Art World News

San Elizario Art Market: A deep dive into an ocean of artists

San Elizario Art Market: A deep dive into an ocean of artists

While it was credited as the ‘Best Historic Small Town’ by USA Today readers, many seem to overlook San Elizario, Texas. Passing Main Street, visitors can learn about history dating back to the 1500s through Los Portales Museum and the Old County Jail.  Additionally, held on every third Sunday of the month from April to November, is the San Elizario Art Market where many recognized painters can display their work.   

Among these painters are Bert Saldaña, Alberto Escamilla, Erica Zamora Murrill, Gaspar Enriquez, Antonio Castro and more, many of whom have been awarded or recognized locally or nationally. The variation of the artist’s styles, methods and pieces are drastic, giving each store on Placita Madrid on Main Street a refreshing experience.  

July 16 marked the fourth art market of the year, where a live reenactment of the Billy the Kid scandal was performed. Al Borrego led the reenactment by telling a brief history of San Elizario. Visitors fail to realize how historic the streets were, until Borrego describes how much happened on the roads they were standing on.  

Borrego mentioned San Elizario’s history from historic events such as ‘La Toma’ as well as the story of the chapel. Following the debrief of San Elizario was a reenactment of how Billy the Kid famously broke into the old county jail, where visitors stood almost 100 feet away from where it happened. The audience was able to participate in the reenactment as a lynch mob.  

In attendance was San Elizario’s Mayor Isela Reyes who participated as she screamed at ‘Billy,’ “He stole my chickens!” What startled many in the audience was the sound of gunshots coming from toy guns, giving a realistic experience.  

Many artists reside within Placita Madrid. Whether it is up and coming artists or nationally recognized ones, the San Elizario Art Market allowed them to display their favorite pieces. Ilsa Ybarra is a resident of San Elizario who recently joined the Art Market with her recycled pieces. Soda cans, 6-packs of beers or bottle caps allowed Ybarra to make pieces similar to Milagros, but bigger.  

“I can use any aluminum can, it’s unique, its different,” Ybarra said. “Using cans gives me an authentic way to make these.”  

Further along Main Street, visitors can learn about artists with a lifetime worth of dedication to painting. Saldaña Gallery and Studio holds southwestern art by Bert Saldaña. Saldaña’s paintings aim to ‘capture the beauty of indigenous people of the southwest’ as written in his biography. Some of his pieces have been award winning in multiple El Paso art shows, such as ‘Aztec Rose’ which won third place in the 2019 Sun Bowl Art Exhibit. Saldaña urges for people to visit San Elizario.  

“Please come to San Elizario,” Saldaña said. “San Elizario fits my genre, which is why I am here.”  

Opposed to going into bigger settings, many of these artists feel comfortable within the old country town of San Elizario to showcase their pieces. 

Alberto Escamilla is another artist who takes comfort in San Elizario to paint. Escamillo Fine Art Gallery is a store in Placita Madrid where visitors can view these painters in action.  

Escamilla mentions how his passion for painting can never grow old, although he has been painting for over 40 years.  

“I do what I love,” Escamilla said. “There’s beauty in everything.”  

As Escamilla paints in an impressionistic style, he interprets his work as beauty of scenery viewed in day-to-day life. 

To visit San Elizario is to emerge yourself in a new part of history. Although the buildings date back to the 18th century, the citizens of San Elizario still don’t allow for this area to grow old. The effort to bring attention to the Main Road is often overlooked by people in the El Paso region. Realization of how important this town is comes when you learn the history of each of the artists residing in it.  

Culture and passion are heavily emphasized within the San Elizario Art Market. Whether it be indigenous or Chicano, the air is thick with everyone’s pride towards their pieces. Each artist has roots in San Elizario, which makes the town very special to them. Looking deeper into this seemingly small town, visitors can find artists who are passionate about their pieces and roots.  

Sofia Sierra is a contributor and may be reached at [email protected]

Alexandria’s Saturday Art Market performer has heard her songs on the radio

Alexandria’s Saturday Art Market performer has heard her songs on the radio

ALEXANDRIA — Musician Kori Joy Williams of Alexandria will perform at the Saturday Art Market at Big Ole Park on Saturday, July 22, 10 a.m.-1 p.m.

Williams sings, plays the piano, writes song, teaches piano, produces jingles, and entertains. She is also an Alzheimer specialist in music and art therapy.

Seventeen of her songs have been published with Morgan Music in Nashville, Tennessee.

“She has heard her tunes on the radio and had long-running shows at numerous locations that continue to call her back for more,” a news release said. “Young and old alike are delighted by her music. Whether it’s classical, blues, jazz, worship music, or rock, her enjoyment with music is easily seen.”

The Saturday Art Market is adjacent to the Alexandria Farmers Market at Big Ole Park on the north end of Broadway in Alexandria. Local artists will be on hand to visit and offer their work for sale. Coffee and food items will be available nearby, and every weekend showcases live music. New this year, the second weekend of every month will feature events and music for younger visitors.

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The Art Market runs every Saturday from 9 a.m. to 1:30 p.m. through Sept. 2.

Our newsroom occasionally reports stories under a byline of “staff.” Often, the “staff” byline is used when rewriting basic news briefs that originate from official sources, such as a city press release about a road closure, and which require little or no reporting. At times, this byline is used when a news story includes numerous authors or when the story is formed by aggregating previously reported news from various sources. If outside sources are used, it is noted within the story.

Photos of Everyday Activities Reveal the Humor of Perspective and Serendipitous Alignments

Photos of Everyday Activities Reveal the Humor of Perspective and Serendipitous Alignments

Tel Aviv, 2018. All images © Anthimos Ntagkas, shared with permission

One of the joys of street photography is that it reveals just how often unexpected, serendipitous juxtapositions are happening around us. Whether in Tel Aviv, New York, or Athens, Anthimos Ntagkas has a keen eye for these everyday alignments as he captures strange and amusing sights during his travels. Working in the Greek Army by day, Ntagkas spends his free time photographing passersby as they go about their commutes and appear as if they’re carrying a dog in a backpack, for example, or are the source of a billowing plume of smoke.

