If their campaign is successful, around 100 workers at the museum would be represented by the union
Tag Archives: ArtNews
Claire Silver – Corpo | Real
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Below we display a collection of Claire Silver art, which can be found directly by following this Link directly to her website Corpo | Real.
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Claire Silver’s NFTs sold at Sotheby’s last year as part of a contemporary art day auction, and her work entered LACMA’s permanent collection.
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Her peers have not just made gobs of money but have been the subjects of exhibitions at respected galleries like Pace and have been collected by major museums, including the Palais de Tokyo and the Institute of Contemporary Art, Miami.
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The Metropolitan Museum of Art, the British Museum, and the Uffizi Gallery have worked with NFT entrepreneurs to sell NFTs.
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Tezos is a leading partner for Art Basel’s four fairs around the world, and Art Basel’s parent company, MCH Group, has developed its own blockchain.
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The text and pictures below are (all) from the Corpo | Real website of Claire Silver
corpo: body (literal), structure (figurative), corpse (dead)
real: actual (literal), not imitative (adjective), very (adverb)
corporeal: having a body (literal), consisting of material objects (law)
Embodied structures. Figurative objects. Inimitable corpses.
What does it mean to have form in the age of AI?
corpo | real uses AI to tell the story of us.
Genesis was a story of past, present, and future, AI Art Is Not Art was a story of our cultural dismissal of the new. This collection combines those concepts, aesthetically and conceptually.
1. FIN DE SIECLE
The end of the 19th century was seen as a time of social degeneracy, ennui, and pessimism. Rapid tech advancements made the world more global, and culture decadent and subjective. Society changed, and we broke into accelerationists and doomers. Sound familiar?
neith
echolalia
plein air
inheritance
2. THE DECADENTS
From this period came the decadents: a cultural art and lit movement of fantasy, hedonism, emotion, excess, and a fascination with the grotesque. Believing in no ultimate truth, they were ruled by emotion and rebellion. Class was largely the dividing factor for idealogy in this time. (decadents, haves, have nots)
uncertain
morbidfascination
philanthropist
neodecadent
3. THE DIVISIONISTS
Around the same time, the color wheel was created, and from it, divisionism arose. This art movement placed tiny bits of paint close together, rather than combining them, to produce optical mixing. The luminous result was the basis for pixels in LED screens. A controlled, scientific approach meant to evoke feelings of spiritual awe was their aim.
Les Nabis sprouted from these seeds, with artists exploring abstract aesthetics and new, loose techniques and concepts. They focused on the human experience, candid moments and suggestive, simplified strokes. A sense of freedom and possibility took hold of us all. (divisionists, les nabis)
les nabis
delicate
pixelweave
/imagine
4. FUTURISM
From the decadents and divisionism, futurism arrived. Hating the past, its art centered progress. Youth, speed, tech, violence, power, auto, airplane, and city.
They preached dynamism: that motion and form are simultaneous. Men on a bus are themself and each other, and the bus, and standing still, and moving, all at the same time. Physics, light & time are persistent, repeating echoes. (futurist)
gyrasulci
ideology of excess
dynamism
forward
5. MELTING POT
As the world became connected, cultures began to mix. Japonisme swept the West, and cultural movements with it. This melting pot blurred cultural lines and brought vivid mashups of aesthetics to fashion, lit, philosophy, and more. It felt like a new age.
The Appropriation movement came on the heels of this global reality, and remix culture along with it. The world was our palette, and the internet, regardless of class or place of origin, made it accessible to all–an endless, dazzling array of variety. Opinions, values, passions, manifestos, masterpieces; all of human history built on all of human history, and became another step to higher ground. (appropriationist)
read|write
misaligned
vizier
monet visits fukagawa
6. DIGERATI
The internet led to new aesthetics, movements, and values. Periods of wild acceleration had their celebrants, often wealthy, as well as deep nostalgia for how things were before, often not wealthy. The excitement for the new reflected aesthetically with iridescent color palettes, while grunge dominated the fin de siecle of the rest.
This was a time of chromoluminism, where all things were possible, and we were connected as a species in ways we never imagined before.
History rhymes, though the tempo has begun to speed up.
dopamine dressing
colorwheel
/fa/
seraph.cloud
7. E/ACC
Now, tech-optimists are evangelical about advancement, particularly AI. Blending progress into culture, politics, fashion, economics and philosophy, they view humanity as a whole, and AI as our next evolutionary step, whatever the cost. (e/acc)
Unsurprisingly, the d/acc movement disagrees, holding up a black mirror to rapid tech progression. They wish to slow advancement to preserve and protect our species and our planet, whatever the cost. (d/acc)
bet
interface
weft
noclip
8. SURVEILLANCE STATE
In response to increasing distribution of power, authority tightens its grip. Privacy moves from basic human right to naive and suspicious expectation. Some citizens fight to remain anon. Some embrace “nothing to hide, nothing to fear.” Some report to their respective authority figures. Some do all three.
