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"text": "Works from the #TokenArt series allow for the viewer to \"develop\" their own exclusive but reproducible tangible artwork by way of a physical token linked to a unique intangible identifier.As the nature of ownership changes in profound ways, the idea of authenticity is becoming ever more relevant. This work investigates these questions by moving the art making activity to the moment of viewing and transitioning the idea of ownership away from a immutable or unique physical output to the seed of the creation itself.",
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"text": "The Blacklists project is a directory of the prohibitions of the Internet deployed in the form of an encyclopedia in 13 volumes of 666 pages each. It is an extensive collection of restricted websites used for the automatic filtering of traffic considered illicit or licentious. Just like the intent of «forbidden libraries» for books, the Blacklists project points out the sidelining of online content that could be dangerous for the very survival of the system. With around 2 millions websites extracted from commercial content-control softwares, this collection reveals a cultural, social and ideological model of our society through what should not be seen. ",
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"text": "In the context of omnipresent telecommu-nications surveillance, The Pirate Cinema makes visible the hidden activity and geography of peer-to-peer file sharing. The project is presented as a monitoring room, which shows P2P transfers happening in real time on networks using the BitTorrent protocol.The installation produces an arbitrary cut-up of the files currently being exchanged. This immediate and fragmentary rendering of digital activity, with information concerning its source and destination, thus depicts the topology of digital media consumption and uncontrolled content dissemination in a connected world.",
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"text": "Saving the Exhibitions List to compare once we formatting to match the list below :)",
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"text": "Commissioned by Boston Museum of Fine Arts for the Exhibition “Earth, Air, Fire and Water”. An 8’x12’x18″ wooden container of earth with light box of equal size above, planted with R. Shumway Seedsman’s Annual Hog Pasture Mix. Exhibition catalogue: Earth, Air, Fire and Water”. This piece was our first grassland work. Followed over the years by many others, particularly; ArtPark 1977; the Endangered Meadows 1996; and Greenhouse Britain 2007.",
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"text": "This work was designed for the Art and Technology Exhibition that was held in 1971 at the Los Angeles County Museum of Art. It took an entirely different direction from the work inside that, with few exceptions, was evolved from electronic technologies of one kind or another. This was a late addition to the exhibition, done as an entry piece at a cost of approximately $800. Our other work cost approximately $50,000. The reason was simple; as opposed to electricity, the sun was the engine.",
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"text": "Portable Fish Farm: Survival Piece #3:- #3:- 1971 -Installation with performances: ‘Harvesting and Feasting’. Commissioned by the Hayward Gallery, London, for the exhibition “11 Los Angeles Artists”. Six rubber lined tanks, each 8 feet by 20 feet by 3 feet contained catfish, brine shrimp and lobsters. Installation moved to Palais des Beaux Arts in Brussels using carp, rudd, tench and breem, also with harvesting and feasting. The work took up the issue of backyard farming in relationship to social rituals and farming behaviors. ",
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"text": "It happened that the Portable Fish Farm in London created, what was for us, a startling uproar. The American SPCA required that catfish be electrocuted by the professional fish farmers as the only humane way to kill catfish, who lived out of water, suffering as much as 4 hours. The farmers had kindly taught me breeding, harvesting, skinning and filleting catfish in the catfish farms at Brawley. After the installation of the work at the Haywood, a drawing of the electrocution system was published. Objections spread across the land, newspaper articles, television and radio magnified these objections. Moreover, the RSPCA expressed great objection to the work. The comedian, Spike Milligan, threw a rock at the Museum. Finally, Parliament took a hand, sending Lord Goodman down to the museum who threatened to remove funds from the British Arts Council if so much as one catfish was electrocuted on British soil. During this uproar, the Scientists for Social Responsibility saw this behavior as censorship. Morris Wilkins, Nobel laureate, David Boem, the theoretical physicist and even C.P. Snow as well as many others came to the works defense. Meetings were held. Finally, the author, Antonia Fraser, stood up and explained that she had fishponds. She first harvested a fish and killed it. Moreover, her children skinned them. Finally, in our work, fish were harvested, the movements in harvesting, skinning and filleting were expressed rhythmically and a vast catfish and hush-puppy feast was presented to the British elite at the opening of the work.",
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"text": "Kui Hua Zi (Sunflower Seeds) is an art installation created by contemporary artist and political activist, Ai Weiwei. It was first exhibited at the Tate Modern art gallery in London from October 2010 to May 2011. It is a commentary on the mass production techniques that China caters to Western Countries.",
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"text": "Ai Weiwei’s Sunflower Seeds challenges our first impressions: what you see is not what you see, and what you see is not what it means. The sculptural installation is made up of what appear to be millions of sunflower seed husks, apparently identical but actually unique. Although they look realistic, each seed is made out of porcelain. And far from being industrially produced, ‘readymade’ or found objects, they have been intricately hand-crafted by hundreds of skilled artisans. Poured into the interior of the Turbine Hall’s vast industrial space, the seeds form a seemingly infinite landscape. The precious nature of the material, the effort of production and the narrative and personal content make this work a powerful commentary on the human condition.",
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"text": "Sunflower Seeds is the latest of a number of works that Ai has made using porcelain, one of China’s most prized exports. These have included replicas of vases in the style of various dynasties, dresses, pillars, oil spills and watermelons. Like those previous works, the sunflower seeds have all been produced in the city of Jingdezhen, which is famed for its production of Imperial porcelain. Each ceramic seed was individually hand-sculpted and hand-painted by specialists working in small-scale workshops. This combination of mass production and traditional craftsmanship invites us to look more closely at the ‘Made in China’ phenomenon and the geopolitics of cultural and economic exchange today.",
