal, the Palmer Gallery in London is hosting an exhibition of his and other artists’ works to demonstrate the ways art and AI are being used together.
‘Post-Photography: The Uncanny Valley’ features the works of Eldagsen alongside artists Nouf Aljowaysir and Ben Millar Cole. Eldagsen is exhibiting ‘The Electrician’ as part of a series of photography works that blend natural imagery with the synthetic.
Saudi-born and New York-based artist and design technologist Aljowaysir has examined the biases in AI-image creation in her work Ana Min Wein: Where am I from?, to recover her Saudi Arabian and Iraqi lineage from more the stereotypes AI tools rely upon.
British artist Millar Cole’s work toys with the now-publicly understood telltale signs of AI-doctored images and blurs that line with more sophisticated imagery, to create an uncannily off image.
“The artists in the exhibition engage with the current possibilities of creative collaboration with AI tools, harnessing the unique affordances brought on by the various technologies, whilst thinking about their implications,” says AI-art curator Luba Elliott.
“Image recognition tools highlight the imperfection of the machine gaze, whereas photorealistic text-to-image models focus on portraying our collective imagination down to the smallest detail, with the prompt engineer at the steering wheel – taking the viewer to the next stage of art history,” Elliott continues.
The term “uncanny valley” was first invented in 1970 by Japanese robotics professor Masahiro Mori. He described it as the way that humans will increasingly empathise with anthropomorphous-robots until a threshold when they become too humanlike and we find them unsettling.
As a concept, the uncanny was popularised by psychologists Ernst Jentsch and Sigmund Freud in their description of how familiar things can become strange when they present themselves as a facsimile of another part of ordinary life – they used dolls as a primary example.
The case against
While the Palmer Gallery is embracing a dialogue between AI and contemporary artists, other artists have been less willing to engage with the controversial technology.
Earlier this month, over 200 musicians signed an open letter from Artist Rights Alliance calling on artificial intelligence tech companies, developers, platforms, digital music services and platforms to stop using AI “to infringe upon and devalue the rights of human artists.”
Signatories of the letter included: Stevie Wonder, Robert Smith, Billie Eilish, Nicki Minaj, R.E.M., Peter Frampton, Jon Batiste, Katy Perry, Sheryl Crow, Smokey Robinson, and the estates of Bob Marley and Frank Sinatra.
While the full letter did acknowledge the value that AI could bring to areas of art, it was primarily concerned with the way non-creatives will rely on these nascent tools to further undermine the value of human creativity.
“Unchecked, AI will set in motion a race to the bottom that will degrade the value of our work and prevent us from being fairly compensated for it,” the letter writes. “This assault on human creativity must be stopped. We must protect against the predatory use of AI to steal professional artists’ voices and likenesses, violate creators’ rights, and destroy the music ecosystem.”
Similarly, Australian musician Nick Cave has spoken out against AI’s influence on art. When sent the lyrics to a ChatGPT generated impression of his work, he responded vociferously.
“Songs arise out of suffering, by which I mean they are predicated upon the complex, internal human struggle of creation and, well, as far as I know, algorithms don’t feel. Data doesn’t suffer. ChatGPT has no inner being, it has been nowhere, it has endured nothing, it has not had the audacity to reach beyond its limitations, and hence it doesn’t have the capacity for a shared transcendent experience, as it has no limitations from which to transcend.”
“ChatGPT’s melancholy role is that it is destined to imitate and can never have an authentic human experience, no matter how devalued and inconsequential the human experience may in time become,” Cave said.
During last year’s Writers Guild of America (WGA) strike that demanded restrictions on the use of AI to replace creative work, I also wrote against the over-valuation of AI’s talents: “The real human experiences that inspire art is what makes us fall in love with them. AI may be increasingly accurate at capturing an artist’s aesthetic, but that’s only skin-deep. It may be a useful tool for many aspects of an artist’s career, but it could never replace an artist entirely.”
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