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Stone Archive Explores the Volcanic Origins of Its New Lighting

Stone Archive Explores the Volcanic Origins of Its New Lighting

The Stone Archive installation, created by Mexican lighting brand davidpompa, will explore the volcanic origins of a new light sculpture series – Ambra Toba – at Alcova during Milan Design Week. The collection combines ancient stone with aluminum, but the stone isn’t one you might stumble across on your own. Mexican Toba volcánica stone consists of minerals, glass, and volcanic debris that was created one million years ago during eruptions. Debris, ashes, and dust – Toba volcánica is millions of years speaking to us today through texture.

stone detail

The combination of stone and aluminum elements originated after researching the bond between handmade shapes and industrial parts. In partnership with the geological department of the National Autonomous University of Mexico (UNAM), an investigation into the origins of Toba volcánica gave further insight as to why it’s widely used in Mexican culture.

installation with tall orange cabinets

The Stone Archive installation took the project further. The space captures and connects science, aesthetics, culture, and materiality, allowing visitors to pause and visualize time in a tangible way. Tall, archival shelves filled with stones, folders, and prototypes allow the Ambra Toba light sculptures to connect with their evolution in the midst of the exhibition space. Visitors are even invited to take a single archive folder with them when they leave.

stone and aluminum sculptural table lamp

Alongside the Ambra Toba lighting series, Stone Archive includes a wide range of collaborations sharing the same discourse. Visitors will experience research of the National Autonomous University of Mexico and the work of Dutch microphotographer Wim van Egmond. Mexican chocolate manufacturer Cuna de Piedra will be present at the installation’s “Terroir Milan” event, held April 19th. Design studio SAVVY, filmmaker Wolf Lass, Portuguese fashion brand Naus, food designer Philipp Kolmann, and writer Alexander Slotnick are also part of the installation.

stone and aluminum sculptural table lamp

stone and aluminum sculptural table lamp

stone and aluminum table lamp

stone and aluminum sculptural pendant lamp

stone and aluminum sculptural pendant lamps

stone and aluminum wall lamp

stone and aluminum wall lamp

stone and aluminum wall lamp

stone and aluminum sculptural pendant lamp

stone and aluminum lamp

stone and aluminum lamp

installation with tall orange cabinets

installation with orange work table and pendant lamps

Stone Archive will be part of the itinerant Alcova platform during Milan Design Week, and is located in the former slaughterhouse in the historical quarter of Porta Vittoria Abattoir, at Viale Molise, 62. The installation can be viewed April 17-23, 11am-7pm. To learn more, visit davidpompa.com.

Kelly Beall is senior editor at Design Milk. The Pittsburgh-based graphic designer and writer has had a deep love of art and design for as long as she can remember, and enjoys sharing her finds with others. When undistracted by great art and design, she can be found making a mess in the kitchen, consuming as much information as possible, or on the couch with her three pets. Find her @designcrush on social.

Artist Refuses Top Photography Prize for AI-Generated Image

Artist Refuses Top Photography Prize for AI-Generated Image

A German artist whose AI-generated image won first prize at one of the world’s top photography competitions has declined the award 

Berlin-based “photomedia” artist Boris Eldagsen submitted his image, “The Electrician,” to the Creative category of the 2023 World Photography Organization’s Sony World Photography Awards open competition.

The picture, which appears to be a dated black-and-white portrait of two women, is part of Eldagsen’s “Pseudomnesia: Fake Memories” series(Opens in a new window). Based on the Latin term for fake memory (“such as a spurious recollection of events that never took place, as opposed to a memory that is merely inaccurate,” the project page said), the images were “co-produced” using artificial intelligence generators.

The photo—which, if you look long enough, will reveal itself to be just a little bit wrong—was shortlisted in the Creative category, and eventually selected as the overall winner on March 14.

At the time, Eldagsen, who’s been a photographer since 1989, wrote in a blog post(Opens in a new window) that he was “very happy” to have won, while also acknowledging that the work “is the result of a complex interplay of prompt engineering, inpainting, and outpainting that draws on my wealth of photographic knowledge.

