Earlier this month, a couple of airy clouds floated over Gansevoort Plaza in Manhattan, although unlike those you’d usually see wafting overhead, these clouds descended a bit closer to Earth. NYCxDESIGN invited Shanghai-based architecture studio llLab. to design a pavilion as part of New York City’s annual architecture festival, Archtober.

llLab. combined form and function in “Bamboo Cloud,” a sculptural oasis in the busy square, highlighting the elegance, strength, and flexibility of the material. The frame, nearly invisible beneath the woven exterior, holds the organic forms aloft above the pavement, “providing a place for spontaneous encounters and gatherings.”

llLab. has worked extensively with bamboo in many of their projects, which you can explore in-depth on the studio’s website and Instagram.

Photo by Jennifer Trahan

Photo by Xi Chen and Chris King

Photo by Xi Chen and Chris King

Photo by Xi Chen and Chris King

Photo by Xi Chen and Chris King

Photo by Jennifer Trahan

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 An Elegant ‘Bamboo Cloud’ Floats Over Manhattan’s Gansevoort Plaza appeared first on Colossal.

“Folklore relating to Scandinavia is a great inspiration and something I have grown up with during my childhood and adolescence in my native Denmark,” says Malene Hartmann Rasmussen, whose enigmatic ceramics draw from personal memories, nostalgia, and ancient customs. “Harvest rituals such as the tradition of making corn dollies, at Christmas-time when you have to make sure the gnomes are happy and well-fed, the Lucia processions we did every year in school, Jule-bukken—the yule-goat—that was the more sinister predecessor of Santa Claus, and trolls of all sorts are all things I remember from my childhood.”

Rasmussen’s sculptures often shapeshift, at first glance appearing like a cluster of foliage, pinecones, or berries and on closer inspection revealing a troll’s bearded face. In “Treasure,” a basket brimming with colorful gems turns out to be woven of snakes, similar to the writhing “Viper Weave #8,” in which 20 squirming reptiles comprise the warp and weft. Other works depict creatures we associate with darkness or omens, such as spiders, with additional jewel-like embellishments and cheerful, pastel colors.

“Spiders” (2021)

In “The Tired Lioness,” Rasmussen pulls inspiration from a precious family album, particularly a page where her mother captioned one image, “The tired mom.” The artist says the people photographed “look a bit off. So I dedicated my ‘Lioness’ to my mom and all the other tired moms and dysfunctional families out there.”

Rasmussen has long been intrigued by hybrid creatures, including the human-plant comic book character Swamp Thing, and historic books and illustrations, like Swedish artist John Bauer’s In the Troll Woods, which her grandmother gave her. “I loved the book and still do and have used it as a starting point in many artworks and installations throughout the years,” she says. “I see the trolls as nature spirits relating to the idea of animism, that not only man but every plant, stone, and river has a soul and is part of something bigger.”

Find more on the artist’s website and Instagram.

“Troll #8” (2017)

“The Tired Lioness” (2022)

“Snake Helmet” (2020)

“Corn Dolly Crown #3” and “Corn Dolly Crown #4” (2020)

“Treasure” (2019)

“Nøkke-rosen” (2018)

“Spiders” (2021)

“Viper Weave #8” (2023)

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 Folkloric Figures Emerge in Malene Hartmann Rasmussen’s Shapeshifting Ceramics appeared first on Colossal.

Ýr Jóhannsdóttir moves through the world with a second set of eyes—and teeth and brows. The Icelandic artist, who works as Ýrúrarí, has spent the last few years crafting an extensive cast of felted and knitted characters to accompany her throughout the day. Many of her designs take the idea of tongue-in-cheek humor literally, with balaclavas encircled with mouths and masks embellished with playful grins.

Much of Jóhannsdóttir’s practice revolves around sustainability and transforming garments and materials otherwise destined for the landfill. Her works rely on mending and using scraps to create cheeky wearables beaming with personality.

If you’re in Copenhagen, see Jóhannsdóttir’s works in a group exhibition on view through January 28 at Nordatlantens Brygge. Her Pizza Time project, which used leftovers from the wool industry to create fiber-rich pies, was also recently nominated for Iceland’s Design Awards. Follow updates on Instagram.

Created in collaboration with Ásgerður Heimsidóttir. Photo by Hrafnhildur Heiða Sandholt

Photo by Studio Fræ

Created in collaboration with Ásgerður Heimsidóttir. Photo by Hrafnhildur Heiða Sandholt

Created in collaboration with Ásgerður Heimsidóttir. Photo by Hrafnhildur Heiða Sandholt

Photo by Studio Fræ

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 Ýrúrarí’s Knit and Felted Characters Are Cheeky Additions to Mended Garments appeared first on Colossal.