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"text": "For Ai, sunflower seeds – a common street snack shared by friends – carry personal associations with Mao Zedong’s brutal Cultural Revolution (1966–76). While individuals were stripped of personal freedom, propaganda images depicted Chairman Mao as the sun and the mass of people as sunflowers turning towards him. Yet Ai remembers the sharing of sunflower seeds as a gesture of human compassion, providing a space for pleasure, friendship and kindness during a time of extreme poverty, repression and uncertainty.",
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"text": "Sunflower Seeds is a vast sculpture that can be gazed upon from the Turbine Hall bridge, or viewed at close range. Each piece is a part of the whole, a poignant commentary on the relationship between the individual and the masses. There are over one hundred million seeds, five times the number of Beijing’s population and nearly a quarter of China’s internet users. The work seems to pose numerous questions. What does it mean to be an individual in today’s society? Are we insignificant or powerless unless we act together? What do our increasing desires, materialism and number mean for society, the environment and the future? ",
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"title": "Six-Forty by Four-Eighty1",
"wikiBody": "From the artist: \n\n \n\n \"An Interactive Lighting Installation (2010)\n\n Six-Forty by Four-Eighty is an interactive lighting installation composed of an array of magnetic, physical pixels. Individually, pixel- \n\n tiles change their color in response to touch and communicate their state to each other by using a person's body as the conduit for \n\n information. When grouped together, the pixel-tiles create patterns and animations that can serve as a tool for customizing our \n\n physical spaces. By transposing the pixel from the confines of the screen and into the physical world, focus is drawn to the \n\n materiality of computation and new forms for design emerge.\"\n\nSource: http://jamiezigelbaum.com/six-forty-by-four-eighty",
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"title": "Six-Forty by Four-Eighty 2",
"wikiBody": "From the [artist](http://jamiezigelbaum.com/six-forty-by-four-eighty): \n\n \n \"An Interactive Lighting Installation (2010)\n\n Six-Forty by Four-Eighty is an interactive lighting installation composed of an array of magnetic, physical pixels. Individually, pixel- \n tiles change their color in response to touch and communicate their state to each other by using a person's body as the conduit for \n information. When grouped together, the pixel-tiles create patterns and animations that can serve as a tool for customizing our \n physical spaces. By transposing the pixel from the confines of the screen and into the physical world, focus is drawn to the \n materiality of computation and new forms for design emerge.\"\n\nSource: http://jamiezigelbaum.com/six-forty-by-four-eighty",
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"title": "Head Dress Performance at Kinesis 2018",
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"title": "I love fake people, I love games, I love drama, music means nothing to me. I'm not a chill guy and if you fuck with my friends I will help you do it. I would betray any of my loved ones at any time and I would not hesitate to hit them with a car",
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"title": "Fractal Elahbel",
"wikiBody": "This is a digital I made by searching the web for a \"fractal image generator\". I then took a screenshot of the Tower of Elahbel and created the shape.\r\n",
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"title": "Elahbelscape 01",
"wikiBody": "## HOWTO\r\n\r\nI used a program from the UK called Terragen to create the scene. I imported the model for the Tower of Elahbel into the free program Blender and then exported the .obj file so Terragen could import it. Then when I imported I set it to populate so could create fields of interpreted towers. There is a problem with the model, but I like it still.\r\n\r\nI will share my rendering and file too as I make it.\r\n\r\nThanks to New Palmyra! It is great to write down the past and make some ting new too.",
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"metadata": {
"artist": [
{
"value": "Judy Chicago",
"groupId": "5c0e849acab8b200055fb41b",
"id": "5c0e849acab8b200055fb41b"
}
],
"exhibition": [
{
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"groupId": "5c0e8594cab8b200055fb41d",
"id": "5c0e8594cab8b200055fb41d"
}
],
"year": {
"value": "1965/2018"
},
"medium": [
{
"value": "Acrylic on canvas-covered plywood"
}
],
"collection": [
{
"value": "Judy Chicago"
},
{
"value": "Salon 94, New York"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Judy Chicago\",\"groupId\":\"5c0e849acab8b200055fb41b\",\"id\":\"5c0e849acab8b200055fb41b\"}],\"exhibition\":[{\"value\":\"Judy Chicago: A Reckoning\",\"groupId\":\"5c0e8594cab8b200055fb41d\",\"id\":\"5c0e8594cab8b200055fb41d\"}],\"year\":{\"value\":\"1965/2018\"},\"medium\":[{\"value\":\"Acrylic on canvas-covered plywood\"}],\"collection\":[{\"value\":\"Judy Chicago\"},{\"value\":\"Salon 94, New York\"}]}",
"title": "Sunset Squares",
"wikiBody": "### Talk\n\n- Needs more info on the pieces\n- Is this composed of old an new pieces? Check the dates 1965/2018",
"type": "artwork",
"url": "sunset-squares",
"images": [
"19FC1146E3DD4D84A87E55F26F16E0BEjpeg-1544455962072.jpeg"
],
"owner": null,
"ownerUserId": null,
"wikiVersion": 3,
"assets": []
},
{
"_id": "5c0eadd4f6500e0005b3c612",
"metadata": {
"artist": [
{
"value": "Brenna Murphy",
"groupId": "5c0ead9df6500e0005b3c60e"
}
],
"timestamp": 1544465876654
},
"metadataString": "{\"artist\":[{\"value\":\"Brenna Murphy\",\"groupId\":\"5c0ead9df6500e0005b3c60e\"}]}",
"title": "Interdimensional Corridors 1",
"wikiBody": "",
"type": "artwork",
"url": "interdimensional-corridors-1",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 0
},
{
"_id": "5c0eae03f6500e0005b3c614",
"metadata": {
"artist": [
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"value": "Brenna Murphy",
"groupId": "5c0ead9df6500e0005b3c60e"
}
],
"timestamp": 1544465923220
},
"metadataString": "{\"artist\":[{\"value\":\"Brenna Murphy\",\"groupId\":\"5c0ead9df6500e0005b3c60e\"}]}",
"title": "Interdimensional Corridors 2",
"wikiBody": "",
"type": "artwork",
"url": "interdimensional-corridors-2",
"images": [
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],
"owner": null,
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"wikiVersion": 0
},
{