“For me, working with AI image generators is a co-creation, in which I am the director,” he said. “It is not about pressing a button—and done it is. It is about exploring the complexity of this process, starting with refining text prompts, then developing a complex workflow, and mixing various platforms and techniques. The more you create such a workflow and define parameters, the higher your creative part becomes.”

A month later, Eldagsen took to the same blog to announce his refusal of the prize, asking audiences and judges how many “knew or suspected” the image was artificially generated.

“AI images and photography should not compete with each other in an award like this,” he wrote last week. “They are different entities. AI is not photography. Therefore I will not accept the award.” Instead, he suggested the World Photography Organization donate his prize—$5,000, Sony digital imaging equipment, a trip to the award ceremony in London, and more—to Fotofestiwal 2023, an international festival of photography in Poland.

“I applied as a cheeky monkey, to find out if the competitions are prepared for AI images to enter,” Eldagsen continued. “They are not. We, the photo world, need an open discussion. A discussion about what we want to consider photography and what not. Is the umbrella of photography large enough to invite AI images to enter—or would that be a mistake? With my refusal of the award I hope to speed up this debate.”

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The WPO was, it turns out, aware of Eldagsen’s AI “co-creation,” a spokesperson told PCMag in an emailed statement, adding that “as per the rules of the competition, the photographers provide the warranties of their entry.

“The Creative category of the Open competition welcomes various experimental approaches to image making from cyanotypes and rayographs to cutting-edge digital practices,” the organization said. “As such, following our correspondence with Boris and the warranties he provided, we felt that his entry fulfilled the criteria for this category, and we were supportive of his participation.”

But “in keeping with his wishes,” the WPO removed Eldagsen from the competition—including replacing the display copy of “The Electrician” at the exhibition in London.

“We recognize the importance of this subject and its impact on image-making today,” the group says. “We look forward to further exploring this topic via our various channels and programmes and welcome the conversation around it. While elements of AI practices are relevant in artistic contexts of image-making, the Awards always have been and will continue to be a platform for championing the excellence and skill of photographers and artists working in the medium.”

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Jeanne Vicerial’s Enigmatic ‘Armors’ Evoke Timeless Strength in Elegant Sculptures Made of Thread

Jeanne Vicerial’s Enigmatic ‘Armors’ Evoke Timeless Strength in Elegant Sculptures Made of Thread

“Mue n°5 (Amnios).” All photos by Adrien Millot, © Jeanne Vicerial, courtesy of TEMPLON, Paris, Brussels, and New York, shared with permission

Evocative of medieval suits of armor or monastic traditions, Jeanne Vicerial’s intricate sculptures exude quiet strength in thousands of draping threads. The French artist layers halyards, a type of cord used to hoist sails or flags, to outline the curves of figures wearing elegant cloaks, hoods, and shield-like accessories with unraveled coils at their feet. In her series Armors—a play on the French words amour and armure, meaning “love” and “armor,” respectively—she assembles enigmatic garments that await use, as if crystallized over time.

Vicerial was inspired by the Gorgons of Greek mythology, the most famous of which is Medusa, whose hair roiled with snakes and turned anyone who looked at them into stone. “The idea was to insert myself into that great mythological story but to suspend its time, making it impossible to define the time or place where they were born,” the artist tells Colossal. She leaves the wearers’ identities open to interpretation, allowing the viewer to imagine the possibilities of their histories or purposes.

Drawing on her background in fashion and textiles, Vicerial was originally interested in studying the male figure and clothing. She began to focus on expressions of the female form when she participated in a year-long residency at Villa Medici in Rome and was struck by the way women have been represented throughout art history. “When I looked at the sculptures in the Villa’s park and saw the Venuses with their wet drapery, the representations of women in lascivious postures with draped cloth that always seems to be accidentally slipping off, I decided to focus again on the female body,” she says. Vicerial turns the ancient trope on its head by emphasizing garments as protective coverings that beget a formidable presence, merely hinting at the figure beneath.

 

A figurative sculpture made from black threads and cord that unravel and drape from the face and arms.

“Puppa n°1”

Describing the works as “guardians,” Vicerial provokes subtle associations with medieval European burials of knights and nobles, Japanese samurai armor, or nuns’ habits. She sometimes places varnished flowers like roses into cavities located where a metal chest plate would have protected one’s vital organs in combat. Like portals glimpsing a mysterious interior, they highlight the body’s vulnerability.