PARIS, Oct. 30, 2023 /PRNewswire/ — Artprice is proud to present the NFT work Flow by Josh Pierce on the cover of its latest Annual Report on the Contemporary and Ultra-Contemporary Art Market,  published just in time for the Frieze London and Paris+ by Art Basel art fairs and available for free.

“Digital creation brings a wonderful breath of fresh air to the art world” enthuses thierry Ehrmann, CEO of Artmarket.com and Founder of Artprice. “This artistic turning point deserves to be examined with the greatest attention by all collectors and art enthusiasts.”

The work Flow by Josh Pierce on the cover of Artprice’s 2023 Contemporary Art Market Report, available in English and French for free on www.artprice.com

Auction result for the work Pristine (2021) by Josh Pierce on the website www.artprice.com

NFT technology not only offers a simple and suitable way to collect digital art – an artistic format that perhaps best represents the age we live in – but it also allows us to establish links between artists, works, and collectors, as well as all the other protagonists of the international art world on the Blockchain. As NFT artworks become more common in  museums and auction catalogs, alongside their growth on dedicated platforms, they are writing a new page in Art History.

Artist Josh Pierce talks to Artprice about his work, his technique, his vision of NFTs, as well as his inspirations and his favorites. He invites us to delve into his spectacular work where the human being contemplates a natural world re-enchanted by a mysterious, luminous, fantastic, and soothing presence.

1. Your works celebrate a type of harmony between the real world and the digital world. Do you believe that such a symbiosis really exists, or is possible?

Jpierce: Yes, I do believe that the real world and the digital world can coexist harmoniously. This kind of symbiosis is a theme in my work for a reason. I believe that all things are interconnected. When we are able to tap into that knowledge we can create and share from a much deeper place. We have a chance to make the world a better place, even in a very small way. In my view, everything that is created by human beings is both an expression of this earthly experience and an extension of our own inner worlds. I don’t see work created with digital tools any differently. At one point the paintbrush was invented, and so was the camera, and now we have these new tools for self-expression and for creating art digitally. This opens up entirely new possibilities that we haven’t even begun to conceive of. Even though life is getting more and more digital, I don’t really think that people are generally going to want to live in a futuristic technotopia, completely disconnected from nature. I believe we will always need that connection with the living world because really we are a part of it. With that said I think that audiences will always resonate with natural elements because we have a need to stay in close contact with nature. So it doesn’t matter whether that art is created digitally or in any other way.

2. What is technique according to you when it comes to digital art? Why aren’t creative software apps and their pre-programmed libraries enough to create a work of art? Why isn’t Artificial Intelligence enough?

Jpierce: Technique is something that is honed over time and has as much to do with the eye as it does with the hand. There is a difference in my view of something that is art and something that is simply craft. While craft, or technique, is extremely important, it does not equate to art. Art is about an individual’s expression and their own channeling or interpretation of the divine, via the conscious act of creation. No machine can ever do that. Having access to an amazing array of tools can only modify the level of technique that goes into a work’s creation. It’s like using a stencil, or a screen printing process such as with Warhol. Ultimately it doesn’t have anything to do with “how” the work is made and everything to do with “why” the work is made. This is the key distinction in my mind. Humans can build a machine to spit out any millions of copies or iterations of beautiful images, poetry or music, but without the artist’s intention, the “why” will always be missing. These creations will always lack the soul. Artificial Intelligence is yet another tool that can make our lives easier, handling some of the tedious work, but again will never be able to replace the artist’s divinely guided hand. 

3. How would you define the originality of your artistic production in comparison to your job as a graphic designer?

Jpierce: As you might have already noticed, lately I’ve been fascinated with the idea of works of art being channeled from beyond. It isn’t even so much about personal expression as it relates to one’s own life but more about capturing the particular flavor of the signals that are coming to you as an artist. I think in all fulfilling and meaningful work there needs to be this spark of creativity. For me as a designer working on a team, creativity is more involved in concept and technical execution than it is in personal expression. I still find a lot of joy in the creative process of problem-solving and of bringing to life a message through means of visual communication. On the other end, my personal work brings that same inspiration into more abstract modalities such as color, composition, and tone. This kind of inspiration isn’t about solving a problem but about creating a harmony between, space, form, value and emotional resonance. I work much more intuitively when it comes to my personal work, as one would expect, and I think originality emerges as a result of that interplay between inspiration and technique, as well as intuition and serendipity. 

