“The unnamed artist who narrates this exceptional thriller from Bourland (I’ll Eat When I’m Dead) is finally enjoying success and financial freedom in her career. Then disaster strikes when a fire in her New York City loft/studio destroys Rich Ugly Old Maids, her newest series of seven paintings, which she considered her “crowning glory.” Out of desperation, she assures her gallerist that only one was destroyed. Now she has three months to recreate her large, intricate oil paintings for a Paris show. She secures space at a sprawling former upstate summer resort, the home of art collective Pine City and her idol, sculptor Carey Logan, whose suicide by drowning three years earlier served as a turning point in the artist’s work… read more.
The World’s Top Art Forgery Detective
The unravelling of a string of shocking old master forgeries began in the winter of 2015, when French police appeared at a gallery in Aix-en-Provence and seized a painting from display. Venus, by the German Renaissance master Lucas Cranach the Elder, to describe the work more fully: oil on oak, 38cm by 25cm, and dated to 1531. Purchased in 2013 by the Prince of Liechtenstein for about £6m, Venus was the inescapable star of the exhibition of works from his collection; she glowed on the cover of the catalogue. But an anonymous tip to the police suggested she was, in fact, a modern fake – so they scooped her up and took her away. Read More
A visitor looks at painting by French painter Etienne Terrus at the museum dedicated to the artist, in Elne(Elna). Photograph: AFP/Getty Images
PARIS — One painting included a castle tower that had been built in the late 1950s. But the artist who supposedly painted it, Étienne Terrus, died in 1922.
On another canvas, a light touch with a glove was enough to wipe away what had appeared to be Terrus’s signature, revealing another painter’s name.
These are the most flagrant examples of the disconcerting discovery made by a small art museum in the South of France: More than half of the works in its collection were fakes... Read More
Researchers have created a wearable device that can read people’s minds when they use an internal voice, allowing them to control devices and ask queries without speaking.
The device, called AlterEgo, can transcribe words that wearers verbalise internally but do not say out loud, using electrodes attached to the skin... Read More
"Nate's work plays with the divide between real and imagined, making posters and flyers for events that may or may not exist... It's that back and forth between real and imagined that gives Nathaniel's work tremendous resonance " - The Art Assignment
..."a glance at his portfolio by anyone with even a cursory knowledge of the history of photography would reveal that a high number of his images look an awful lot like those of other photographers." Vice
He might be the photographic equivalent of the Fat Jew.
Tyler Shields is a very successful man. Often referred to as "Hollywood's favorite photographer," a 2012 GQ profile of Shields claimed that "while big-shot Hollywood producers once demanded a trophy Banksy canvas to be hanging above their faux-Spanish fireplaces, now all they want is one of Shields' gloriously twisted photographs." According to a rep for Guy Hepner, a gallery that sells Shields's work, his photographs sell for between $5,000 and $15,000. Shields himself has claimed that his work sells for as much as $175,000. He's shot a host of celebrities, including Lindsay Lohan, Aaron Paul, and Demi Lovato, and his work has been exhibited in galleries around the world.
This level of success is surprising, given that a glance at his portfolio by anyone with even a cursory knowledge of the history of photography would reveal that a high number of his images look an awful lot like those of other photographers. And not obscure photographers, either. Many of his shots bear striking resemblances to the work of some of the most famous photographers of all time. His portfolio is like Julie and Julia but with The Photography Book.
And it's not just individual images. Tyler's series of models falling from the sky came several years after Ryan McGinley made this one of his visual trademarks; his series of retro Americana shot against bright blue skies came at least five years after that became the signature style of Alex Prager; his photos of lips are incredibly similar to shots by Rankin and Marilyn Minter.
Sure, this could be passed off as "creative inspiration," a la Richard Prince or Quentin Tarantino, but, as far as I can tell, Shields has never acknowledged that his photography is influenced by the work of others. In fact, in an interview a few years back, when he was asked what inspires him, Shields replied: "I just love to show people the way I see the world. It's important for me to explore the things that I see and create inspiration from the world around me. I don't look to other artists, just the world." In a different interview, Shields was asked if Terry Richardson is an inspiration, and answered: "To be honest I don't look at other peoples work I only know who Terry is because people have asked me if I like his work." [sic]. Read More
"Court rules American artist copied a 1975 postcard by Jean-François Bauret for his 1988 sculpture of two children". Read the full article at The Guardian
The judges decided the work, a porcelain sculpture of two naked children produced in 1988, had been copied from a 1975 postcard picture taken by photographer Jean-François Bauret called Enfants.
Koons’s limited company, Jeff Koons LLC, and the Pompidou Centre in were ordered to pay the late photographer’s family €40,000 (£35,000), half of which is intended to cover their legal fees."
Koons’s firm will also have to pay a further €4,000 for having used a picture of the sculpture on his website.
"Deep within you are minute organisms. From their functions spring your emotions... This is a challenge to make the most of your heritage as a human."
Artist Hank Schmidt in der Beek and photographer Fabian Schubert offer a hilarious take on classic outdoor painting. In their collaboration, Und im Sommer tu ich malen (“And in the Summer, I do paint”), Schubert photographs in der Beek at various locations famously captured by artists like Cézanne and Monet. However, rather than focusing on the scenic landscape around him, in der Beek is seen painting the pattern of his shirt.