Blurring the boundary between fashion and sculpture, the phantom-like works are devoid of facial expressions. Long threads cascade from headdresses, shoulders, and faces illustrating dignity and vulnerability, and the spectral, imposing armors are “protections that express a form of power, but that are in reality extremely fragile because they are made only of threads,” she says, underlining the dubious tension between strength and weakness. “To touch them is in a way to destroy them because they could never be presented in the same way again.”

Armors comprised a recent exhibition with TEMPLON. If you’re in Paris, you can find Vicerial’s work in the group exhibition Des cheveux et des poils at the Musée des Arts Décoratifs through September 17. Follow updates about forthcoming shows and new works on the artist’s Instagram. (via .able)

 

A detail of the torso of an abstract figurative sculpture made from black thread and cord.

Detail of “Puppa n°1”

An abstract figurative sculpture of a head and cape-like shoulders with long strands of unravelled thread draping from the bottom.

“Encéphale n°1”

A group of three figurative sculptures made from white thread. The middle figure is about twice as tall as the two that flank it. Pools of unravelled thread sit at the feet of each.

“Catula Présence”

Two images of the same sculpture. On the left, a detail of a figurative sculpture made of black thread with a cloak or hood. On the right, the full length view of the sculpture showing a pool of unravelled thread at its feet.

Left: Detail of “Présence à l’enfant.” Right: “Présence à l’enfant”

A sculpture made of white thread, installed on a black box against a black background. It suggests an abstract feminine figure lying on a sarcophagus such as a Medieval knight would have been interred in. A pile of unravelled thread pools at the bottom.

“Gisante de Coeur”

A detail of a figurative sculpture made from white thread. It appears to be lying on a black box, on a pillow.

Detail of “Gisante de Coeur”

Two images of the same sculpture. On the left, an overview of the sculpture which suggests a figurative form made from black thread with lots of draping cords and unravelled strings. On the right, a detail of the torso area shows braids of black thread and a group of gold-painted dried roses.

Left: “Mue n°1.” Right: Detail of “Mue n°1”

A figurative sculpture made from white thread, photographed on a black background. The sculpture features long threads draping down from the face and arms, and there is a tall, curving headdress on top.

“Puppa n°4”

A figurative sculpture made from white thread, shown at three-quarter view and appears to be kneeling in contemplation.

“Mue n°5 (Amnios)”

 

Do stories and artists like this matter to you? Become a Colossal Member today and support independent arts publishing for as little as $5 per month. The article Jeanne Vicerial’s Enigmatic ‘Armors’ Evoke Timeless Strength in Elegant Sculptures Made of Thread appeared first on Colossal.

Hill Country Photographer uses her craft to create legacies

Hill Country Photographer uses her craft to create legacies

Kim Ortiz, a photographer and mixed-media artist in the Hill Country Galleria, said she hopes to inspire everyone to do what they love to do.

Ortiz was a certified public accountant before being laid off in 2012; she had been taking photography courses on the side since 2008 and saw it as an opportunity to start a new career.

“It was like a turning point, and I said, ‘I’m going to do what I love,’” she said.

Ortiz then built a new photography studio in Dallas in 2014 and ran a successful business for five years before deciding to move to Austin in 2019; she eventually opened a new studio at the Galleria in January 2020. At the beginning of February, Ortiz relocated her studio to a new spot in the Galleria that she said is “more central.”

“I’ve already noticed more people stopping to look through my windows since I changed locations,” Ortiz said.

Her photography and gallery mostly features dogs; however, she said this is only part of her business as she also photographs families, families with their dogs, headshots for executives and high school seniors.While she does do traditional photography, Ortiz said her specialty is as a mixed-media artist and photographer.

“Mixed-media paintings are my signature product, and I’m the only one in Lake Travis who does them,” she said.

Mixed-media paintings are a three- to four-month process that involve taking the photos, painting the photo in a special software on the computer and then printing the photo and placing it on canvas to paint the photo by hand, she said.

Because the process involved in mixed-media art is so time-consuming, Ortiz only sees around 30-50 clients a year.