4. What relationship do you have with the world of NFTs? Do you feel connected to your collectors, the platforms you use, or maybe even other artists?

Jpierce: I find it very interesting that the world of NFTs has become so broad and has come to encompass such a large variety of projects. This new technology built on the blockchain is capable of so many things and the ability to represent uniquely ownable digital items is only a very small part of what is being explored. As an artist, I am extremely grateful that my work can now be collected and owned by individuals and institutions that want to see work like mine promoted in the art world. Since this wasn’t really possible before, an entirely new wave of artists and collectors have found their way into a crossroads with traditional art markets. It’s a very exciting time. Most of the people who have collected my work thus far have been smaller entities or individuals and almost exclusively have been buying for the right reasons. That is, they connect deeply with the message and have an emotional response to the work, and for that reason I feel very connected. Platforms have also been incredibly helpful, and while they are evolving and changing over time, I feel very connected to the individuals I have built relationships with who may or may not remain connected to those various platforms. The community of artists and tech enthusiasts is the backbone of the NFT world and I feel very grateful to have many wonderful friendships within it, as it positions itself for the next push into the mainstream art world.

5. Are you satisfied with the current functioning of the web3/NFT ecosystem or do you feel it lacks something? For example, would you like to be supported by a gallery or see your work physically exhibited in a museum?

Jpierce: I’m definitely very interested in my work being exhibited in a gallery or museum and can say enthusiastically that the time for this is coming sooner rather than later! Digital artists have particular challenges in displaying work, usually implementing LED screens or projectors. Personally, I really like the option of physical prints and utilizing augmented reality technology to bring them to life. I think this marries the physical world with the digital world much more intimately than moving screens which I always find slightly alienating. It also grounds the work in the physical space, guaranteeing no technical glitches, which would only occur on the user’s device and don’t affect the overall gallery experience. In terms of representation, I believe it’s only a matter of time before the transition to digital art becomes mainstream. I do hope that as the value of work such as mine becomes recognized more and more by the world, that the art scene will begin to embrace it and digital artists will have a home in more traditional exhibition spaces.

6. Two of your NFT creations have already sold at Sotheby’s. How does it feel to see the traditional art market take an interest in your work and that of other digital artists?

Jpierce: Certainly, there are few higher honors than to see my work on display and at auction at Sotheby’s – made even more special by getting to go there in person and see it in their gallery in France in March of 2023. Seeing my work there makes me very proud of myself and the hard work and dedication I’ve committed to my practice over the years. Of course, no matter the outcome, I have, and always will, create purely for the joy of sharing what I believe to be an important expression of human connection with nature and of the evolution of human consciousness. For that reason, any high profile sale or exhibition only draws more eyes and ears to what it is that I feel I need to say. For digital artists in general I think this also applies. We are seeing an entirely new generation of creative minds reach into the collective psyche and hold up these choice findings for examination. Eventually, traditional art markets will have to embrace that just as every avant-garde movement has pushed the boundaries of medium, subject matter, taboos, and even concept itself. In the future hindsight will reveal that this question of adoption in the eyes of critics always had a foregone conclusion. It’s inevitable that digital artists will be seen on the same level as all other widely respected mediums. 

7. In your work, we can glimpse a romanticism close to that of Caspar David Friedrich’s Wanderer, or imagine a connection with installations by Andy Goldsworthy. Do any artists or works particularly inspire you?

Jpierce: I can appreciate those comparisons! I have taken to considering myself a spiritual artist, in that what I create comes from and attempts to transmit a connection with a spiritual dimension. In some ways, we might simply consider this the realm of the magical. There is a deep magic in the world, and it can’t really be talked about, measured or captured with concepts and words. So I use art to convey an emotion that is commonly felt and more commonly forgotten, dismissed or deemed irrelevant. As far as inspiration, I have always been drawn to nature and to classical landscape painting and photography. Certainly also, Goldsworthy and Friedrich are powerful inspirations for my work. I grew up marveling at the fantasy landscape work of Roger Dean, and the psychedelic visionary art of Alex Grey. I’ve also drawn inspiration from the neon work of Dan Flavin, as well as the work done with cloud formations by Cai Guo-Qiang. I’ve appreciated at times many other artists who worked within landscapes including Richard Serra and Robert Smithson. 