"_id": "5c0eaed3f6500e0005b3c616",
"metadata": {
"artist": [
{
"value": "Brenna Murphy",
"groupId": "5c0ead9df6500e0005b3c60e"
}
],
"timestamp": 1544466131180
},
"metadataString": "{\"artist\":[{\"value\":\"Brenna Murphy\",\"groupId\":\"5c0ead9df6500e0005b3c60e\"}]}",
"title": "LevelSource1",
"wikiBody": "",
"type": "artwork",
"url": "levelsource1",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 0
},
{
"_id": "5c0ef477f6500e0005b3c621",
"metadata": {
"artist": [
{
"value": "De Nichols",
"groupId": "5c0ef2a5f6500e0005b3c61d",
"id": "5c0ef2a5f6500e0005b3c61d"
},
{
"value": "Damon Davis",
"groupId": "5c0ef2eaf6500e0005b3c61f",
"id": "5c0ef2eaf6500e0005b3c61f"
},
{
"value": "Marcis Curtis"
},
{
"value": "Sophie Lipman"
},
{
"value": "Mallory Nezam"
},
{
"value": "Derek Laney"
},
{
"value": "Elizabeth Vega"
}
],
"year": {
"value": "2014"
},
"medium": [
{
"value": "Wood, mirror"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"De Nichols\",\"groupId\":\"5c0ef2a5f6500e0005b3c61d\",\"id\":\"5c0ef2a5f6500e0005b3c61d\"},{\"value\":\"Damon Davis\",\"groupId\":\"5c0ef2eaf6500e0005b3c61f\",\"id\":\"5c0ef2eaf6500e0005b3c61f\"},{\"value\":\"Marcis Curtis\"},{\"value\":\"Sophie Lipman\"},{\"value\":\"Mallory Nezam\"},{\"value\":\"Derek Laney\"},{\"value\":\"Elizabeth Vega\"}],\"year\":{\"value\":\"2014\"},\"medium\":[{\"value\":\"Wood, mirror\"}]}",
"title": "Mirror Casket",
"wikiBody": "From the Mirror Casket Project website: http://mirrorcasket.com\n\nThe Mirror Casket is a visual structure, performance, and call to action for justice in the aftermath of the murder of Michael Brown in Ferguson, MO.\n\nCreated by a team of seven community artists and organizers, the mirrored casket responds to a Ferguson resident’s call for “a work of art that evokes more empathy into this circumstance” following the burning of a Michael Brown memorial on September 23, 2014.\n\nWith an aim to evoke reflection and empathy for the deaths of young people of color who have lost their lives unjustly in the United States and worldwide, the The Mirror Casket was performed as part of a “Funeral Procession of Justice” during the Ferguson October protests. As community members carried it from the site of Michael Brown’s death to the police department of the community, its mirrors challenged viewers to look within and see their reflections as both whole and shattered, as both solution and problem, as both victim and aggressor. The Mirror Casket has since been used throughout related protests and marches and was collected into the Smithsonian National Museum of African American History and Culture in March 2016.",
"type": "artwork",
"url": "mirror-casket",
"images": [
"mirrorcasketdenicholsjpg-1544483957965.jpg",
"mirrorcasketdenicholsdamondavisjpg-1544483992648.jpg",
"mirrorcasketdenicholsdamondavisjpg-1544483999412.jpg"
],
"owner": null,
"ownerUserId": null,
"wikiVersion": 2,
"assets": []
},
{
"_id": "5c0ef9e2f6500e0005b3c628",
"metadata": {
"artist": [
{
"value": "Snow Yunxue Fu",
"groupId": "5c0ef902f6500e0005b3c626"
}
],
"year": {
"value": "2018"
},
"gallery": [
{
"value": "Transfer Gallery",
"groupId": "5bfdf3d28253fc0005058a5c"
}
],
"url": [
{
"value": "https://snowyunxuefu.com/section/468610-Gorges-3-channel-Install.html"
}
],
"timestamp": 1544485346583
},
"metadataString": "{\"artist\":[{\"value\":\"Snow Yunxue Fu\",\"groupId\":\"5c0ef902f6500e0005b3c626\"}],\"year\":{\"value\":\"2018\"},\"gallery\":[{\"value\":\"Transfer Gallery\",\"groupId\":\"5bfdf3d28253fc0005058a5c\"}],\"url\":[{\"value\":\"https://snowyunxuefu.com/section/468610-Gorges-3-channel-Install.html\"}]}",
"title": "Gorges",
"wikiBody": "Gorges as a 3-channel installation is premiered at TRANSFER Download project (curated by Kelani Nicole) in the Art House of Thoma Foundation in Santa Fe on June 15th, 2018, and will be showcased there for a whole year.\n\nGorges is a three-channel 3D Moving Image piece that contemplates contemporary technological society’s relationship with the natural world. While clouds are synonymous with digital culture, rendered rivers and mountains are realistically depicted stationary with highly saturated color directly from the RGB scale. The naturalistic compositions ties visually to landscape paintings (both Chinese and Western), play on perception and desire for a relationship with nature; yet it is synthetic, a liminal realm that we experience but cannot touch. Gorges offers an experience of the digital sublime, which overlaps with our perception of the digital, landscape, our relationship with each, and the fundamental questions that follow, peering into the nature of our existence.\n\nSound commission: Daniel Brookman\nFile Assistant: Jennifer Muraoka \nDocumentation Rendering Assistant: Ming Rang Bai",
"type": "artwork",
"url": "gorges",
"images": [
"GorgesSnowYunxueFujpg-1544485345259.jpg"
],
"owner": null,
"ownerUserId": null,
"wikiVersion": 0
},
{
"_id": "5c0f17162013040005cfd6df",
"metadata": {
"artist": [
{
"value": "Jack Dorsey",
"groupId": "5c0f168f2013040005cfd6dd"
}
],
"year": {
"value": "2010"
},
"exhibition": [
{
"value": "Talk to Me",
"groupId": "5c0f17412013040005cfd6e1"
}
],
"gallery": [
{
"value": "MoMA"
}
],
"yearOid": {
"value": "2011"
},
"timestamp": 1544492822724
},
"metadataString": "{\"artist\":[{\"value\":\"Jack Dorsey\",\"groupId\":\"5c0f168f2013040005cfd6dd\"}],\"year\":{\"value\":\"2010\"},\"exhibition\":[{\"value\":\"Talk to Me\"}],\"gallery\":[{\"value\":\"MoMA\"}],\"yearOid\":{\"value\":\"2011\"}}",
"title": "Square",
"wikiBody": "Square is a tiny attachment that can be plugged into the headphone jack of a smartphone or tablet to allow anyone to accept a credit card payment. The card is slid through the attachment; signatures on touch screens stand in for printed receipts. This simple idea is as efficient and potentially transformative as designer Jack Dorsey’s previous big idea: he is one of the co-inventors of Twitter.",
"type": "artwork",
"url": "square",
"images": [
"jackdorseymomatalktomesquarejpg-1544492821389.jpg"
],
"owner": null,
"ownerUserId": null,
"wikiVersion": 0
},
{
"_id": "5c0f4e892013040005cfd6e9",
"metadata": {
"artist": [
{
"value": "Unknown"
}
],
"year": {
"value": "2018"
},
"exhibition": [
{
"value": "Paint Louis 2018",
"groupId": "5c0ed529f6500e0005b3c61b"
}
],
"timestamp": 1544507017296
},
"metadataString": "{\"artist\":[{\"value\":\"Unknown\"}],\"year\":{\"value\":\"2018\"},\"exhibition\":[{\"value\":\"Paint Louis 2018\",\"groupId\":\"5c0ed529f6500e0005b3c61b\"}]}",
"title": "Paint Louis 2018 Piece 01",
"wikiBody": "A set of pieces from Paint Louis 2018\r\n\r\n\r\n#### Talk\r\n\r\n- the image needs to be broken down or does it? (@rejon)\r\n- who are the artists?",
"type": "artwork",
"url": "paint-louis-2018-piece-01",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 0
},
{
"_id": "5c100b8a2013040005cfd6ec",
"metadata": {
"artist": [
{
"value": "Zlatko Ćosić",
"groupId": "5bbaa16cdfc01800057e076f",
"id": "5bbaa16cdfc01800057e076f"
}
],
"year": {
"value": "2018"