Ntagkas’ images are on view at Andora Cinema in Athens, and you can follow his witty frames on Instagram. (via PetaPixel)

 

Samos Island, Greece

A woman walks on the street and smoke appears to emanate from her head

New York, 2019

A man wears a backpack in front of a mural so that a dog appears to be riding in the backpack

Athens, 2018

A man walks by a banner with a face that appears to be his

Athens, 2020

A man lies on a beach with a shovel behind is head

Marathonas, Greece, 2018

A man bends down near an advertisement so that his head appears part of the image

Athens, 2018

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 Photos of Everyday Activities Reveal the Humor of Perspective and Serendipitous Alignments appeared first on Colossal.

Around Berkeley: Front Row Arts Festival, jazzy trio, zydeco dancing

Around Berkeley: Front Row Arts Festival, jazzy trio, zydeco dancing

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Around Berkeley

Jinx Jones. Courtesy of Jinx Jones
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Jinx Jones’ trio will be performing at Jupiter on Saturday, July 22. Courtesy of Jinx Jones

➤ In a welcome development that will hopefully take root, Zut! has started to present occasional jazz gigs, like Berkeley bassist/composer Kurt Ribak, who plays outdoors with his trio featuring Greg Sankovich on keys and Lincoln Adler on saxophone. Thursday, July 20, 5-7 p.m. FREE (no cover)

➤ Pegasus Books Downtown is hosting a book talk and signing with Pulitzer-winner Jane Smiley, who recently released The Questions that Matter Most, which compiles her writings for the New Yorker, the Atlantic, the Los Angeles Times and places them alongside reflections on the power of written word. Thursday, July 20, 7 p.m. FREE

Malian superstar Oumou Sangaré’s Freight & Salvage performance last October was one of the year’s musical highlights, and the fact that she’s back so soon is good news. Expect a guest appearance by Berkeley n’goni master Mamadou Sidibe, who played a crucial role on her recent album Timbuktu. Thursday, July 20, 8 p.m. Freight & Salvage. $60-$65 

➤ Christopher Nolan’s Oppenheimer, which will be released on Friday, was partially filmed on the UC Berkeley campus. Consider seeing it at Rialto Cinemas Elmwood (assuming it reopens after a car was driven into the building). It’s Berkeley’s last commercial movie theater, and you’re likely going to hear students and alums yell “go Bears” when the campus’s soccer stadium makes an appearance. And look through our photo and history tour of J. Robert Oppenheimer’s life in Berkeley.

Learn how to make a comic zine with cartoonist and writer Sumiko Saulson. All supplies are provided. Friday, July 21, 4 p.m. Central Library. 

➤ BAMPFA’s latest film series, The Enchanted World of Yulia Solnetseva, kicks off Friday with a screening of the Soviet filmmaker’s war film The Story of the Flaming Years, which shows the Russian campaign to expel Nazi invaders. In 1961, Solnetseva became the first woman director to ever receive the Best Director Award at the Cannes Film Festival for this film. Friday, July 21, 7 p.m. $5-$14

➤ Grammy award-winning accordion master, vocalist and bandleader Terrence Simien and the Zydeco Experience turn Ashkenaz into a bayou juke joint Friday. Andre Nigoghossian gives a zydeco dance lesson half an hour before show time. Friday July 21, 8:30 p.m. Ashkenaz. $25-$30

➤ Survivors from San Francisco’s acid jazz age of the 1990s, the Broun Fellinis continue to bend time and space with their Afrofuturist excursions. A proton-power trio featuring David Boyce on saxophones and vocals, Kevin Carnes on drums and samples, and bassist Kirk Peterson, the Fellinis play two nights at the Ivy Room, with Skip the Needle opening Friday and MC Radio Active spinning Saturday. Friday-Saturday, July 21-22, 8 p.m. $20

➤ Friends of Five Creeks is hosting a Codornices Creek work party. Saturday’s event will focus on pulling invasive bindweed, so wear close-toed shoes and long pants. The group will meet at the north end of Fifth Street, on the Berkeley-Albany border. Saturday, July 22, 10 a.m. FREE

➤ The Downtown Berkeley Association is putting on the Front Row Arts Festival this Saturday. There will be vendor booths, food trucks and live music performances by ensembles including the SF Latin Jazz Youth Ensemble and the Berkeley Symphony’s brass quintet. Shattuck between Center and Allston will be closed to traffic. Saturday, July 22, 11 a.m.-7 p.m. Downtown Berkeley Plaza 

Head West, an outdoor marketplace of 75 booths of makers, merchants, crafters and designers, is open on Fourth Street. Saturday, July 22, 11 a.m.-5 p.m. 1717 Fourth St.   

➤ The city’s latest Music in the Park offering will feature reggae artist Rankin Scroo, who was born and raised in Jamaica. Saturday, July 22, 2-5 p.m. Willard Park. FREE

➤ A guitar maestro comfortable in just about any setting but best known as a rockabilly renegade, Jinx Jones brings his jazz trio with bassist Kenan O’Brien and Ken Own on drums and bongos back to Jupiter, where he’s been in the regular rotation of acts since 1996. Saturday, July 22, 7-10 p.m. FREE 

➤ Bay Area guitarist Scott O’Day leads his unorthodox tango trio with pianist Elyse Weakley and the deservedly ubiquitous bassist Daniel Fabricant at the Back Room, joined by special guest vocalist Verónica Freidkes from Buenos Aires. Saturday, July 22, 8 p.m. $20

➤ Pole and dance company Flux Vertical Theatre is hosting a live taping of its A Midsummer Night’s Dream show, which recreates the classic love story through the art of dance and aerial arts and adds a “sexy twist.” Ages 21+. Sunday, July 23, 7 p.m. 811 University Ave. $10-$50+

➤ Kala Art Institute is hosting a community figure drawing session. An unclothed model will be there for three hours so participants can practice figure drawing at their own pace. Ages 18+. Monday, July 24, 6 p.m. Kala Gallery. $20-$35

Big Bounce America, which claims to be the world’s “largest touring inflatable event,” is at Golden Gate Fields through July 30. $22-$45

➤ The Berkeley Shakespeare Company’s musical adaptation of Midsummer Night’s Dream runs on weekends through July.