8. Are there any digital artists whom you would wholeheartedly recommend our readers to discover?

Jpierce: There are so many artists that I would really love to speak about, especially friends of mine and artists who I believe are pushing boundaries. I believe Patrick Amadon has become a real leader in the world of glitch art and free speech advocacy. Postwook is another artist whose striking collage work transports us to dreamy memories potent with feeling. Sam Spratt has also become a standout star, painting digitally, questioning our relationships with our own raw animalistic emotional natures. I could say so much more  but these are just a few I would love to see gain even greater recognition in all areas of the art world.

9. Finally, what is the best way to view your works and stay informed about your upcoming creations?

Jpierce: I post most regularly on Instagram @jpierce and I make most of my announcements on X (formerly Twitter) @jpierce_art. Also, any major announcement will be made on my website – joshpierce.net where you will also find galleries of my work and a place to sign up for an email newsletter to keep informed about upcoming releases! Thank you again so much for the opportunity to speak about my work and share my thoughts with the world.

Links

Josh Pierce’s page on Artprice: https://www.artprice.com/artist/1097445/josh-pierce

Josh Pierce’s official website: https://www.joshpierce.net/

Josh Pierce’s NFT works on SuperRare: https://superrare.com/jpierce

Artprice’s free 2023 Contemporary Art Market Report: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2023

Images: 
[https://imgpublic.artprice.com/img/wp/sites/11/2023/10/image1-flow-josh-pierce-artprice.jpg] 
[https://imgpublic.artprice.com/img/wp/sites/11/2023/10/image2-Pristine-2021-on-Artprice.png] 

Copyright 1987-2023 thierry Ehrmann www.artprice.com – www.artmarket.com

About Artmarket:

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Artmarket is a global player in the Art Market with, among other structures, its Artprice department, world leader in the accumulation, management and exploitation of historical and current art market information in databanks containing over 30 million indices and auction results, covering more than 825,000 artists.

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Artprice Images® allows unlimited access to the largest Art Market image bank in the world: no less than 180 million digital images of photographs or engraved reproductions of artworks from 1700 to the present day, commented by our art historians.

Artmarket with its Artprice department accumulates data on a permanent basis from 7200 Auction Houses and produces key Art Market information for the main press and media agencies (7,200 publications). Its 7.2 million (‘members log in’+social media) users have access to ads posted by other members, a network that today represents the leading Global Standardized Marketplace® to buy and sell artworks at a fixed or bid price (auctions regulated by paragraphs 2 and 3 of Article L 321.3 of France’s Commercial Code).

Artmarket, with its Artprice department, has twice been awarded the State label “Innovative Company” by the Public Investment Bank (BPI), which has supported the company in its project to consolidate its position as a global player in the art market.

Artprice by Artmarket publishes its 2023 Contemporary Art Market Report:
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https://www.artprice.com/artprice-reports/the-art-market-in-2022

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Contact Artmarket.com and its Artprice department – Contact: Thierry Ehrmann, [email protected]

SOURCE Artmarket.com

PARIS, Oct. 30, 2023 /PRNewswire/ — Artprice is proud to present the NFT work Flow by Josh Pierce on the cover of its latest Annual Report on the Contemporary and Ultra-Contemporary Art Market,  published just in time for the Frieze London and Paris+ by Art Basel art fairs and available for free.

“Digital creation brings a wonderful breath of fresh air to the art world” enthuses thierry Ehrmann, CEO of Artmarket.com and Founder of Artprice. “This artistic turning point deserves to be examined with the greatest attention by all collectors and art enthusiasts.”

The work Flow by Josh Pierce on the cover of Artprice’s 2023 Contemporary Art Market Report, available in English and French for free on www.artprice.com

Auction result for the work Pristine (2021) by Josh Pierce on the website www.artprice.com

NFT technology not only offers a simple and suitable way to collect digital art – an artistic format that perhaps best represents the age we live in – but it also allows us to establish links between artists, works, and collectors, as well as all the other protagonists of the international art world on the Blockchain. As NFT artworks become more common in  museums and auction catalogs, alongside their growth on dedicated platforms, they are writing a new page in Art History.

Artist Josh Pierce talks to Artprice about his work, his technique, his vision of NFTs, as well as his inspirations and his favorites. He invites us to delve into his spectacular work where the human being contemplates a natural world re-enchanted by a mysterious, luminous, fantastic, and soothing presence.

1. Your works celebrate a type of harmony between the real world and the digital world. Do you believe that such a symbiosis really exists, or is possible?