},
"url": [
{
"value": "https://twitter.com/zlatko_cosic/status/1072557355303399424?s=21"
},
{
"value": "http://www.zlatkocosic.com/installations/aah"
}
],
"gallery": [
{
"value": "Angad Arts Hotel",
"groupId": -1,
"id": -1
}
],
"medium": [
{
"value": "HD Video"
}
],
"location": [
{
"value": "Angad Arts Hotel"
},
{
"value": "Saint Louis"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Zlatko Ćosić\",\"groupId\":\"5bbaa16cdfc01800057e076f\",\"id\":\"5bbaa16cdfc01800057e076f\"}],\"year\":{\"value\":\"2018\"},\"url\":[{\"value\":\"https://twitter.com/zlatko_cosic/status/1072557355303399424?s=21\"},{\"value\":\"http://www.zlatkocosic.com/installations/aah\"}],\"gallery\":[{\"value\":\"Angad Arts Hotel\",\"groupId\":-1,\"id\":-1}],\"medium\":[{\"value\":\"HD Video\"}],\"location\":[{\"value\":\"Angad Arts Hotel\"},{\"value\":\"Saint Louis\"}]}",
"title": "UP DOWN (Faces)",
"wikiBody": "#### Talk\r\n\r\n- original tweet: UP DOWN (Faces) on view at the Angad Arts Hotel. #angadartshotel #aah #staycolorful #grandcenter #stl #ArtElevators #UpDownSeries #AAHMoments @AngadArtsHotel \r\n- https://twitter.com/zlatko_cosic/status/1072557355303399424?s=21",
"type": "artwork",
"url": "up-down-faces",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
"assets": []
},
{
"_id": "5c101d4d2013040005cfd6ef",
"metadata": {
"artist": [
{
"value": "Kenny Scharf",
"groupId": 0,
"id": -1
}
],
"year": {
"value": "2018"
},
"collection": [
{
"value": "Jon Phillips Personal Collection"
}
],
"editions": {
"value": "170/180"
},
"location": [
{
"value": "Saint Louis"
}
],
"medium": [
{
"value": "Spraypaint on canvas"
}
],
"series": [
{
"value": "Blockchain Inspired Graffiti Mural"
}
],
"exhibition": [
{
"value": "The Art of Blockchains",
"groupId": 0
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Kenny Scharf\",\"groupId\":0,\"id\":-1}],\"year\":{\"value\":\"2018\"},\"collection\":[{\"value\":\"Jon Phillips Personal Collection\"}],\"editions\":{\"value\":\"170/180\"},\"location\":[{\"value\":\"Saint Louis\"}],\"medium\":[{\"value\":\"Spraypaint on canvas\"}],\"series\":[{\"value\":\"Blockchain Inspired Graffiti Mural\"}],\"exhibition\":[{\"value\":\"The Art of Blockchains\",\"groupId\":0}]}",
"title": "Blockchain Inspired Graffiti Mural 170 of 180",
"wikiBody": "#### Talk\r\n\r\n- A piece of art my friend Barry Threw gave me (@rejon)\r\n- add rest of pieces to the collection there are 179 more (@rejon)",
"type": "artwork",
"url": "blockchain-inspired-graffiti-mural-170-of-180",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 4,
"assets": []
},
{
"_id": "5c1045332013040005cfd6f8",
"metadata": {
"artist": [
{
"value": "Sea Hyun Lee",
"groupId": "5c1044882013040005cfd6f5"
}
],
"year": {
"value": "2017"
},
"medium": [
{
"value": "Oil on linen"
}
],
"dimensions": [
{
"value": {
"height": "60 cm",
"width": "60 cm x 80 cm"
}
}
],
"gallery": [
{
"value": "CHOI & LAGER Gallery",
"groupId": "5c10440c2013040005cfd6f2"
}
],
"exhibition": [
{
"value": "Untitled Art Fair Miami 2018",
"groupId": "5c1046122013040005cfd6fc"
}
],
"timestamp": 1544570163120
},
"metadataString": "{\"artist\":[{\"value\":\"Sea Hyun Lee\",\"groupId\":\"5c1044882013040005cfd6f5\"}],\"year\":{\"value\":\"2017\"},\"medium\":[{\"value\":\"Oil on linen\"}],\"dimensions\":[{\"value\":{\"height\":\"60 cm\",\"width\":\"60 cm x 80 cm\"}}],\"gallery\":[{\"value\":\"CHOI & LAGER Gallery\",\"groupId\":\"5c10440c2013040005cfd6f2\"}],\"exhibition\":[{\"value\":\"Untitled Art Fair Miami 2018\",\"groupId\":-1}]}",
"title": "Between Blue - 017SEP01 2017",
"wikiBody": "An artwork shown at Untitled Art Fair Miami 2018",
"type": "artwork",
"url": "between-blue-017sep01-2017",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 0
},
{
"_id": "5c1045d32013040005cfd6fa",
"metadata": {
"artist": [
{
"value": "Sea Hyun Lee",
"groupId": "5c1044882013040005cfd6f5",
"id": "5c1044882013040005cfd6f5"
}
],
"year": {
"value": "2017"
},
"dimensions": [
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"value": {
"height": "60 cm",
"width": "60 cm"
}
}
],
"medium": [
{
"value": "Oil on linen"
}
],
"gallery": [
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"value": "CHOI & LAGER Gallery",
"groupId": "5c10440c2013040005cfd6f2",
"id": "5c10440c2013040005cfd6f2"
}
],
"exhibition": [
{
"value": "Untitled Art Fair Miami 2018",
"groupId": "5c1046122013040005cfd6fc"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Sea Hyun Lee\",\"groupId\":\"5c1044882013040005cfd6f5\",\"id\":\"5c1044882013040005cfd6f5\"}],\"year\":{\"value\":\"2017\"},\"dimensions\":[{\"value\":{\"height\":\"60 cm\",\"width\":\"60 cm\"}}],\"medium\":[{\"value\":\"Oil on linen\"}],\"gallery\":[{\"value\":\"CHOI & LAGER Gallery\",\"groupId\":\"5c10440c2013040005cfd6f2\",\"id\":\"5c10440c2013040005cfd6f2\"}],\"exhibition\":[{\"value\":\"Untitled Art Fair Miami 2018\",\"groupId\":\"5c1046122013040005cfd6fc\"}]}",
"title": "Between Red - 017JUN01",
"wikiBody": "An artwork.",
"type": "artwork",
"url": "between-red-017jun01",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
"assets": []
},
{
"_id": "5c1056ec2013040005cfd703",
"metadata": {
"artist": [
{
"value": "Tom Galle",
"groupId": "5c1056c22013040005cfd701"
}
],
"timestamp": 1544574700143
},
"metadataString": "{\"artist\":[{\"value\":\"Tom Galle\",\"groupId\":\"5c1056c22013040005cfd701\"}]}",
"title": "Macbook selfie stick",
"wikiBody": "",
"type": "artwork",
"url": "macbook-selfie-stick",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 0
},
{
"_id": "5c1057182013040005cfd705",
"metadata": {
"artist": [
{
"value": "Tom Galle",
"groupId": "5c1056c22013040005cfd701",
"id": "5c1056c22013040005cfd701"
},
{
"value": "Moises Sanabria"
},
{
"value": "John Yuyi"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Tom Galle\",\"groupId\":\"5c1056c22013040005cfd701\",\"id\":\"5c1056c22013040005cfd701\"},{\"value\":\"Moises Sanabria\"},{\"value\":\"John Yuyi\"}]}",
"title": "Tinder VR",
"wikiBody": "Tinder VR, Performed by Tom Galle, Moises Sanabria and John Yuyi all over New York.",
"type": "artwork",
"url": "tinder-vr",
"images": [
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"tomgalletindervrgif-1544657345062.gif"
],
"owner": null,
"ownerUserId": null,
"wikiVersion": 3,
"assets": []
},
{
"_id": "5c1057492013040005cfd707",
"metadata": {
"artist": [
{
"value": "Tom Galle",
"groupId": "5c1056c22013040005cfd701",
"id": "5c1056c22013040005cfd701"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Tom Galle\",\"groupId\":\"5c1056c22013040005cfd701\",\"id\":\"5c1056c22013040005cfd701\"}]}",
"title": "Organic iPhone Cases",
"wikiBody": "#### Talk\n\n- anymore places shown?",
"type": "artwork",
"url": "organic-iphone-cases",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
"assets": []
},
{
"_id": "5c114af819f6ae000533bf6c",
"metadata": {
"artist": [
{
"value": "Claudia Hart",
"groupId": "5c114a6519f6ae000533bf68"
}
],
"year": {
"value": "2009"
},
"gallery": [
{
"value": "bitforms gallery",
"groupId": "5c114a9e19f6ae000533bf6a"
}
],
"medium": [
{