➤ Central Works’ The Dignity Circle, a play that explores what makes people fall for Ponzi schemes, has been extended through July 30. Here’s our theater critic’s review. Berkeley City Club. $15-$40

Beyond Berkeley

Beast Crawl Literary Festival. Credit: Beast Crawl
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Beast Crawl Literary Festival. Credit: Beast Crawl

➤ Universal Chan, a Berkeley-based Chan/Zen meditation center, is hosting a tea tasting centered on Tieguanyin tea at its Kensington location. Saturday, July 22, 3 p.m. $25 (RSVP)

➤ The Beast Crawl Literary Festival, launched in 2012, will take over 19 venues in downtown and Old Oakland this weekend. Bibliophiles will get to mingle with authors and other book lovers, discover recently released books, enjoy live spoken word and open mic performances, and get the chance to support local businesses in the area. The literary journey will begin at Latham Square, where attendees can pick up a print version of the festival map that lists all of the events taking place throughout the day. For those who prefer, there’s also an online map. Saturday, July 22, 3:30 p.m. to 10 p.m., see maps for specific events, Latham Square, 1611 Telegraph Ave., Oakland. 

➤ Oakland-based nonprofit ARTogether is hosting a public reading featuring Ingrid Rojas Contreras, the bestselling author of Fruit of the Drunken Tree, and Marcelo Hernandez Castillo, author of Children of the Land: a Memoir—two authors of immigrant backgrounds who have garnered accolades for their literary contributions. Sunday, July 30, 6 p.m. ARTogether Center, 1200 Harrison St., Oakland. FREE


If there’s an event you’d like us to consider for this roundup, email us at the-scene@berkeleyside.org. If there’s an event that you’d like to promote on our calendar, you can use the self-submission form on our events page.


The Oaklandside’s Arts and Community reporter Azucena Rasilla contributed reporting to this story.

Meet Jamie Fintz, art director, marketing, Walgreens

Meet Jamie Fintz, art director, marketing, Walgreens

In August of 2017, my whole life changed. I was hit by a car while walking in a crosswalk in Tel Aviv, Israel. For several days after, I was in the ICU at a local hospital, unconscious and suffering from internal bleeding; a broken pelvis, wrist and leg, and a knee LCL and ACL tear.

When waking me for the first time, the doctors realized something was wrong. I had suffered a stroke while unconscious. I ended up staying in the hospital for six weeks until I was cleared to fly back to the U.S. to continue my recovery. I moved to two hospitals before going to Shirley Ryan AbilityLab (SRA) in Chicago. SRA is where I learned to speak, write, use my left hand and walk again.

I deal with ongoing effects from the accident. I have nerve damage in my right leg that causes shooting pain and some loss of feeling. It has caused a permanent limp and I can’t run. Climbing stairs is slow and hard, and I have occasional pelvis pain. I also have “left neglect,” which refers to a deficit in awareness that occurs following an injury to the brain’s right side. Because of the injury, my brain has difficulty with some left hemisphere functions like speech and comprehension. When I’m tired or stressed out, my words can get jumbled and it can be hard for me to communicate effectively.

Despite this, the greatest lesson I’ve taken from my accident is to be open and share. I was a very private person before, but now I’ve learned that sharing our stories can help others and bring us closer together. I’ve also learned to ask for help and tell people what you need. 

I have been with Walgreens for 16 years and am an art director on the pharmacy concept team in Marketing. I primarily focus on design for all things immunizations, but also work on Medicare, pharmacy services, VillageMD and U.S. Healthcare. I have been so lucky to work with some fantastic people in my career. When I was recovering from my accident, they sent videos and care packages, and were amazing support in my recovery. They were understanding and provided coverage while I underwent therapy at SRA until I could ramp up from part-time to full-time work again.

In a typical day, I wake up to the sounds of my 2-and-a-half-year-old son, Dylan, singing “Old McDonald” or “Wheels on the Bus” over the baby monitor. My husband and I get him off to daycare, I brew a Nespresso and settle in to my desk for a day of remote work, which I do most of the time.

Jamie Fintz with her son, Dylan.

Jamie Fintz with her son, Dylan.

I design store signage, flyers, digital ads, social posts and more. If you’ve seen any flu shot or COVID-19 vaccines artwork in the last few years, there’s a good chance I designed it! The larger creative team at Walgreens is the best. Everyone is so smart, and I love how we work together to get everything done.

I am the communications lead for both Women of WBA and disAbility Alliance business resource groups (BRGs). BRGs are an invaluable resource here at Walgreens and make it possible to find close communities at a large company. The connections and friendships I’ve made through these groups are invaluable. The most impactful events I’ve helped plan are when team members get the chance to share their stories surrounding their personal conditions that inevitably affect their work lives; for example, fertility issues. I feel empowered that I’m helping to amplify people’s stories and foster connections. Our diversity and differences strengthen the culture at WBA.

I’m also on the steering committee for the American Heart Association Heart Walk and I’m very passionate about raising money for research, especially as a stroke survivor.

Fintz, third from left, with her family at the Walgreens-sponsored 2019 AHA Heart Walk.

Fintz, third from left, with her family at the Walgreens-sponsored 2019 AHA Heart Walk.

I live in the suburbs of Chicago, so if it’s a nice day I’ll try to sit outside on my patio. That said, sitting or standing for too long hurts my leg and pelvis, so I try to keep moving or go for a walk, or do a Peloton ride or Pilates class over my lunch hour. I also do acupuncture every other week to help with nerve pain. After my accident, we moved into a ranch house so I don’t have to deal with stairs. It’s very nice having the flexibility and support from my manager to work from home most days, so I don’t have to deal with commuting, especially on what I call “bad leg days,” when the pain is difficult to manage. I do love connecting in person for strategic sessions with the broader business and design team, but am grateful the majority of my work can be done remotely.

I try to wrap up any work by 5 p.m. so I can spend quality time with my son and husband. My son is my miracle; after my accident I didn’t know if I could get pregnant or have a child. I’m so grateful for him every day.