Jpierce: Yes, I do believe that the real world and the digital world can coexist harmoniously. This kind of symbiosis is a theme in my work for a reason. I believe that all things are interconnected. When we are able to tap into that knowledge we can create and share from a much deeper place. We have a chance to make the world a better place, even in a very small way. In my view, everything that is created by human beings is both an expression of this earthly experience and an extension of our own inner worlds. I don’t see work created with digital tools any differently. At one point the paintbrush was invented, and so was the camera, and now we have these new tools for self-expression and for creating art digitally. This opens up entirely new possibilities that we haven’t even begun to conceive of. Even though life is getting more and more digital, I don’t really think that people are generally going to want to live in a futuristic technotopia, completely disconnected from nature. I believe we will always need that connection with the living world because really we are a part of it. With that said I think that audiences will always resonate with natural elements because we have a need to stay in close contact with nature. So it doesn’t matter whether that art is created digitally or in any other way.

2. What is technique according to you when it comes to digital art? Why aren’t creative software apps and their pre-programmed libraries enough to create a work of art? Why isn’t Artificial Intelligence enough?

Jpierce: Technique is something that is honed over time and has as much to do with the eye as it does with the hand. There is a difference in my view of something that is art and something that is simply craft. While craft, or technique, is extremely important, it does not equate to art. Art is about an individual’s expression and their own channeling or interpretation of the divine, via the conscious act of creation. No machine can ever do that. Having access to an amazing array of tools can only modify the level of technique that goes into a work’s creation. It’s like using a stencil, or a screen printing process such as with Warhol. Ultimately it doesn’t have anything to do with “how” the work is made and everything to do with “why” the work is made. This is the key distinction in my mind. Humans can build a machine to spit out any millions of copies or iterations of beautiful images, poetry or music, but without the artist’s intention, the “why” will always be missing. These creations will always lack the soul. Artificial Intelligence is yet another tool that can make our lives easier, handling some of the tedious work, but again will never be able to replace the artist’s divinely guided hand. 

3. How would you define the originality of your artistic production in comparison to your job as a graphic designer?

Jpierce: As you might have already noticed, lately I’ve been fascinated with the idea of works of art being channeled from beyond. It isn’t even so much about personal expression as it relates to one’s own life but more about capturing the particular flavor of the signals that are coming to you as an artist. I think in all fulfilling and meaningful work there needs to be this spark of creativity. For me as a designer working on a team, creativity is more involved in concept and technical execution than it is in personal expression. I still find a lot of joy in the creative process of problem-solving and of bringing to life a message through means of visual communication. On the other end, my personal work brings that same inspiration into more abstract modalities such as color, composition, and tone. This kind of inspiration isn’t about solving a problem but about creating a harmony between, space, form, value and emotional resonance. I work much more intuitively when it comes to my personal work, as one would expect, and I think originality emerges as a result of that interplay between inspiration and technique, as well as intuition and serendipity. 

4. What relationship do you have with the world of NFTs? Do you feel connected to your collectors, the platforms you use, or maybe even other artists?

Jpierce: I find it very interesting that the world of NFTs has become so broad and has come to encompass such a large variety of projects. This new technology built on the blockchain is capable of so many things and the ability to represent uniquely ownable digital items is only a very small part of what is being explored. As an artist, I am extremely grateful that my work can now be collected and owned by individuals and institutions that want to see work like mine promoted in the art world. Since this wasn’t really possible before, an entirely new wave of artists and collectors have found their way into a crossroads with traditional art markets. It’s a very exciting time. Most of the people who have collected my work thus far have been smaller entities or individuals and almost exclusively have been buying for the right reasons. That is, they connect deeply with the message and have an emotional response to the work, and for that reason I feel very connected. Platforms have also been incredibly helpful, and while they are evolving and changing over time, I feel very connected to the individuals I have built relationships with who may or may not remain connected to those various platforms. The community of artists and tech enthusiasts is the backbone of the NFT world and I feel very grateful to have many wonderful friendships within it, as it positions itself for the next push into the mainstream art world.

5. Are you satisfied with the current functioning of the web3/NFT ecosystem or do you feel it lacks something? For example, would you like to be supported by a gallery or see your work physically exhibited in a museum?

Jpierce: I’m definitely very interested in my work being exhibited in a gallery or museum and can say enthusiastically that the time for this is coming sooner rather than later! Digital artists have particular challenges in displaying work, usually implementing LED screens or projectors. Personally, I really like the option of physical prints and utilizing augmented reality technology to bring them to life. I think this marries the physical world with the digital world much more intimately than moving screens which I always find slightly alienating. It also grounds the work in the physical space, guaranteeing no technical glitches, which would only occur on the user’s device and don’t affect the overall gallery experience. In terms of representation, I believe it’s only a matter of time before the transition to digital art becomes mainstream. I do hope that as the value of work such as mine becomes recognized more and more by the world, that the art scene will begin to embrace it and digital artists will have a home in more traditional exhibition spaces.