"value": "ABS solid core plastic, wood, 3D print"
}
],
"dimensions": [
{
"value": {
"length": "6\"",
"height": "8\"",
"width": "3\""
}
}
],
"timestamp": 1544637176357
},
"metadataString": "{\"artist\":[{\"value\":\"Claudia Hart\",\"groupId\":\"5c114a6519f6ae000533bf68\"}],\"year\":{\"value\":\"2009\"},\"gallery\":[{\"value\":\"bitforms gallery\",\"groupId\":\"5c114a9e19f6ae000533bf6a\"}],\"medium\":[{\"value\":\"ABS solid core plastic, wood, 3D print\"}],\"dimensions\":[{\"value\":{\"length\":\"6\\\"\",\"height\":\"8\\\"\",\"width\":\"3\\\"\"}}]}",
"title": "Twilight",
"wikiBody": "",
"type": "artwork",
"url": "twilight",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 0
},
{
"_id": "5c114bae19f6ae000533bf6e",
"metadata": {
"artist": [
{
"value": "Claudia Hart",
"groupId": "5c114a6519f6ae000533bf68"
}
],
"year": {
"value": "2009"
},
"medium": [
{
"value": "Digital"
}
],
"timestamp": 1544637358788
},
"metadataString": "{\"artist\":[{\"value\":\"Claudia Hart\",\"groupId\":\"5c114a6519f6ae000533bf68\"}],\"year\":{\"value\":\"2009\"},\"medium\":[{\"value\":\"Digital\"}]}",
"title": "Dream",
"wikiBody": "Dream uses medical x-rays and imaging to create visceral images of biological forms. This looped animation may incur a rendering of what the digital form of a body may be in a time and space warped place similar to a dream. ",
"type": "artwork",
"url": "dream",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 0
},
{
"_id": "5c114e4f19f6ae000533bf70",
"metadata": {
"artist": [
{
"value": "Claudia Hart",
"groupId": "5c114a6519f6ae000533bf68"
}
],
"year": {
"value": "2011"
},
"medium": [
{
"value": "HD quicktime video, computer, screens, custom wood box"
}
],
"dimensions": [
{
"value": {
"length": "3.5\"",
"height": "15\"",
"width": "23.5\""
}
}
],
"duration": {
"value": "11 min 40 sec"
},
"collection": [
{
"value": "When a Rose is Not a Rose"
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"title": "Bruce Lee",
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"metadataString": "{\"artist\":[{\"value\":\"Clement Valla\",\"groupId\":\"5c16ada826c05b000584f08a\"}],\"year\":{\"value\":\"2015\"},\"gallery\":[{\"value\":\"XPO Gallery\",\"groupId\":\"5c195dc44b04110005e5914b\"}]}",
"title": "Asplenium Scolopendrium Plant",
"wikiBody": "Contributed by sarah3an",
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"year": {
"value": "2015"
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"value": "XPO Gallery",
"groupId": "5c195dc44b04110005e5914b"
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"timestamp": 1545166562394
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"metadataString": "{\"artist\":[{\"value\":\"Clement Valla\",\"groupId\":\"5c16ada826c05b000584f08a\"}],\"year\":{\"value\":\"2015\"},\"gallery\":[{\"value\":\"XPO Gallery\",\"groupId\":\"5c195dc44b04110005e5914b\"}]}",
"title": " 41.045 Apostle",
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"groupId": "5c195dc44b04110005e5914b"
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},
"metadataString": "{\"artist\":[{\"value\":\"Clement Valla\",\"groupId\":\"5c16ada826c05b000584f08a\"}],\"year\":{\"value\":\"2015\"},\"gallery\":[{\"value\":\"XPO Gallery\",\"groupId\":\"5c195dc44b04110005e5914b\"}]}",
"title": "41.046 Apostle",
"wikiBody": "Contributed by sarah3an",
"type": "artwork",
"url": "41-046-apostle",
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"owner": null,
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{
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"metadata": {
"artist": [
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"value": "Jamie Adams",
"groupId": -1
}
],
"year": {
"value": "2018"
},
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"height": "36 inches",
"width": "34 inches"
}
}
],
"medium": [
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],
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"value": "BLONDIE BUBBA: NEW PAINTINGS BY JAMIE ADAMS",
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],
"timestamp": 1545283402400
},
"metadataString": "{\"artist\":[{\"value\":\"Jamie Adams\",\"groupId\":-1}],\"year\":{\"value\":\"2018\"},\"dimensions\":[{\"value\":{\"height\":\"36 inches\",\"width\":\"34 inches\"}}],\"medium\":[{\"value\":\"oil on canvas\"}],\"exhibition\":[{\"value\":\"BLONDIE BUBBA: NEW PAINTINGS BY JAMIE ADAMS\",\"groupId\":\"5c1b250591ddfc000565f294\"}],\"gallery\":[{\"value\":\"Philip Slein Gallery\",\"groupId\":\"5c1b23d391ddfc000565f291\"}]}",
"title": "Blondie Bubba Green Shirt",
"wikiBody": "",
"type": "artwork",
"url": "blondie-bubba-green-shirt",
"images": [
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{
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],
"year": {
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"metadataString": "{\"artist\":[{\"value\":\"Kevin Kao\",\"groupId\":\"5c1970fd9b7bb3000560feae\"}],\"year\":{\"value\":\"2018\"},\"gallery\":[{\"value\":\"G-CADD\",\"groupId\":\"5bdf6636f4986c00052d1d19\"}]}",
"title": "Clay Head",
"wikiBody": "#### Talk\r\n\r\n- title if piece is incorrect",
"type": "artwork",
"url": "clay-head",
"images": [
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{
"_id": "5c1bd2b87a9b130005631d32",
"metadata": {
"artist": [
{
"value": "Marianna Simnett",
"groupId": -1
}
],
"year": {
"value": "2018"
},
"workReferenced": [
{
"value": "The Udder"
},
{
"value": "Blood"
},
{
"value": "Blue Roses"
},
{
"value": "Worst Gift"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Marianna Simnett\",\"groupId\":-1}],\"year\":{\"value\":\"2018\"},\"workReferenced\":[{\"value\":\"The Udder\"},{\"value\":\"Blood\"},{\"value\":\"Blue Roses\"},{\"value\":\"Worst Gift\"}]}",
"title": "Blood In My Milk",
"wikiBody": "Presented at the New Museum in NYC. It is the artist’s first institutional solo exhibition in the US.\n\nComposed of new multi-channel edits of four of Simnett’s most important works to date—The Udder (2014), Blood (2015), Blue Roses (2015), and Worst Gift (2017)— “Blood In My Milk” is a survey of her filmic universe and a continuation of her ongoing investigation of anxieties around the body and the self. \n\nThrough January 6th, 2019 at the New Museum.\n",
"type": "artwork",
"url": "blood-in-my-milk",
"images": [
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"owner": null,
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{
"_id": "5c1c33e68f490c0005aa91ec",
"metadata": {
"artist": [
{
"value": "Marcel Duchamp"
}
],
"year": {
"value": "1915-1923"
},
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Marcel Duchamp\"}],\"year\":{\"value\":\"1915-1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "The Bride Stripped Bare by her Bachelors, Even (The Large Glass)",
"wikiBody": "Duchamp worked on the piece from 1915 to 1923, creating two panes of glass with materials such as lead foil, fuse wire, and dust. It combines chance procedures, plotted perspective studies, and laborious craftsmanship. Duchamp's ideas for the Glass began in 1913, and he made numerous notes and studies, as well as preliminary works for the piece. The notes reflect the creation of unique rules of physics, and myth which describes the work.\n\nAs of January 1, 2019, this artwork will enter into the public domain.",