Fintz with her husband and son.

Fintz with her husband and son.

When our son goes to bed around 8 p.m., my husband and I will either watch something together (we’re huge sports and prestige TV fans) or we will go our separate ways (I can only take so much baseball, and he can’t take my reality TV habit!).

I’m grateful that my role at Walgreens allows me to be creative and come up with new ideas. I was an art major in college, and design and aesthetics are my passions. I love that I get to “make pictures for a living,” while helping our customers and patients get the valuable health information they need.

What is Art’s Role in the Climate Crisis? Four Colossal Events Explore the Connection Between the Two

What is Art’s Role in the Climate Crisis? Four Colossal Events Explore the Connection Between the Two

“Build Me a Platform, High in the Trees” by Nathalie Miebach. Photo by Eric Lu

At the Precipice: Responses to the Climate Crisis opened last week at the Design Museum of Chicago with a vibrant collection of works considering what it feels like to live amid a global emergency. Through data, color, tactility, and beauty, ten artists and collectives create accessible entry points into this increasingly urgent issue. The exhibition, curated by Colossal, includes works by Selva Aparicio, Morel Doucet, Zaria Forman, Luftwerk, Nathalie Miebach, Chris Pappan, Redemptive Plastics, The Tempestry Project, Migwa Nthiga, and Jean Shin. It’s on view through October 30.

We’re excited to announce four events as part of At the Precipice that offer greater insight into the role of art and design in the climate crisis.

 

Two images of an installation of mirrored glass with reflections

Luftwerk’s “White Wanderer”

Community-Led, Design-Followed: Responsibility of Design for the Future

On July 25, a conversation at the Design Museum of Chicago will bring together Bill Schleizer of Delta Institute, the Little Village Environmental Justice Organization, and Petra Bachmaier of Luftwerk to discuss the future of climate-informed design, using At the Precipice as a backdrop. The talk is part of the museum auxiliary board’s Community-led, Design-Followed speaker series.

Register here.

 

Four portraits

From left: Morel Doucet, Migwa Nthiga, Chris Pappan, and Justin Dwaun Redding

Artist Talk: Art + Climate Justice

What does justice look like in the age of the climate crisis? On August 30, artists Morel Doucet, Chris Pappan, and Migwa Nthiga will join moderator Justin Dwaun Redding to talk about the links between environmental destruction and racism, how those differ across regions, and the role of art in shaping a more equitable future.

This virtual conversation is hosted by the Design Museum of Chicago and will be recorded. Register here.

 

A volunteer washes laundry jugs on left, a stack of colorful plastic timber on right

Inside the Happy Returns studio

Volunteer at Happy Returns Studio

On September 16, join us for a volunteer day at the Happy Returns studio, home of Redemptive Plastics. During this four-hour session, you’ll learn the ins and outs of the team’s innovative plastic recycling process and lend a hand in repurposing household waste.

Space is limited to 16 volunteers, so reserve your spot now.

 

Two people pull a dog sled in a snowstorm

A still from ‘After Antarctica’

After Antarctica Screening at Gene Siskel Film Center

On September 20, join us for a screening of Tasha van Zandt’s After Antarctica (2021). The award-winning feature-length documentary follows renowned polar explorer Will Steger’s life journey as an eyewitness to the greatest changes in the polar regions of our planet. Thirty years after his historic expedition across the coldest continent on Earth, Steger is not only known for being the first in history to complete this historic feat–he is also the last.

A discussion will follow the film. Tickets will be available soon.

 

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 What is Art’s Role in the Climate Crisis? Four Colossal Events Explore the Connection Between the Two appeared first on Colossal.

Generative AI in Art Market Growing at 40.5% CAGR

Generative AI in Art Market Growing at 40.5% CAGR

Generative AI in Art Market to Witness Positive Growth at 40.5% CAGR

Market Overview

Published Via 11Press : Generative AI in Art Market size is expected to be worth around USD 5,840 Mn by 2032 from USD 212 Mn in 2022, growing at a CAGR of 40.5% during the forecast period from 2022 to 2032.

Generative AI, also known as Artificial Intelligence that creates original content, has made waves in the art market over recent years. Utilizing machine learning algorithms, this groundbreaking technology has revolutionized how artists and art enthusiasts create and appreciate artwork. Generative AI brings with it new levels of creativity, experimentation and engagement in art world.

Generative AI has enabled artists to explore uncharted waters by producing captivating and unique works of art. Artists can leverage generative AI algorithms to produce digital artworks, sculptures, paintings, or music that is captivating and distinctive.

Generative AI has opened new pathways of collaboration between humans and machines, enabling artists to co-create artworks alongside AI algorithms – producing surprising artistic outcomes that push beyond conventional art forms. This collaborative process can result in unanticipated artistic surprises!

Generational AI’s introduction into the art market has revolutionized how viewers and collectors experience art. Individuals can engage with AI-generated installations that respond to their presence or input, adding another level of engagement that makes the viewing experience dynamic and memorable.

Generative AI has also played an essential part in democratizing art by making it more accessible to a broader audience. Digital platforms and online galleries have emerged with AI-generated artworks easily shared, disseminated, and enjoyed by art enthusiasts worldwide – helping emerging artists gain recognition that was previously only possible to them through personal networks or media coverage.

Generative AI has upended traditional art market dynamics as well. The advent of AI-generated art has provoked discussions surrounding its definition and artists’ roles in its creation process; challenging traditional notions of authorship, originality and artistic intent while raising questions over value and authenticity of these creations.

Request Sample Copy of Generative AI in Art Market Report at: https://marketresearch.biz/report/generative-ai-in-art-market/request-sample

Key Takeaways

  • Generative AI has transformed the art market, enabling artists to explore innovative artistic styles and concepts.
  • Artists collaborating with AI algorithms has led to groundbreaking artistic results.
  • AI-generated art provides interactive and engaging experiences for viewers, increasing participation.
  • Digital platforms and online galleries have made AI-generated art more accessible to a larger audience.
  • Generative AI has upended our understanding of authorship, originality and artistic intention.
  • AI-generated art has created much discussion surrounding its value and authenticity.
  • Generative AI has revolutionized art market by providing emerging artists more exposure and recognition.
  • As AI technology progresses, art markets can expect further advancements and exciting opportunities for artists, collectors, and art enthusiasts.