6. Two of your NFT creations have already sold at Sotheby’s. How does it feel to see the traditional art market take an interest in your work and that of other digital artists?

Jpierce: Certainly, there are few higher honors than to see my work on display and at auction at Sotheby’s – made even more special by getting to go there in person and see it in their gallery in France in March of 2023. Seeing my work there makes me very proud of myself and the hard work and dedication I’ve committed to my practice over the years. Of course, no matter the outcome, I have, and always will, create purely for the joy of sharing what I believe to be an important expression of human connection with nature and of the evolution of human consciousness. For that reason, any high profile sale or exhibition only draws more eyes and ears to what it is that I feel I need to say. For digital artists in general I think this also applies. We are seeing an entirely new generation of creative minds reach into the collective psyche and hold up these choice findings for examination. Eventually, traditional art markets will have to embrace that just as every avant-garde movement has pushed the boundaries of medium, subject matter, taboos, and even concept itself. In the future hindsight will reveal that this question of adoption in the eyes of critics always had a foregone conclusion. It’s inevitable that digital artists will be seen on the same level as all other widely respected mediums. 

7. In your work, we can glimpse a romanticism close to that of Caspar David Friedrich’s Wanderer, or imagine a connection with installations by Andy Goldsworthy. Do any artists or works particularly inspire you?

Jpierce: I can appreciate those comparisons! I have taken to considering myself a spiritual artist, in that what I create comes from and attempts to transmit a connection with a spiritual dimension. In some ways, we might simply consider this the realm of the magical. There is a deep magic in the world, and it can’t really be talked about, measured or captured with concepts and words. So I use art to convey an emotion that is commonly felt and more commonly forgotten, dismissed or deemed irrelevant. As far as inspiration, I have always been drawn to nature and to classical landscape painting and photography. Certainly also, Goldsworthy and Friedrich are powerful inspirations for my work. I grew up marveling at the fantasy landscape work of Roger Dean, and the psychedelic visionary art of Alex Grey. I’ve also drawn inspiration from the neon work of Dan Flavin, as well as the work done with cloud formations by Cai Guo-Qiang. I’ve appreciated at times many other artists who worked within landscapes including Richard Serra and Robert Smithson. 

8. Are there any digital artists whom you would wholeheartedly recommend our readers to discover?

Jpierce: There are so many artists that I would really love to speak about, especially friends of mine and artists who I believe are pushing boundaries. I believe Patrick Amadon has become a real leader in the world of glitch art and free speech advocacy. Postwook is another artist whose striking collage work transports us to dreamy memories potent with feeling. Sam Spratt has also become a standout star, painting digitally, questioning our relationships with our own raw animalistic emotional natures. I could say so much more  but these are just a few I would love to see gain even greater recognition in all areas of the art world.

9. Finally, what is the best way to view your works and stay informed about your upcoming creations?

Jpierce: I post most regularly on Instagram @jpierce and I make most of my announcements on X (formerly Twitter) @jpierce_art. Also, any major announcement will be made on my website – joshpierce.net where you will also find galleries of my work and a place to sign up for an email newsletter to keep informed about upcoming releases! Thank you again so much for the opportunity to speak about my work and share my thoughts with the world.

Links

Josh Pierce’s page on Artprice: https://www.artprice.com/artist/1097445/josh-pierce

Josh Pierce’s official website: https://www.joshpierce.net/

Josh Pierce’s NFT works on SuperRare: https://superrare.com/jpierce

Artprice’s free 2023 Contemporary Art Market Report: https://www.artprice.com/artprice-reports/the-contemporary-art-market-report-2023

Images: 
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[https://imgpublic.artprice.com/img/wp/sites/11/2023/10/image2-Pristine-2021-on-Artprice.png] 

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SOURCE Artmarket.com

James Houselander, Marketing Director – EMEA at HPE Aruba Networking, tells CNME Editor Mark Forker how the advent of social media applications has fundamentally changed the marketing landscape, and how it has evolved from an art form to a science.