"type": "artwork",
"url": "the-bride-stripped-bare-by-her-bachelors-even-the-large-glass",
"images": [
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{
"_id": "5c1c35248f490c0005aa91ee",
"metadata": {
"artist": [
{
"value": "Constantin Brâncuși",
"groupId": -1
}
],
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Constantin Brâncuși\",\"groupId\":-1}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Bird in Space",
"wikiBody": "Bird in Space (L'Oiseau dans l'espace) is a series of sculptures by Romanian sculptor Constantin Brâncuși. The original work was created in 1928. It was sold in 2005 for $27.5 million, at the time a record price for a sculpture sold in an auction. The original title in Romanian is Pasărea în văzduh.\n\nIn 1926-27, Bird in Space was the subject of a court battle over its taxation by U.S. Customs. In October 1926, Bird in Space, along with 19 other Brâncuși sculptures, arrived in New York harbor aboard the steamship Paris.[5] While works of art are not subject to custom duties, the customs officials refused to believe that the tall, thin piece of polished bronze was art and so imposed the tariff for manufactured metal objects, 40% of the sale price or about $230.\n\nUnder pressure from the press and artists, U.S. customs agreed to rethink their classification of the items, releasing the sculptures on bond (under \"Kitchen Utensils and Hospital Supplies\") until a decision could be reached. \n\nNo one argued that the piece had a practical purpose, but whether or not the sculpture was art was hotly contested. The 1916 case United States v. Olivotti had established that sculptures were art only if they were carved or chiseled representations of natural objects \"in their true proportions.\" Therefore, a series of artists and art experts testified for both the defense and the prosecution about the definition of art and who decides exactly what art is.\n\nDespite the varied opinions on what qualifies as art presented to the court, in November 1928 Judges Young and Waite found in favor of the artist. This was the first court decision that accepted that non-representational sculpture could be considered art.\n\nAs of January 1, 2019, this artwork will enter into the public domain.\n",
"type": "artwork",
"url": "bird-in-space",
"images": [
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],
"owner": null,
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{
"_id": "5c1c38498f490c0005aa91f1",
"metadata": {
"artist": [
{
"value": "Wassily Kandinsky"
}
],
"year": {
"value": "1923"
},
"medium": [
{
"value": "Oil on Canvas"
}
],
"dimensions": [
{
"value": {
"height": "105 cm",
"width": "98 cm"
}
}
],
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Wassily Kandinsky\"}],\"year\":{\"value\":\"1923\"},\"medium\":[{\"value\":\"Oil on Canvas\"}],\"dimensions\":[{\"value\":{\"height\":\"105 cm\",\"width\":\"98 cm\"}}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "On White II",
"wikiBody": "Kandinsky’s On White II expresses an intelligent combination of the two main colors in the painting: black and white. Kandinsky used color to represent more than just shapes and figures in his paintings. In this painting the many dimensions of the color white is used to represent the many possibilities and opportunities available in life. The color black, on the other hand, represents non-existence and death. Kandinsky expressed the color black as the silence of death, and in this painting, the black cuts through the white background with a riotous effect, shattering the peace of the colorful combination of colors, or as it were, opportunities in life.\n\nAs of January 1, 2019, this artwork will enter into the public domain. ",
"type": "artwork",
"url": "on-white-ii",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
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},
{
"_id": "5c1c3a318f490c0005aa91f3",
"metadata": {
"artist": [
{
"value": "Gerrit Rietveld",
"groupId": -1
}
],
"year": {
"value": "1917"
},
"dimensions": [
{
"value": {
"length": "83 cm",
"height": "88 cm",
"width": "66 cm"
}
}
],
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
],
"url": [
{
"value": "https://en.wikipedia.org/wiki/Red_and_Blue_Chair"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Gerrit Rietveld\",\"groupId\":-1}],\"year\":{\"value\":\"1917\"},\"dimensions\":[{\"value\":{\"length\":\"83 cm\",\"height\":\"88 cm\",\"width\":\"66 cm\"}}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}],\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Red_and_Blue_Chair\"}]}",
"title": "The Red and Blue Chair",
"wikiBody": "The Red and Blue Chair represents one of the first explorations by the De Stijl art movement in three dimensions.\n\nThe original chair was constructed of unstained beech wood and was not painted until the early 1920s.[1] Fellow member of De Stijl and architect, Bart van der Leck, saw his original model and suggested that he add bright colors. He built the new model of thinner wood and painted it entirely black with areas of primary colors attributed to De Stijl movement.\n\nThe Red and Blue Chair was reported to be on loan to the Delft University of Technology Faculty of Architecture as part of an exhibition. On May 13, 2008, a fire destroyed the entire building, but the Red and Blue Chair was saved by firefighters.\n\nA version of the chair was sold by Christies in 2011 for €10,625.\n\nAs of January 1, 2019, this artwork will enter into the public domain.\n\nPhoto credit: [Dingdongchathan](https://upload.wikimedia.org/wikipedia/commons/5/54/RietveldChairRendered.jpg)",
"type": "artwork",
"url": "the-red-and-blue-chair",
"images": [
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"owner": null,
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{
"_id": "5c1c3bce8f490c0005aa91f6",
"metadata": {
"artist": [
{
"value": "Yokiyama Taikan"
}
],
"year": {
"value": "1923"
},
"location": [
{
"value": "Japan"
}
],
"dimensions": [
{
"value": {
"height": "55.3 cm",
"width": "4,070 cm"
}
}
],
"gallery": [
{
"value": "The National Museum of Modern Art, Tokyo"
}
],
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Yokiyama Taikan\"}],\"year\":{\"value\":\"1923\"},\"location\":[{\"value\":\"Japan\"}],\"dimensions\":[{\"value\":{\"height\":\"55.3 cm\",\"width\":\"4,070 cm\"}}],\"gallery\":[{\"value\":\"The National Museum of Modern Art, Tokyo\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Metempsychosis",
"wikiBody": "Metempsychosis, alternatively translated as The Wheel of Life, is a painting by Japanese Nihonga artist Yokoyama Taikan. First displayed at the tenth Inten exhibition in 1923, it forms part of the collection of the National Museum of Modern Art, Tokyo and has been designated an Important Cultural Property.\n\nAs of January 1, 2019, this artwork will enter into the public domain.",