Regional Snapshot

  • North America and particularly the United States has been at the forefront of embracing generative AI within the art market. They have seen an exponential surge in AI-generated artworks, exhibitions and dedicated platforms dedicated to this form of art; there is even an ecosystem full of AI researchers, artists and technologists pushing the limits of generative AI usage within this form.
  • Europe has also seen tremendous progress with the implementation of generative AI into art markets. Countries such as Great Britain, Germany and France all boast vibrant art scenes where artists and institutions explore generative AI’s possibilities actively. European galleries and museums often host exhibitions or installations featuring AI-generated artwork.
  • Asia, in particular China, Japan and South Korea have enthusiastically adopted generative AI into their art markets with great enthusiasm. These countries boast strong technological infrastructure and rich cultural traditions which makes an ideal environment for merging AI with art. Asian artists and institutions have used generative AI to produce unique artworks which fuse traditional aesthetics with cutting-edge technologies.
  • Recent years have witnessed an upsurge in Latin American generative AI art markets. Countries like Brazil, Mexico and Argentina have witnessed artists exploring AI-generated art while local art communities and institutions host exhibitions and events that demonstrate its impact.
  • While the adoption of generative AI in the art market in the Middle East and Africa remains limited, notable initiatives are taking place. Artists and technologists in countries like the United Arab Emirates and South Africa are using it to produce thought-provoking artworks using it; gradually realizing its creative potential as a creative exploration tool.

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Drivers

Technological developments continue to advance rapidly

Rapid advances in generative AI technologies have substantially expanded their capabilities, allowing artists to produce complex and intricate artworks more quickly than ever. Powerful computing resources, improved algorithms, and superior machine learning techniques have all led to greater acceptance of generative AI within the art market.

Creative Exploration and Innovation

Generative AI gives artists a platform for exploring and experimenting, freeing them from traditional artistic limitations. Artists can utilize AI algorithms to generate novel ideas, explore different styles and concepts, and push artistic expression boundaries further than ever.

Improve Efficiency and Productivity of Operations

Generative AI tools can simplify the creative process by automating certain aspects of art creation. Artists can utilize AI algorithms to quickly produce initial sketches, color palettes or compositions without straining their creativity – saving both time and effort in doing so and freeing up more creative energy for conceptualizing and refining ideas.

Audience Engagement and Interactivity

AI-generated art often incorporates interactive elements, offering viewers immersive and captivating experiences. Interactive installations and digital experiences driven by generative AI algorithms capture audiences, inviting active participation while forging deeper ties between art and viewer.

Restraints

Ethical and Moral Concerns

The use of generative AI in art raises ethical questions regarding authorship, originality, and the role of the artist. Critics argue that AI-generated art lacks the human touch and subjective intention that traditional art possesses, leading to debates about the value and authenticity of AI-generated artworks.

Accessibility and Equity

While generative AI has opened up new possibilities, its adoption can be hindered by barriers such as access to technology, resources, and training. Artists from marginalized communities or with limited access to technological infrastructure may face challenges in fully participating in the generative AI-driven art market.

Intellectual Property and Copyright Issues

The ownership and copyright of AI-generated artworks can be complex and uncertain. Determining the rights and responsibilities of artists, AI algorithms, and the organizations that develop and deploy generative AI tools can be challenging, leading to legal and intellectual property disputes.

Overreliance on Technology

The reliance on generative AI tools may lead to a loss of traditional artistic skills and craftsmanship. There is a concern that artists may become overly dependent on AI algorithms, potentially diminishing the diversity and uniqueness of artistic expressions in the long run.

Opportunities

Enhance artistic Collaboration

Generative AI facilitates collaborative art creation between humans and machines, opening up opportunities for artistic collaboration between machines and artists alike. Artists can work alongside AI algorithms, taking advantage of their computational power and creative suggestions to co-create innovative artworks together. This innovative collaborative approach opens up endless avenues for artistic exploration as well as interdepartmental collaborations.

New Artistic Mediums and Forms

Generative AI extends the artistic mediums and forms available to artists. From digital art and installations to virtual reality experiences and interactive sculptures, generative AI provides artists with new tools for conveying their ideas while engaging viewers in innovative ways.

Market Expansion and Exposure

Since AI-generated art has made waves in the art market, dedicated platforms and marketplaces for AI-generated art have emerged to give artists exposure, recognition and commercialization opportunities for their AI artworks – tapping into an expanding collector market and enthusiast following.

Personalization and Customization

Generative AI algorithms can be leveraged to produce customized artworks tailored specifically to individual preferences, providing artists with an opportunity to appeal to the specific tastes and needs of collectors – potentially increasing engagement and demand for AI-generated art.

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Challenges

Technical Complexity and Expertise

Working with generative AI requires technical know-how and an understanding of AI algorithms and tools. Artists without technical backgrounds may face additional difficulties learning these technologies and implementing them successfully into their art pieces.

Lack of Interpretive Depth Analysis

AI-generated artworks may lack the nuanced interpretations that human-created art provides, due to AI’s limitations in comprehending complex emotions, cultural contexts and historical references that impact meaning and interpretation within their creations. This may limit how deeply meaning and interpretation are explored within AI art creation.

Unpredictability and Lack of Control

Generative AI algorithms may produce unintended and unexpected outcomes that do not always fit with an artist’s vision. Artists may face difficulty attaining desired levels of control over this generative process, leading to frustration or artistic compromises.

Longevity and Sustainability

The rapid advancement of artificial intelligence technologies raises serious concerns over their longevity and sustainability for artworks generated through them. As AI algorithms and tools evolve, older art pieces may become out-dated or lose their unique qualities over time, potentially decreasing their long-term value and relevance on the art market.