“I’m all for heroism,” Marina Abramovic says. “I love heroism.” And at 76, after a long and groundbreaking career, she is largely viewed by the art world in heroic terms. Abramovic is currently the subject of a show at the Royal Academy of Arts in London, where she is the first female artist to host a major solo exhibition in the main galleries of the 255-year-old institution. She also has two new books: the lavish “Marina Abramovic: A Visual Biography,” a sort of life-spanning scrapbook accompanied by an expansive series of interviews conducted by Katya Tylevich, as well as “Marina Abramovic: Nomadic Journey and Spirit of Places.” That one is also in the scrapbook-y vein, a collection of the roaming artist’s travel notes and sketches. If that all seems like a lot of looking back for such a forward-thinking artist, well, it’s occurring in the shadow of an event that would cause a little reflection: Earlier this year, Abramovic, whose work has so often been rooted in fearlessly enduring pain, suffered a life-threatening pulmonary embolism. “Physical pain, I understand how to control,” Abramovic says about her health scare. “That I could not control this was frightening.”

You said the public can see itself in your work and relate to your relationship to pain. But you choose to undergo pain. So how much of an analogue can your work be for people who aren’t choosing pain? It’s complicated. So many people choose to take pain as a way of life; there’s people who live a painful life in order to punish other people who they don’t want to be happy. To me it’s really about the choices you make in your life. I am giving you the possibility of different choices. You can find bliss and be happy; you don’t need to be with somebody you don’t love. I wanted to inspire people about freedom in their life and the choices they make. You see the suffering, you see honesty, you see the incredible difficulties — and they’re overcome. We need examples in order to lift our spirit and be inspired.

But it feels strange to be happy? Yes! We are living in the strangest period of human history. We are ending this year with two wars: in Ukraine and Israel. Then there are natural disasters. Things are not getting better. We have to understand that the only reality we have is living every day as if it’s the last. Which is also the philosophy of performance: to be in the moment. How important are we? We are dust. I was also thinking how interesting it is that in war, when everybody was making art that reflected what happened, Henri Matisse was painting flowers. I finally understand that. The way to fight is not to reflect horror and put your spirit down. It’s to create something with beauty that gives you hope.

You don’t think any good art comes from happiness? Louis Armstrong or Stevie Wonder — Ah! Music is a whole different issue because singing, in general, you have to sing from your heart and open your heart. I’m talking about visual art. I’m talking about literature. Especially writers. You think Beckett is happy? You think Kafka is happy? Do you think Dostoyevsky is happy? Is Proust happy?

Maybe when his character bites the madeleine or hears Vinteuil’s sonata. OK, I’ll give you the madeleine.

You said we’re dust. But there is an element of grandiosity about you. How do you balance those two ideas? Yesterday I had a woman run to give me a child to hold because it was good luck. I said, “My God, this is too much!” The ego is the most dangerous thing for an artist. That you start believing in your grandeur, that’s the end of your creativity. So many great artists are [expletive] human beings. But I don’t want to be one of them! I see artists as servants of society. Before, the artist was serving the popes and aristocrats and Medici. Now it’s industry and banks or whatever. But performance art never became a commodity because it’s immaterial.

Performance art never became a commodity? There’s this whole apparatus — the Venice Biennale and Documenta and curators — and all this money is being spent. It’s not outside the art market, but I was teaching and making money in different ways — not because I was paid for a performance. It all looks very glamorous: You have great openings, you’re drinking Champagne. But this is not what it’s about. I spent all of my life to move performance art to the mainstream. I did it, and when you’re talking about a commodity, it’s such a little achievement. If you think of anybody else selling work for millions, it’s the opposite for performance people. I still have a huge mortgage to pay. I still have to work every day because I never have the kind of money like artists who produce objects.

On social media, you can see people doing things that have the DNA of performance art: filming themselves sleeping, or doing things considered inappropriate in public with their bodies. But that’s all about trying to monetize lives and become influencers. Do you see any connections between what people do on social media and performance art? This has nothing to do with art. Some years ago, I was invited to Silicon Valley to talk about the future of art. I was talking about my prediction that the future will be immaterial and how this immateriality could work in a very spiritual way. They could not understand what I was talking about because they believe that Instagram is art. Instagram is not art. Social media is not art. These kids are not artists. I’m sorry, but they’re not.

Why are things on Instagram and social media not art? Simple. It’s not in the context of art. Everything you have to see in context. If the guy is making breakfast and we are all looking at his breakfast, I don’t give a [expletive]. It’s not in the context of art. If you make the same thing in the gallery, it is in the context of art. Context makes all the difference.

Social media has made it so common for people to publicly share their lives and their bodies. What have you learned about what it means for one’s sense of self to do that? For 55 years, I’ve taken my body as object and subject for my work. So my body is not just present as my body but present as a human body. You’re emotionally moved because my body is your body.