“What I do is a luxury,” she said. “But it’s also important because of the story I’m creating.”

Ortiz, who owns six rescue dogs, said she had this revelation when one of her dogs, Lexie, died in 2017.

“Dogs are like family, and they don’t live forever, but if you have a portrait done of your dog, they live forever,” she said.

She said everything she does is about creating a legacy.

“Portraits are all we have of our family when someone dies,” she said.

Ortiz also said she hopes to create lasting legacies through her work and donations to nonprofit organizations. In the last 10 years, she has raised $30,000 for various organizations, and she is working on raising money through her business for the American Heart Association and the Austin Humane Society.

“I’m very fortunate to be here at the Hill Country Galleria because I live here,” she said. “I’m very active in the community, and anyone who asks for a donation, whatever nonprofit it is, I will donate.”

Kim Ortiz Portrait Art

12700 Hill Country Blvd., Ste. S-120, Bee Cave

512-817-4996

www.kimortiz.com

Hours: Tue.-Fri. 1-5 p.m., Sat. by appointment only, closed Sun.-Mon.

How to Make Money with Photo Art

How to Make Money with Photo Art
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Building communities and ensuring NFT success: Insights for artists

Building communities and ensuring NFT success: Insights for artists

Building communities has become more crucial than ever in today’s rapidly changing art space, especially with the rise of NFTs.

Building communities and ensuring NFT success: Insights for artists

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The importance of building communities cannot be underestimated in the rapidly changing art world, driven by technology and the explosion of nonfungible tokens (NFTs) in the last two years. An audience is a social media following, but a community is a group of people working toward a common goal.

Art market economist and academic Magnus Resch has extensively researched the importance of communities and networks for artists.

Resch holds a Ph.D. in economics and has studied at the University of St. Gallen, the London School of Economics and Harvard. In addition to lecturing at Yale, he has produced several publications about the economics of the art world. He has appeared in academic journals and major publications like The Wall Street Journal, The New York Times and Vanity Fair.

Resch recently spoke to Cointelegraph about his latest book, How to Create and Sell NFTs — A Guide for All Artists, which explores the importance of building meaningful communities for artists, and how to create and sell NFTs compatible with their artwork.

Cointelegraph: Dr. Resch, how important is community building for artists in today’s rapidly changing art world?

Magnus Resch: Community in the art world matters for the success of any artist, but being in the right one is even more important. In one of my most recent studies, I looked at thousands of communities in the art world to evaluate their impact on the success of any artist. The results were surprising: 99.9% of artists’ communities don’t have any positive effect on the career of an artist.

These communities — I call them “island networks” — consist of museums, galleries, fellow artists of the same level and fans or supporters. These groups mean well but will never make a real impact at the higher end of the market. Instead, there is only one network that leads to success. For an artist who strives to be successful, the goal must be to become part of it. I call it the “holy land.”

CT: Can you share some key strategies for artists to successfully tap into this one community you call the “Holy Land?”

MR: My study shows the art world is a people business. Who you know matters more than what you make. In the absence of objective criteria that define what “good art” is, the network steps in to decide what good art is and what is not. That is why networking is so vital.

For artists, this means don’t spend all your time in the studio. Go out and meet the right people, at best, those that are part of the holy land. Or put bluntly, artists are on their own and need to accept that they are entrepreneurs running a business. Branding, marketing and self-promotion are essential to their success and are more important than their art. Artists who are waiting to be discovered will fail.

CT: What role do social media and digital platforms play in helping artists connect with their audience and foster a sense of community?

MR: Social media is the most relevant marketing tool for artists. They cannot rely on galleries to do the job, as most galleries are part of island networks and close down after a few years. In fact, one-third of all galleries never make any profit.

Getting into the holy land is hard, as only a few spots per year are available. That’s why building a brand is so important for artists. The easiest way to do this is via social media: 45% of art buyers regard social media as the most important channel to discover and find artists. Visits to offline galleries only follow in second place. I argue any artist serious about making it in the art world needs Instagram.

CT: Has this changed with the rise of NFTs?