Market Segmentation

Based on the Type of Artwork

  • Visual Art
  • Music
  • Literature

Based on Technology or Platform

  • Standalone Software
  • Cloud-based Services
  • AI-enabled Hardware

Based on the Application Area

  • Fine Art
  • Advertising and Marketing
  • Entertainment and Gaming
  • Design and Fashion

Based on End-User

  • Artists
  • Creative Professionals
  • Art Collectors and Galleries
  • General Audience

Key Players

  • OpenAI
  • Google Arts & Culture
  • NVIDIA
  • Adobe
  • Refik Anadol Studio
  • Memo Akten
  • Anna Ridler
  • Mario Klingemann
  • Other

Report Scope

Report Attribute Details
Market size value in 2022 USD 212 Mn
Revenue Forecast by 2032 USD 5,840 Mn
Growth Rate CAGR Of 40.5%
Regions Covered North America, Europe, Asia Pacific, Latin America, and Middle East & Africa, and Rest of the World
Historical Years 2017-2022
Base Year 2022
Estimated Year 2023
Short-Term Projection Year 2028
Long-Term Projected Year 2032

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Recent Developments

  • In 2022, Google AI introduced Midjourney, an artificially intelligent platform allowing users to generate realistic and unique images with just text prompts, artists, designers, and creative professionals have relied upon Midjourney’s capabilities for producing paintings, sculptures and digital illustrations of various kinds.
  • In 2023, OpenAI introduced DALL-E 2, a powerful AI model capable of producing images based on text prompts containing even more complex commands than Midjourney could. DALL-E 2 has since been used to produce paintings, sculptures and even entire scenes using its powerful engine.
  • In 2023, Artificial Intelligence + Artists, a non-profit organization, launched the AI Art Prize competition as an attempt to highlight outstanding examples of generative AI art from around the world and raise awareness of its potential within art circles. Over 500 entries from artists worldwide were submitted as entries into this international contest.
  • In 2023, Christie’s, the premier auction house, held an auction sale for Beeple’s The First 5000 Days using generative AI for $69.3 Million; this landmark sale cemented its place as an accepted art medium.

FAQ

1. What is Regenerative AI in the Art Market?
A. Generative AI in the art market refers to using artificial intelligence algorithms and techniques to produce original artworks that stand out from their competition. Machine learning algorithms can be leveraged to generate novel artistic content, explore different styles and increase audience engagement.

2. How does Generative Artificial Intelligence work in the art market?
A. Generative AI algorithms examine large datasets of existing artwork in order to learn patterns, styles, and structures that repeat. Based on this knowledge they then generate new works using random elements or user input as inspiration for their new creations; such as visual art pieces, sculptures, music recordings or interactive installations.

3. What are the advantages of Generative Artificial Intelligence in the art market?
A. Generative AI offers artists new creative possibilities, enabling them to explore uncharted territories, experiment with styles, and generate innovative concepts. Furthermore, Generative AI enhances audience engagement through interactive experiences while offering opportunities for collaboration between humans and machines and furthering the democratization of art by making it more accessible.

4. Can artificial intelligence replace traditional artists in the art market?
A. Generative AI should not replace human artists; rather, it serves to augment and supplement their creativity. AI algorithms lack the subjective intention, emotional depth, and contextual understanding that humans bring to their work; instead generative AI serves as a way for artists to expand their artistic expression and explore new avenues of creativity.

5. How is Generative AI impacting the art market’s traditional notions of authorship and originality?
A. Generative AI challenges traditional notions of authorship and originality in the art market. When AI algorithms generate artwork, the question of who should be credited with being its creator arises. Furthermore, machine-created art raises debates regarding its authenticity and value given that human artists tend to add subjective intention into their creations.

6. Are there any legal or copyright considerations related to using generative AI in the art market?
A. Legal and copyright considerations associated with AI in the art market can be complex. Determining ownership and copyright for AI-generated artworks can be particularly difficult as their creation requires collaboration between artists and AI algorithms; to address this challenge effectively requires clear legal frameworks which account for their unique qualities.

7. What will the future of Generative Artificial Intelligence look like in the art market?
A. Generative AI’s future in the art market holds tremendous promise. As its technology develops further, we can anticipate more sophisticated AI algorithms with greater creative outputs. Generative AI holds great promise to inspire new artistic movements, redefine artistic processes, and change how art is experienced and appreciated.

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With NewCrits, These 16 Artists Are Revolutionizing Art School

With NewCrits, These 16 Artists Are Revolutionizing Art School

This spring, Baltimore-born, New York-based artist and writer Ajay Kurian founded NewCrits. The experimental educational platform, which has since brought on a cadre of forward-facing art makers as mentors, was born in part of Kurian’s experience as a student of Columbia University’s Fine Arts BFA program, and later as a professor at Columbia and Yale. “Great things happened in those schools: amazing crits, resources, studios, studio visits, and a whole network of people. There’s no denying that,” says the artist.

But Kurian and his peers were disillusioned by other aspects of these programs—the reliance on low-wage adjunct labor, the narrow and sometimes outdated criteria that drive admissions processes, and, of course, the ever-ballooning price tag. These barriers to entry are often justified by the allure of access that a name-brand degree can offer, prying open some of the art world’s heavily gatekept doors. “That bothered me,” he says. “There are certain visions of what a hardcore art education is that I think are just ridiculous, gendered, [and] exclusionary.”

When the pandemic hindered the traditional model of in-person studio visits, most programs went virtual. “The first couple of weeks were pretty heavy,” Kurian recalls. “The Zoom studio visits weren’t standard crits, they were more therapeutic and intense.” As a new normal set in, Kurian and his academic peers quickly realized that the format was here to stay. “It dawned on me that virtual visits would become a way for institutions to exploit faculty even further. But I started thinking, Maybe there’s something here.”

This epiphany gave rise to NewCrits’s foundational premise—a holistic studio visit that takes those pandemic learnings to heart. “To me, the studio visit is the primary building block of an aesthetic education. A great studio visit is when someone is listening so intently to what you’re doing and how you’re making that they intuit the internal rules you’re creating for yourself,” says Kurian. “It’s lovely to have someone listen to you, and almost show you yourself.”