"type": "artwork",
"url": "metempsychosis",
"images": [
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],
"owner": null,
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{
"_id": "5c1c3ee98f490c0005aa91f8",
"metadata": {
"artist": [
{
"value": "Max Ernst",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"medium": [
{
"value": "Oil paint on canvas"
}
],
"gallery": [
{
"value": "Tate Gallery",
"groupId": -1
}
],
"collection": [
{
"value": "Tate Gallery"
}
],
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
],
"url": [
{
"value": "https://en.wikipedia.org/wiki/Pietà_or_Revolution_by_Night"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Max Ernst\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"medium\":[{\"value\":\"Oil paint on canvas\"}],\"gallery\":[{\"value\":\"Tate Gallery\",\"groupId\":-1}],\"collection\":[{\"value\":\"Tate Gallery\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}],\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Pietà_or_Revolution_by_Night\"}]}",
"title": "Pietà or Revolution by Night",
"wikiBody": "Pietà or Revolution by Night is a painting by German surrealist and Dadaist Max Ernst. The painting replaces the traditional scene of Mary clasping the body of Christ with an image of the artist himself, held by his father. A staunch Catholic, Ernst's father had denounced his son's work, and the painting is often seen as rising out of their troubled relationship, although - like dreams - it resists precise analysis. \n\nSince 1981 it has been part of the collection of the Tate Gallery in London. \n\n",
"type": "artwork",
"url": "piet-or-revolution-by-night",
"images": [
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{
"_id": "5c1c882a8f490c0005aa9206",
"metadata": {
"artist": [
{
"value": "Paul B. Davis",
"groupId": "5bb94b23dfc01800057e0741"
}
],
"year": {
"value": "2009"
},
"dimensions": [
{
"value": {
"length": "8",
"height": "12",
"width": "30"
}
}
],
"medium": [
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"value": "Oil on canvas"
}
],
"exhibition": [
{
"value": "Define Your Terms (or Kanye West Fucked Up My Show)",
"groupId": "5c1c87b48f490c0005aa9204"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Paul B. Davis\",\"groupId\":\"5bb94b23dfc01800057e0741\"}],\"year\":{\"value\":\"2009\"},\"dimensions\":[{\"value\":{\"length\":\"8\",\"height\":\"12\",\"width\":\"30\"}}],\"medium\":[{\"value\":\"Oil on canvas\"}],\"exhibition\":[{\"value\":\"Define Your Terms (or Kanye West Fucked Up My Show)\",\"groupId\":\"5c1c87b48f490c0005aa9204\"}]}",
"title": "Failed Aesthetics 1-4",
"wikiBody": "From http://www.beigerecords.com/paul/defineyourterms/\n\nOutsourced paintings of stills from my Compression Studies (2007)...rolled em up and stuck them in the corner as sculpture... ",
"type": "artwork",
"url": "failed-aesthetics-1-4",
"images": [
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"owner": null,
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"metadata": {
"artist": [
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"value": "Paul B. Davis",
"groupId": "5bb94b23dfc01800057e0741"
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],
"year": {
"value": "2009"
},
"medium": [
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"value": "Single channel video with sound"
}
],
"url": [
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"value": "http://www.beigerecords.com/paul/defineyourterms/symbol.html"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Paul B. Davis\",\"groupId\":\"5bb94b23dfc01800057e0741\"}],\"year\":{\"value\":\"2009\"},\"medium\":[{\"value\":\"Single channel video with sound\"}],\"url\":[{\"value\":\"http://www.beigerecords.com/paul/defineyourterms/symbol.html\"}]}",
"title": "The Symbol Grounding Problem",
"wikiBody": "From http://www.beigerecords.com/paul/defineyourterms\n\nA longer description here, as some people find this piece quite gross. The idea for the piece came from a time that I was eating and shitting at once, I'm not sure why. My partner at the time was on the phone to her father, who when told what I was doing, asked what it felt like. My response was \"it feels like I'm really processing\".\n\nThe Symbol Grounding Problem is then based on a relationship between physical and informational processes, which has become more cogent thanks to recent philosophical ideas about the nature of information and our place in the digital ontology called Philosophy of Information. The text started collaboratively with a philosopher, and I then made an action that asks the viewer to apply the universal ideas in the text towards the most banal act of real life. POI holds that as our digital technologies become completely integrated with human Being and we begin to live inside models of ourselves which are more \"intelligent\" than we are, information that creates this environment becomes the defining characteristic of Existence. Hence any object regardless of its material construction can be viewed as an \"informational entity\" and ontologically our view of it must change. \n\nAlso I feel that my action (eating a bacon sandwich while shitting in a perspex box), while completely ordinary in an art historical context, would lend itself to internet re-interpretations that would distort my original intention too much if it was presented in it's entire duration. I'm therefore only providing a still from the video.",
"type": "artwork",
"url": "the-symbol-grounding-problem",
"images": [
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],
"owner": null,
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{
"_id": "5c1cb92f8f490c0005aa920c",
"metadata": {
"artist": [
{
"value": "DISNOVATION.ORG",
"groupId": "5bb43e281649a300055828f1"
},
{
"value": "Qu Hongyuan",
"groupId": null
},
{
"value": "Clement Renaud",
"groupId": "5bdc07e381d6eb0005516ffb"
}
],
"year": {
"value": "2015-2018"
},
"url": [
{
"value": "https://disnovation.org/shanzhai.php"
}
],
"timestamp": 1545386287906
},
"metadataString": "{\"artist\":[{\"value\":\"DISNOVATION.ORG\",\"groupId\":\"5bb43e281649a300055828f1\"},{\"value\":\"Qu Hongyuan\",\"groupId\":null},{\"value\":\"Clement Renaud\",\"groupId\":\"5bdc07e381d6eb0005516ffb\"}],\"year\":{\"value\":\"2015-2018\"},\"url\":[{\"value\":\"https://disnovation.org/shanzhai.php\"}]}",
"title": "Shanzhai Archeology",
"wikiBody": "Shanzhai Archeology is a collection of original phones from the technological interbreeding Made in China. This project casts a critical look at the production of technology through an artistic interpretation of a recent historical fact, still poorly known: the shanzhai.\n\nOften presented as mere counterfeits of low quality, these objects nevertheless draw many unusual technological trajectories that make them the revealers of technological possibilities literally out of European standards. As odd looking hybrids, these puzzling artefacts question a hyper-normalised western technological imaginary. ",