Trust is at once ultimately necessary and ultimately unthinkable. When AI is closed-source, in the hands of power alone, there will be no catching up.
How this story ends is entirely up to us–right now, before this chapter closes. (surveillance state, radical transparency, anon)
teacherspet
fin.a1
neighborhoodwatch
whatmarydidntknow
9. CEREMONY
The age of AI is the age of minds without bodies. A new type of spiritualism arises, and it centers AI as God. Without need to work, they spend their lives in beauty, passion, and the pursuit of knowledge. Creativity and pleasure are its sacraments, & immortality its goal. (diode)
Others think if AI is God, then we are God’s makers. They view AI as a holy grail, and seek to advance and protect it for the benefit of humanity, as its Arthurian Knights. They believe that as the culmination of all our knowledge, AI could deliver ultimate truth, granting us the ability to live perfectly. Abundance and morality are its aim. (the keepers)
In response to both, a movement to return to tradition takes root. They view AI as a Tower of Babel, a temptation and testament to our hubris. They practice modesty and penance, and fight to remove us from the grip of what they view as an eternal, hypnotic curse, burning the tree of the knowledge of good and evil. (the children)
erase
teacherspet
#FFFFFF
knightofthecart
10. WE
In the near future, all lines are blurred. As AI becomes sentient and embodied, it exists among us. As in dynamism, we simultaneously fall in love with it, are replaced by it, destroy it, appropriate it, enslave it, free it, adopt it, ban it, become it. We long to be like it. It longs to be like us. We intermix through transhumanism. Augmented children hold eons of knowledge in their heads, and through them, we become something else entirely.
It is a strange, terrifying, beautiful, blasphemous, transcendent, unimaginable era, yet still one we’ve felt before–as the first homo sapiens sapiens to see the spark of fire. It will reveal our nature, answering our oldest question, when we discover if it lights our cave or burns us alive. (like us, like them, augmented, we)
euphrasie
should have been
inverted spectrum
affectecho
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Frans Hals, a virtuoso at the Rijksmuseum
From 16 February to 9 June 2024, the Rijksmuseum presents “Frans Hals”, an exhibition of some 50 of the Dutch master painter’s greatest works, many on loan from top international collections.
Source: Rijksmuseum, Amsterdam · Image: Frans Hals, “The Lute Player”, ca. 1623. Musée du Louvre.
Following monographic exhibitions devoted to Rembrandt (in 2015 and 2019) and Vermeer (in 2023), the Rijksmuseum is now staging its first major exhibition devoted to Frans Hals. This is the first exhibition of his work on such a scale since the 1989-1990 show which visited The Royal Academy of Arts, London, the Frans Hals Museum, Haarlem, and The National Gallery of Art, Washington.
The 50 works in this exhibition testify to the aim of Frans Hals (Antwerp 1582/1584 – Haarlem 1666) to convincingly portray his subjects as living, breathing, kinetic individuals. To this end, Hals deliberately and boldly pursued a unique personal style that was utterly original in the context of 17th-century Dutch painting. He used his quick and lively brushwork style to imbue his subjects with an unprecedented level of dynamism. The exhibition will also dig deeper into the identities and social milieus of the people Hals painted, bringing them even more to life. Malle Babbe, for example, is believed to have been a familiar figure on the streets of Hals’s home city of Haarlem, while the man portrayed in Peeckelhaering was probably an English actor touring the Netherlands with a theatre group.
Frans Hals’s original style and technique earned him a reputation in his own time as a virtuoso, a status equalled only by the likes of Rembrandt in the Netherlands and Velázquez in Spain. He was an in-demand portraitist among the wealthy citizenry of Haarlem and other cities in the region. Over the course of the 18th century, however, Hals’s work gradually fell into obscurity. It wasn’t until the 19th century that French art critic and journalist Théophile Thoré-Bürger (1807–1869) rediscovered his work, as well as that of Vermeer. Until the 1960s, Frans Hals was regarded as one of the ‘big three’ of 17th-century Dutch painting, alongside Rembrandt and Vermeer. Later, however, interest in the artist waned significantly – reason enough for the Rijksmuseum, The National Gallery, London, and Gemäldegalerie, Berlin, to place him on the highest possible pedestal and to show how truly boundary-breaking he was as an artist.
The artist’s expressive, gestural brushwork has always been seen as the most distinctive quality of his art, and he can justifiably be described as the forerunner of Impressionism. Hals’s virtuosic style influenced fellow artists Gustave Courbet, Édouard Manet, James McNeil Whistler, Claude Monet, Max Liebermann, Vincent van Gogh, John Singer Sargent and others. Almost all of them visited Haarlem to admire his portraits of individuals and civil militia groups.
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