MR: Not at all. NFT projects have allowed artists to learn what is required to make it without the gallery support. We have seen that the most important pillar in any NFT project is the community. Failed projects have misinterpreted the community as an “audience.”

An audience is the following on social media. A community is a close circle, a tight-knit and active group of people working toward the same goal. They can assemble on social media, but it goes beyond that. Building a community is about building loyal members who are supportive of an artist’s idea. I believe in the future where artists will give their community voting rights, allow them to participate in projects, and exchange ideas and assets. This is considerably different from today’s audience that just “likes” and follows but doesn’t participate.

CT: Can you share some successful examples of traditional art institutions and galleries that have embraced NFTs and the impact it has had on their businesses?

MR: The biggest winner of the NFT hype were digital artists such as Beeple, Justin Aversano, and Jen Stark. Digital art never played a major role in the art market, being the least popular medium after paintings, sculptures and photography. And then suddenly, some of these digital artists neglected by the market made significant money and sold for record prices. The real impact of NFTs, however, is yet to come. NFTs will be the underlying technology to authenticate every artwork — and not just digital art. This will change how art is traded fundamentally. Without an NFT to prove that the work is real, nobody will buy the painting.

CT: What are the main implications of NFTs on the art market?

MR: So far, there have been none. We are only at the beginning of what’s coming. I predict that NFTs will have a lasting impact, which is fourfold: Artists will exert more control over their work and earn royalties from resales; more collectors will populate the market as it has become more transparent; institutions will find it easier to engage their communities, and give them ownership through participation and involvement in governance. And finally, the art market will become more regulated for the better and thereby increase in value. Clearly, this won’t happen overnight, as changes in the art world take time. We are looking at 5–10 years’ until NFTs become the standard of how artworks are transacted and authenticated.

CT: Can you discuss any common mistakes artists should avoid when entering the NFT space and how they can set themselves up for long-term success?

MR: Most artists will never enter the NFT space as NFTs are not art. And those overpriced, celebrity-endorsed JPEGs that often are associated with NFTs will go away. I don’t even think we will talk about the term “NFTs” five years from now, similarly as we don’t talk about mp3 anymore.

NFTs are the underlying technology that will be used whenever artworks are transacted. In the future, it is not unlikely that the artist will register every painting that leaves a studio on the blockchain. So when it’s traded, the artist not only gets royalties but also knows who the new owner is. This allows them to work more independently and not rely on galleries entirely to promote or authenticate their works. As a consequence, artists will earn more on every piece they sell.

CT: How can collectors effectively determine the value of artwork in today’s dynamic market, particularly with the emergence of NFTs?

MR: Most art is not a good investment. Almost all artists are stuck in island networks and will not see an increase in value. For collectors who are purely interested in making money, they should focus exclusively on artists and galleries who form the population of the holy land. However, if they are interested in collecting art for any other motive (and consider it a cherry on top if the artist increases in value), the whole art market can be their hunting ground.

CT: Has the price transparency and liquidity that NFTs facilitated changed this?

MR: Many of those who bought NFTs as an investment were not able to make a profit with them. They have moved on to other investments. And as the hype faded, the true winners were those who bought works that they liked and wanted to live with. Another phenomenon is visible, too; we are currently seeing the merger of the traditional art market and a few digital artists who had success during the NFT hype. Beeple, Dmitri Cherniak, Tyler Hobbs, Casey Reas, and Artblocks, who exclusively sold on digital platforms like OpenSea and catered to a crypto-native audience, have now started showing their works with established traditional players in the art market, such as Pace Gallery. A representation by Pace Gallery, which is part of the holy land, will help them to manifest their value, even after the hype and their crypto buyers are gone.

CT: If art is not a good investment, why should we buy it?

MR: After having done much data analysis on the art market, one strategy for collecting proven to be the most effective is to buy what you like, as most likely, you will never make any money with the art you buy. I call it “responsible buying” — the notion that buying art is not just an exchange of monetary value but also a philanthropic act. Rather than putting money into an asset, I donate it, knowing that, in all likelihood, I won’t be able to resell the piece. But, by buying it, I am supporting the artist so that she can continue creating art, which inspires her community to continue with this essential form of human creativity. To me, it is a way of doing good, and it comes with an object that I love and a story to tell.