This approach differs from that found in most traditional art school contexts by emphasizing each individual’s internal logic, rather than their ability to apply an external theoretical framework to their process. “There’s an Old World view among arts educators—‘we break you down to build you up.’ There’s the intent to see if you’ll break so that they can make you stronger. Do you really understand what you’re saying? Have you done your research? Can we find a crack? We diverge really strongly there. We’re not trying to show you what good art is, or what bad art is.” 

How does the NewCrits model change the barrier to entry for artists seeking rigorous feedback and institutional training? According to Kurian, “There is no barrier.” Beyond a per-session fee that aims to rectify the chronic under-compensation of arts educators in traditional programs (something that the founding cohort is working to eradicate through fundraising and endowments), NewCrits takes artists as they are, allowing them to tailor their virtual visits to their needs by administering a self-diagnostic quiz that encourages them to interrogate their own expectations of the process.

Kurian paraphrases a few of the quiz’s questions: “The commercial aspect of the art world is a necessary part of creation—yes or no? Is a studio visit exactly what you’re looking for right now? Are you ready to hear that your intentions may not match your output? Some people aren’t,” he says. “And that’s okay.”

Ultimately, while NewCrits represents a departure from many of the norms of traditional arts institutions, it shares the same foundational ethos. “I think there are more people interested in the arts than ever. We just want to find another way for people to participate in creative dialogue or creative mentorship without the economic risk.”

The platform, which launched this spring, is the brainchild of Kurian and his fellow artists Farah Al Qasimi, Kamrooz Aram, Uri Aran, David Brooks, Antoine Catala, Sara Greenberger Rafferty, EJ Hill, Jacob Kassay, Devin Kenny, Pooneh Maghazehe, Erin Jane Nelson, Puppies Puppies (Jade Guanaro Kuriki-Olivo), Curtis Talwst Santiago, Andrew Sendor, and Fin Simonetti. Together, they represent a range of disciplines, philosophies, and relationships to institutional spaces, offering prospective artist-students—regardless of career stage—an array of perspectives from which to seek creative feedback and advice on navigating the opacities of the art market. Below, a selection of these educator-practitioners reflect on their own relationships to artmaking and education.

puppies-puppies-newcrits
Image courtesy of Puppies Puppies.

Puppies Puppies (Jade Guanaro Kuriki-Olivo)

CULTURED: Where did you get your art education? 

Puppies Puppies: Art has existed long before an education system was built around its name. I say “its name” because art is so vague as a word and experience. Art can be so many things, limitless possibilities. My point is that art education in an institutional sense should not be used as a means of understanding what an artist is expressing or putting out into the world. It should not be used as a way to gauge the value of the work or the intellectual abilities of the artist. The brand names of institutions should not signal that an artist is someone to look into or not. If art could be a spiritual object or depiction for many people around the world since ancient times, then it can exist—and be worthy of thought, discourse, preservation, care, and an understanding of its value—beyond the artist’s place of education.

Education is so vast—it has always extended beyond institutions. I hope one day that knowledge and wisdom pertaining to artistic expression can exist outside of the bounds of classism, racism, transphobia, and more. Stories passed down from elders to young spirits, education built up from the ashes to accommodate marginalized folx, and not just a select few who receive scholarships and grants. All of this is sometimes needed to create art, and should be easily accessible to the people.

CULTURED: What does art school train you to do? What should it train you to do?

Puppies Puppies: I keep attending vigils and having flashbacks to my BIPOC trans sisters— especially my Black trans sisters—who were either murdered, injured, or “unalived.” My community and my own transitional journey have made me realize that art manifests in many forms. I spent a year working at a nonprofit supporting trans nonbinary folx. I was taking a break from art, but I also realized that this was an extension of art for me. I’m interested in directing art funds and resources to sisters and siblings in my community whose art is overlooked due to the never-ending obstacles and locked gates listed above. I look through art history and I don’t see many of us. I want to change this. 

ej-hill-artist-newcrits

EJ Hill

CULTURED: What is a moment that taught you more than any traditional fine arts schooling ever could?

EJ Hill: Those who can, do. Those who can’t also do, above all odds, and oftentimes with far more grace and vigor, while holding a high regard for the supplemental alternatives that might, once and for all, amputate the atrophied.

ajay-kurian-newcrits-artist
Image courtesy of Ajay Kurian.

Ajay Kurian

CULTURED: Where did you get your art education? 

Ajay Kurian: I got my Bachelors from Columbia. I don’t have a graduate degree.

CULTURED: What is a moment that taught you more than any traditional fine arts schooling ever could?

Kurian: I’m not sure, really. Education has always felt very fluid to me, where the resonances of those around you are constantly playing a role in your edification. I like to think more in terms of conditions. What are the conditions for receiving an education and when are those most open? School is sometimes that place, but oftentimes it isn’t. I think the moments that I might point to are the moments that I felt most open to education, and those were usually when someone showed me that they were invested, that they cared about me and my overall wellbeing first, and not simply the things I’m supposed to know.  

CULTURED: What does art school train you to do? What should it train you to do?

Kurian: The thing I like about art school in theory is that it was a place where education felt so much stranger and harder to box in. What unfortunately happens in many situations is that art school becomes a place where people are taught how to think combatively rather than collaboratively. You are meant to sharpen your intellectual knives and use them against others, whereas a real education is providing someone with models to understand that knowledge never comes from a place of scarcity. Everyone can know what you know and it doesn’t diminish you.

What we do with knowledge and how it shapes our participation in this life is what makes the knowledge useful and singular. I understand that there is a commercial world to contend with and that power imbalances can make people feel used and abused, but when I think of the training an arts education ought to provide, it’s one where we understand the best conditions of our flourishing. Within that, you can then hone your particular interests freely and expansively. The rigor you apply should be to the conditions of your own making—art education is meant to aid you in this journey.

erin-jane-nelson-newcrits
Portrait of Erin Jane Nelson by Curtis Wallen. Image courtesy of Nelson.

Erin Jane Nelson

CULTURED: Where did you get your arts education? 

