It’s not all make-up tutorials, beauty influencers, and traditionally contoured faces over there anymore. Instead, sci-fi and horror are having their Instagram day, with various accounts “marrying the macabre and the glamorous. They have antecedents in the work of Alexander McQueen, 1990s club kids, Cindy Sherman (currently posting eerie self-portraits on her own Instagram account) and Lady Gaga.”
There are a lot of problems with resale royalties schemes, and we have addressed some of them at length elsewhere. Here, we focus on one overriding difficulty: Resale royalties take real money from the entire art world, including young and struggling artists, and transfer most of it to a tiny group of famous and rich super-artists—the artistic one-percenters. New data we have collected shows this clearly.
The eight small pieces had no documentation of any kind to help the police, but the museum experts could literally read their origin. They included cone-shaped ceramics with cuneiform inscriptions identifying the site as Tello, ancient Girsu in southern Iraq, one of the oldest cities on earth recorded in the earliest form of true written language.
The role of money is more obvious now. People can look at works in an auction preview or catalogue and see the price— and price dictates how we view the artwork. But art dealers as we know them had their advent in the 19th century. Prior to that, art was about commissions from the wealthy. Again: rich merchants, royalty and the church. They were the gatekeepers. They determined which artists got commissions and which artists did not.
As part of the Reykjavik arts festival in June, Indridadóttir showed photographs of topless young women standing in front of painted portraits of older men. The photographs were taken in locations such as the Icelandic parliament, a sports club and a school, where rooms are decorated with portraits of men that had been playing an important part in the history of those institutions
“The 156-year-old museum is now five years into an ambitious program that’s been injecting life into the Western New York region’s parks, neighborhoods, buildings, and other infrastructure through paint, plastic, steel, cloth, and whatever else their international cast of commissioned artists want to work with.” In a Q&A, Albright-Knox public art curator Aaron Ott talks about the works that have gone up, their reception by the public, and the lessons he’s learned.
The project, titled The List and produced by artist Banu Cennetoğlu, displays the names of 34,361 migrants attempting to reach Europe who have died en route since 1993. The work was torn down by vandals late last month from its outdoor display at the Liverpool Biennial; it was reinstalled this past Monday (August 5), though Biennial organizers say it may be targeted again.