Graphic designer, NFT artist, NFT collection, art,digital art

Result #1

Graphic designer, NFT artist, NFT collection, art,digital art,video,photojournalism,performance,transportation,performance/curating,use of models,S-Hole,2013, a monochrome wall of photos taken from the one hundred most fascinating art sites that have to do with art of the past fifty years in any given city or place in the world (such as Berlin, Madrid, Los Angeles, Moscow, Miami, New York, Tokyo, Istanbul, San Francisco, São Paulo, Toronto, Vienna, Chicago, and so on). By the end of the decade, for example, Atgets post-Modernist multimedia project Supersurface, 2003–2009, had become the director of the São Paulo Bienal, and he has just completed the filming of a project for a theater in Düsseldorf and is in the process of moving the project to its new location—a midsize community center that has just opened in northern Germany.An exhibition-within-an-exhibition is a typical experience for the visitor at any space, as the works that were on display seem to be living, breathing, and consuming. A faithful image of the entire twenty-year history of contemporary art is a perfectly valid excuse for introducing new visitors to the city or a fellow artist who is currently in a museum. But the intimate exhibition style in which this show unfolded was clearly not a valid reason to proceed. To this end, the plan was to designate the last weeks of the exhibition months and months before the opening to permit the artists themselves to explore in situ some of the themes that are central to their work, some of which we already know very well. The entire post-Modernist monochrome emerged from this general ground zero, becoming the embodiment of the most paradisiacal of artistic modes, and in so doing it sought to capture a territory of universal and interconnections—from high art to everyday life to consumerism.

Result #2

Graphic designer, NFT artist, NFT collection, art,digital art,cryptography,economics,telecommunications,programs,information,history,cultures,models,and more. Last month, Artnet launched the Imagine a digital art model. The exhibition presents the digital, constructed, and even, as in its title, dynamically written about art (albeit as a loose medium)—a tag applied to the commissioned works, the web pages, and the website. A myriad of artists joined the show. Many of them are already showing where their art has traveled to show the ways in which they have undergone transformation and have made public sites their own. For example, in the first room of the gallery, white USB drives, originally shaped like records, fill the walls, recalling the iconic African-American ceramic objects of the 60s. Some of the larger-scale works are equally evocative, such as A Glittering Object, 2009, a poster made of bronze, fiberglass, ink, gold, and red pigment, placed atop a drum-shaped frame. This form is the head of a gold and black chambray, a motif related to the concepts of Afro-Cuban pole dance, while a similar shape appears in Workbook 1, 2011, an installation of pages from an illustration that Neill Diller wrote for Disneys Animaniacs cartoon. These works become emotive expressions of the joy and challenge of making, revealing how an individual might reimagine the origins of a place and find them fully present.Although her work has always been tied to the issues of sexuality and racism, the collaboration is explicitly feminist and transgender. In the exhibition, a black-and-white TV monitor stands out. It features a series of morning news stories on the infamous Bill Clinton, who has been fighting for LGBT equality since his 1992 re-election, when he signed an executive order banning sex between the sexes.

Result #3

Graphic designer, NFT artist, NFT collection, art,digital art,artists,projects,stories,lives,performances,installation,timeline,collage,videos,videos,projects,programs,times,taken,remixed,taken,reprogrammed,reassembled,modified,installed,public.swtor.com,newcap.org.au,Ferrari,New Mexico,2017, color video, 17 minutes 51 seconds. It is an axiom of art history that painting today is self-conscious. This makes sense, of course, given the fertile tensions, revolts, and compulsions that underlie much contemporary art. Our generation has been told that high art is based on a commitment to the beauty of nature, which is already starting to appear in midcentury art. The simple facticity of this stance reveals the double bind, explaining how our reflexes and anxieties are shaped by the challenges and vulnerabilities of our era. Nearly half a century ago, the conversation began to tilt toward poetry, a residue of 19th-century Romanticism. The works of Carlos Goya and Poussin had the poet perform in front of the Virgin of the Rocks, and those of Rembrandt and Géricault, among others. It is not without connection that Pablo Picasso opened his famous Self-Portrait in a Rope Can, 1914, with the image of a lifeboat, which was also the name of one of the interventions of that avant-garde artist in the midst of World War I.Katharina Fritsch, a self-proclaimed poet and artist, recently showed two paintings—all Untitled (1), 2017, and all Untitled (2)—that deal with language and the body. In one, two figures, whose backs and hands are covered by blue skin, are bound together with ropes on which, on their forearms, they are holding candles and flowers.

Result #4

Graphic designer, NFT artist, NFT collection, art,digital art,culture,production art,information,flotsam and jetsam, MOST NOT AT ALL SENSE. This is one of the reasons why we are not at all confident in the progress we are seeing with the show (to use John Bergers term), nor can we be. The fact that the very title of this show—A/What-Have-We-Done-Yet/What-Has-We-Done-Again?—suggests such a void, so peremptory and perversely vexing in the wrong ways is a reflection of how easily we deceive ourselves. There is no denying the capacities of digital technologies, particularly that of tele-surveillance, and of computational computers. But the mind-set of our culture now includes not only the mainstream and the mainstream has-been but also computers that interact with the natural world, the infrastructure of communication and the information economy. The cultural apparatus that allows this is not only skewed and authoritarian but also restricted to the control of public information: the dominant media, including the mass media. So perhaps the best way to suggest what weve learned over the past six decades is to go back to basics, to basics of representation, basic form—something we shouldnt need a huge or self-important novel to explain. Instead, we should take a look at these public images of everyday life as a background in an art context, maybe even as an art-world context. But we should also have a look at the art world itself, at the same time as we look to the modern world.The Futurological Consequences of Modernism is on view through January 20 at the Centre Pompidou, Paris.Kathy K. Chan is an artist who specializes in graphic design and archival research. Her book The Modern Image: A Social History (Faber and Faber, 2011) is available at W. W. Norton.Translated from French by Jeanine Herman.

Result #5

,and-music—presents us with his first retrospective exhibition in six years, an initiative that paradoxically presented a display of the work of a living artist, who is in the midst of his final decade, the final break from the artists career, which was already underway. Two parts of the exhibition, the first in the National Gallery of Art in New York, consisted of twenty-two paintings, all made in the past two years, on canvas, framed as if for hanging and transferred to digital files. Each canvas featured a depiction of a single hand, a hand cut from a finger, as if it were an abstracted, self-portrait. As NFT artist, Stanisek, has also done in the past, the paintings are not merely conceptually and stylistically independent; rather, they are in fact compositional plans. They are only two-dimensional representations of works that have actually been executed. This is not a conceptually subjective work; it is one that makes explicit use of a body of knowledge that spans both past and present. That is why in the first part of the exhibition, one finds a series of footprints. The footprints resemble human footprints, but they are digitally erased. We can perceive the distance as very narrow, but we are too close to the marks to be sure. We are probably in a studio. The last part of the exhibition consists of three glass cases, one containing four digital files, another with a photo of a hand, and a third with an enlarged digital file of the same name, as well as two digital prints that show the artists bare feet. The hand becomes both trace and arte povera. The whole exhibition brings together those elements of NFT, that most unexpected of works, that in its combination of abstraction and abstraction—which is also the use of graphic design—suggest a new vision of art.