Erin Jane Nelson: I studied at Cooper Union, which I wouldn’t have even known about if it weren’t for a very supportive art teacher at my public high school in suburban Atlanta. While I was at Cooper, I worked a lot of part-time jobs and internships in the art world. After I graduated, I did a summer fellowship at [the] Ox-Bow School of Art in Michigan, which was also very formative. 

CULTURED: What is a moment that taught you more than any traditional fine arts schooling ever could?

Nelson: In 2015, I applied to, and got rejected from, just about every major MFA program in the U.S. Everyone told me to try again and keep applying, but the whole experience felt like an expensive waste of time, personally. Something really clicked for me about the need to create my own context and community instead of trying to find it in these more traditional institutions. So, I moved back to my hometown, Atlanta, and started a project space with my partner Jason Benson called Species. I learned so much about how to be an artist from helping and watching other artists put together a body of work, and the sense of community we built with the artists we exhibited has continued to nourish me. 

CULTURED: What does art school train you to do? What should it train you to do?

Nelson: At its very best, art school trains you how to work with new materials and how to think and talk about your work. I didn’t really know anything about the contemporary art world when I came to New York from the South as an 18-year-old. The New York, eurocentric version of contemporary art history that I was taught was helpful, but it also became something to agitate against once I got out of school. 

Unfortunately, I think there are a lot of people who get into tremendous debt going to art school who do not leave with a practical understanding of all the ways to work in and around the art world—as a curator or gallerist or archivist or writer, et cetera. The only possibility that’s ever discussed is being an artist within the gallery and museum system, and even that is limited to a very narrow idea of how an artist can be, what they can make, where they can live, and how old they can be. I think art school should empower people to make a life as an artist, which feels meaningful and sincere, which should be different for everyone. 

pooneh-maghazeke-artist
Image courtesy of Pooneh Maghazehe.

Pooneh Maghazehe

CULTURED: Where did you get your arts education? 

Pooneh Maghazehe: My arts education comes from growing up in Levittown, Pennsylvania. I got my advanced degree, an MFA in Visual Art, at Columbia University in 2011. 

CULTURED: What is a moment that taught you more than any traditional fine arts schooling ever could?

Maghazehe: I studied a division of Kung Fu called Seven Star Praying Mantis and competed for a little over five years. That chapter in my life involved real lessons in physical and mental stamina—and most importantly, learning to respect time. Finding a limit, and experiencing the moment of failure, are skills that are built into how I make things now, and are skills that I acquired during those years training in Chinese boxing.  

CULTURED: What does art school train you to do? What should it train you to do?

Maghazehe: Art school trains you to doubt, which is hugely irritating and can take a long time to unlearn. But I also have a related thought about art school that I want to ride out. Art school is somewhat akin to a fancy rehab. Everyone arrives with some knowledge about what has “worked” for them, and some idea about “betterment.” Some come prepared to get to dismantle those old tricks, and others leave rehab just the same, and—for good or bad—maybe a little more stubborn. Some leave with the impression that the whole thing is a scam.

A great deal of money is spent getting to the bottom of a person’s perspective, or what they are “working on” through a series of studio visits, which sometimes teeters on what therapy rehab looks like. Maybe this hinges on what you might hope to get from art school: to contend with the questions that you are too scared to ask yourself.

Indigenous art market slated for Missoula this Sunday

Indigenous art market slated for Missoula this Sunday
image

A local women-owned event that aims to showcase Indigenous artisans has a new date and venue coming up this Sunday in Missoula.

The Indigenous Made Summer Market, featuring 40 artists and makers from all over Montana, will be held from 10 a.m. to 3 p.m. in Caras Park downtown on July 23.

There will be performances by powwow dancers at noon and perhaps a drum circle.

The event is put on by Indigenous Made Missoula, owned by local co-founders Latisha Buck Elk Thunder and Dacia Griego.

“The Indigenous Made Missoula Summer Market is a celebration of Indigenous art and culture, providing an opportunity for artists, makers, and talent to support themselves through entrepreneurship and art,” Buck Elk Thunder said. “We are thrilled to showcase the work of local Indigenous artisans and provide a platform for their talents.”

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She said the event will be a vibrant celebration of Indigenous creativity and heritage, and the purpose is to uplift and center Indigenous artisans and makers while celebrating their unique cultural heritage. It will be an open-air market showcasing a wide range of handcrafted Indigenous art, both contemporary and traditional.

It’s free to attend, and the organizers hope to host a diverse crowd and have a welcoming vibe that’s family-friendly, inclusive and open to everyone.

“It’s a made market, so everything is made by the artists themselves,” Buck Elk Thunder explained. “For example we have Monica Gilles-Brings Yellow who does mixed multimedia. We’ll also have beadwork, lots of jewelry and we have a couple traveling artists doing paintings. It’s a really cool, eclectic mix.”

Last year, the Missoula Women’s Giving Circle awarded Indigenous Made Missoula a $10,000 grant to help them empower Native artists.

Buck Elk Thunder said they used the grant to build up their talent network and expand the database of local and regional artists.

“I’m an artist myself, and doing markets I got to know a lot of people and I’ve been a part of the community here for over 10 years,” she explained. “We’re just really connected to the community and we also work really hard on marketing.”

She and Griego met during a creative class when they were both doing beadwork for their daughters.

“It’s definitely a passion for both of us,” Buck Elk Thunder said. “We were talking about the markets and what we needed in Missoula. We decided we needed a space to gather and decided to create an inclusive market. The feedback we’ve gotten is great.”

Their past events have been a hit.

“A lot of artists have said it’s amazing and encouraging to participate in a market that’s run by people who look like them,” she said.

All the artists can set up for free due to sponsorship of the event by the All Nations Health Center, Art Attic Framing and Design and Rockin’ Rudy’s.

“Indigenous Made Missoula is dedicated to uplifting and creating opportunities for Indigenous artists, makers, and talent to support themselves through entrepreneurship and art,” Buck Elk Thunder said. “We hope that our event will provide a platform for these artists to showcase their work, share their unique cultural heritage, and inspire others to support Indigenous art and artists.”

For more information visit indigenousmademissoula.org.

David Erickson is the business reporter for the Missoulian.

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