As in der Beek explains his thought process: “Confronted with the immenseness of the mountains and the littleness of my canvasses, I decided to paint what’s nearest to me instead of what’s afield and giant.” see all
How a workshop uses digital technology to craft perfect copies of imperilled art – The New Yorker
The Egyptian painters who decorated King Tut’s burial chamber had to work quickly—the pharaoh died unexpectedly, at about the age of nineteen, and proper preparations had not been made. Plaster was applied to lumpy limestone walls. On the chamber’s western wall, twelve baboons with an identical design are arrayed in a grid, and various slip-ups suggest haste: one of the baboons is missing a black outline around its penis. When the entrance to the chamber was sealed, some thirty-five hundred years ago, the baboons, along with the gods and goddesses depicted in other panels, were expected to maintain their poses for eternity. This wasn’t an entirely naïve hope. Tutankhamun was interred in the Valley of the Kings, the vast network of tombs in the hills outside Luxor, four hundred miles south of Cairo. The air in the valley is bone-dry, and pigment applied to a plastered wall in a lightless, undisturbed chamber should decay little over the centuries. When the British archeologist Howard Carter unsealed the burial vault, in 1923, turning the obscure Tutankhamun into the modern icon of ancient Egypt, the yellow walls remained dazzlingly intact. The Egyptians had made only one mistake: they had closed the tomb before the paint, or Tut’s mummy, had dried, and bacteria had fed on the moisture, imposing a leopard pattern of brown dots on the yellow background. The room is known as the House of Gold.
Since then, tens of millions of tourists have crowded inside the living-room-size chamber, exuding a swampy mist of breath and sweat, which has caused the plaster to expand and contract. Bahaa AbdelGaber, an Egyptian antiquities official, told me recently that the temperature inside the Luxor tombs sometimes exceeds a hundred and twenty degrees. “Oh, the smell on a busy day!” he said. Continue reading...
from Hajdeja's email to the group:
"such a wonderful video / interview with Robert Longo discussing his thievery ( you'll see) of american master painters of the mid century."
...The American Arts and Crafts movement... was concerned with promoting good taste and self-fulfillment through the creation and the appreciation of beautiful objects...
...(After a time...) the Arts and Crafts movement no longer represented a radical alternative to the alienated labor of the factories. Instead, it provided yet another therapeutic escape from it, turning into a “revivifying hobby for the affluent.” ...“The craft impulse has become dispersed in millions of do-it-yourself projects and basement workshops, where men and women have sought the wholeness, the autonomy, and the joy they cannot find on the job or in domestic drudgery.”
Read more : Making It, Evgeny Morozov, The New Yorker, Jan 2014 | Posted by Daniell
Appropriation and the Art of the Copy
By Elizibeth Mix, Choice (May 2015)
ABSTRACT: This essay focuses on why and how copying occurs within the field of visual art and identifies shifts in the perception of the role of copying over time as indicated by changing terminology. Copies are ubiquitous in our culture today. They are especially prevalent on the Internet in the form of mash-ups and memes. While appropriation (the quoting or borrowing of an earlier artist’s work or style) is generally considered a postmodern strategy, the practice has, in fact, a long and complicated history that includes the tradition of academic copying (a method of artistic training whereby students copy the works of masters) as well as the history of art forgery. The development of technology that made copying easier, notably photography, and more recently digital editing programs such as Photoshop, has altered the perception of the copy in relation to so-called “original” artwork. A gradual acceptance of multiple originals— common in printmaking, photography, and digital media, but also in the history of sculpture—also contributed to the evolution of artistic and social views on copying. Cultural appropriation (borrowing across cultures) and transcultural appropriation (back-and-forth or multiple levels of cultural exchange) are important parallel developments. During the colonial period, works from China, Japan, and Africa influenced Western artists now considered to be the paragons of the avant-garde (e.g., Édouard Manet, Vincent van Gogh, and Pablo Picasso). Colonialism also shaped museum collections around the world as functional and sometimes sacred objects were acquired and reclassified as art. In the postcolonial period, artists from colonized and colonizing cultures wrestled with this history—at this writing, this latter development is ongoing. Given the scope of the topic outlined above, this essay cannot claim to be a comprehensive examination of all aspects of copying; specifically, the legal aspects, which are extensive and deserve a separate study, have been omitted. Also mostly absent are references to parallel phenomena in literature, music, film, and television.
PDF of full article l Posted by Daniell
NEVER SAY `FAKE'. FORGET `FORGERY'. IT'S GOT TO BE `COPY' OR `PASTICHE'
Up until the 19th century, to be a copyist or pasticheur was a respectable artistic profession. During the 17th century more than half of the paintings that changed hands were copies. Over the past century though, already undermined by the invention of photography, this long-established craft has become confused in the popular imagination, largely through sensationalist media coverage, with deliberate attempts to deceive. Today connoisseurs turn up their noses at a mere copy. ...
Full Article | Posted by Daniell
A computer-generated portrait created in the style of 17th century Dutch master Rembrandt van Rijn was unveiled this week, with its makers saying that they based the new piece on extensive digital analysis of the artist's known body of work.
Organizers said the new "painting" -- which depicts a bearded man in slight profile and wearing period attire -- was created using a 3-D printer to mimic the uneven surface of an actual painting. The original work was formally unveiled at a press event earlier this week in Amsterdam.