You become a symbolic stand-in for human beings. In your day-to-day life, do you see other people as symbolic too? I developed this deep understanding of human nature. I love humans. To me, the most interesting are the ones who are angry, who are difficult, who are constantly unsatisfied. How can I help them to elevate the spirit and change themselves? This is my favorite thing to do. It’s so interesting to see how people are different. I understand energy.

What do you think of my energy? Not bad at all. You’re very pedantic. You’re very clean cut. Good teeth.

Oh. What do you think of my energy?

I think we can go riskier. Risky? I don’t know. Risk just for risk, I’m not interested. If you create something artificial, it’s not good. People are so afraid of simplicity, but it works.

I’ll ask simpler questions. Who loves you? This is like a Zen question. You are very tricky. Who loves me? This is not important. It’s that I can love. It’s not about some absent love coming to me. Most important is how to generate unconditional love, because love, if it’s conditional, is temporary. It comes and goes, and then it’s all disaster or suffering. But if you have unconditional love, general love for the planet, human beings, the rocks, the trees, everything else, this is the love that nourishes. This is the love I’m interested in. Who loves me? This is up to them, not up to me.

You needed so much love. But when I asked “Who loves you?” you said it’s not who loves you, it’s what you love. You learned that because you didn’t get the love you needed. Exactly. You have to understand that nobody is going to come and help you. That makes you incredibly tough.

You know, I just was reading some Ernst Jünger, and he has a line: “Tell me your relation to pain, and I will tell you who you are!” Wonderful. It is important not to fear pain, to understand pain and accept it. Then pain is much more bearable. Like now, when I was in the hospital, they were giving me opiates every two hours because there was unbearable pain. But I understand if I take this, I will look like a vegetable. So I was taking every two hours, four, then eight and nine, and then finally I didn’t take any. I just deal with pain. But this for a much faster recovery.

But we’re talking about physical pain. Have you learned how to deal with emotional pain? No. Honestly, give me any type of physical pain. Emotional? Wow. This is the most difficult. The thing about emotional pain, just feel it. I’m totally against having medication. Medication, I hate. You have to feel it. That’s all we can do. You ever have love pain?

Of course. It’s hell on earth, huh?

Yeah. Anybody told you differently is lying. People say, “Oh, no, I can deal with this.” That means they never feel love.

In that book you say, “I want to understand where my work comes from.” Do that book’s explanations feel satisfying? It makes your motivation all seem very one plus one equals two. It’s very simplified, it’s true. But at the same time I find incredible lessons in looking back. My upbringing made me who I am. This kind of concentration, willpower. Honestly, young artists are so spoiled. I learned to be tough.

Why do you think young artists are spoiled? Because when you come and say “I want to be rich and famous” — oh, my God, they can immediately leave my house. It’s about work. It’s not about immediate recognition. It takes years of good work in order to come somewhere. Lots of them want fast recognition. Just think of Basquiat. I’m not saying that he’s spoiled. He produced enormous amounts of work, he was such an amazing talent, but the exposure — when artists get recognition very fast and very young, you don’t know how to handle. You die young or you overdose or whatever. You’re not used to recognition. I don’t have this problem. I got it at 70.

But I wonder if this connects to what I was asking before about whether you see people as symbolic. Maybe that came back to bite you. I don’t think so. We went to the tribes to live for a long period of time, and it was the most profound experience I had.

In your memoir you also write about having premonitions. Do you still have them? There is something that I believe: When you’re in balance with yourself and your surroundings, everything happens that’s supposed to happen. You think of somebody: Somebody appears in front of your door. A phone call comes, and the first sentence is the answer to something you’re thinking. You never have this in your life?

I think they’re coincidences. No. Because there are moments when you’re in complete balance with energy, outside and inside, and when it happens this is the phenomenon. Monks or people who live in much longer states of meditation, that’s their normal way of life. Long durational performance actually developed these abilities. Because in the long durational, you don’t pretend. You aren’t playing somebody else. You become totally connected with the knowledge you are receiving from everywhere that is available but we are not used to. It’s called “suchness,” which means emptiness but emptiness full of meaning. It’s a contradiction. If we could live like this, it would be a dream.

Are you one of the wow artists? I would never say that for myself, my dear. This, history has to tell.

Opening illustration: Source photograph by Hannes Magerstaedt/Getty Images

This interview has been edited and condensed for clarity from two conversations.

David Marchese is a staff writer for the magazine and the columnist for Talk. He recently interviewed Alok Vaid-Menon about transgender ordinariness, Joyce Carol Oates about immortality and Robert Downey Jr. about life after Marvel.