"type": "artwork",
"url": "shanzhai-archeology",
"images": [
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"metadataString": "{\"artist\":[{\"value\":\"Wassily Kandinsky\",\"groupId\":-1}],\"url\":[{\"value\":\"https://www.toptenz.net/10-famous-works-about-to-enter-the-public-domain.php\"},{\"value\":\"https://commons.wikimedia.org/wiki/File:Vassily_Kandinsky,_1923_-_Circles_in_a_Circle.jpg\"}],\"collection\":[{\"value\":\"Philadelphia Museum of Art\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Circles in a Circle",
"wikiBody": "Coming into the public domain in Jan 1, 2019",
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"groupId": -1
}
],
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},
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}
],
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"groupId": "5c1dc9556319a8000573b131"
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]
},
"metadataString": "{\"artist\":[{\"value\":\"Card Bot\",\"groupId\":-1}],\"year\":{\"value\":\"2017\"},\"url\":[{\"value\":\"https://xchain.io/asset/KANDINSKYPEP\"},{\"value\":\"http://rarepepedirectory.com/?p=4678\"}],\"workReferenced\":[{\"value\":\"Circles in a Circle\",\"groupId\":\"5c1dc9556319a8000573b131\"}],\"series\":[{\"value\":\"Rare Pepes\"}]}",
"title": "KANDINSKYPEP",
"wikiBody": "Part of the Rare Pepe Blockchain Art Project.\r\n\r\nIt is also a remix of the 1923 Kandinsky piece \"Circles in a Circle\" coming into the public domain January 1, 2019.",
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"url": "kandinskypep",
"images": [
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"groupId": -1
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}
],
"timestamp": 1545459997489
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"metadataString": "{\"artist\":[{\"value\":\"Katsushika Hokusai\",\"groupId\":-1}],\"year\":{\"value\":\"ca. 1830–32\"},\"collection\":[{\"value\":\"The MET\"}],\"url\":[{\"value\":\"https://www.metmuseum.org/art/collection/search/56353\"},{\"value\":\"https://creativecommons.org/2018/12/05/join-us-for-a-grand-re-opening-of-the-public-domain/\"}]}",
"title": "Under the Wave off Kanagawa",
"wikiBody": "Famous public domain work from Japan.\r\n\r\nLoads of metadata here to be linked: https://www.metmuseum.org/art/collection/search/56353",
"type": "artwork",
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"metadataString": "{\"artist\":[{\"value\":\"Banksy\",\"groupId\":\"5c0add9ccab8b200055fb3dc\"}],\"year\":{\"value\":\"2005\"}}",
"title": "Christmas card",
"wikiBody": "",
"type": "artwork",
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"medium": [
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"timestamp": 1545486524059
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"metadataString": "{\"artist\":[{\"value\":\"Wang Li Zhong\",\"groupId\":-1}],\"year\":{\"value\":\"2018\"},\"medium\":[{\"value\":\"LED Light\"},{\"value\":\"Reflective plastic\"}]}",
"title": "LED Holiday Tree",
"wikiBody": "A sample of the visuals created.",
"type": "artwork",
"url": "led-holiday-tree",
"images": [
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"metadata": {
"artist": [
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"value": "Robert Delaunay",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"url": [
{
"value": "https://commons.wikimedia.org/wiki/File:Robert_Delaunay_-_Hélice_-_1923_-_Wilhelm-Hack-Museum.jpg"
},
{
"value": "https://www.tate.org.uk/art/art-terms/o/orphism"
},
{
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}
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"medium": [
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}
],
"dimensions": [
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"value": {
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"width": "81 cm (31.8 ″)"
}
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"groupId": "5c1d205447e64d0005c6597f"
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},
"metadataString": "{\"artist\":[{\"value\":\"Robert Delaunay\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"https://commons.wikimedia.org/wiki/File:Robert_Delaunay_-_Hélice_-_1923_-_Wilhelm-Hack-Museum.jpg\"},{\"value\":\"https://www.tate.org.uk/art/art-terms/o/orphism\"},{\"value\":\"https://www.toptenz.net/10-famous-works-about-to-enter-the-public-domain.php\"}],\"collection\":[{\"value\":\"Wilhelm-Hack-Museum Ludwigshafen\"}],\"medium\":[{\"value\":\"Oil on canvas\"}],\"dimensions\":[{\"value\":{\"height\":\"100 cm (39.3 ″); \",\"width\":\"81 cm (31.8 ″)\"}}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Hélice",
"wikiBody": "A painting entering the public domain on Jan 1, 2019.\n\n#### Talk\n\n- There is way more data on this on wikidata and the met page that can be input (@rejon)",
"type": "artwork",
"url": "h-lice",
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"metadata": {
"artist": [
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"groupId": -1
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],
"year": {
"value": "1923"
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"url": [
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"value": "https://commons.wikimedia.org/wiki/File:Georg_Schrimpf_Stillleben_mit_Katze_(Ofenecke)_1923-1.jpg"
},
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"collection": [
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}
],
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"groupId": "5c1d205447e64d0005c6597f"
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"metadataString": "{\"artist\":[{\"value\":\"Georg Schrimpf\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"https://commons.wikimedia.org/wiki/File:Georg_Schrimpf_Stillleben_mit_Katze_(Ofenecke)_1923-1.jpg\"},{\"value\":\"https://www.toptenz.net/10-famous-works-about-to-enter-the-public-domain.php\"}],\"collection\":[{\"value\":\"Pinakothek der Moderne\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Stillleben mit Katze (Ofenecke)",
"wikiBody": "A painting that is famously on a German stamp, entering the public domain on Jan 1, 2019.\n",
"type": "artwork",
"url": "stillleben-mit-katze-ofenecke",
"images": [
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"owner": null,
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"_id": "5c1e6e98f06a700005937786",
"metadata": {
"artist": [
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"value": "Suzanne Valadon",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"exhibition": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Suzanne Valadon\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "The Blue Room (Le Chambre Bleue)",
"wikiBody": "The Blue Room (La Chambre Bleue) is a 1923 painting by the French artist Suzanne Valadon, and is one of her most recognizable works. It depicts \"a clothed model who smokes cigarettes, reads books and doesn't make her bed\". \n\nPainted in oil on canvas. Like many of Valadon's later works, it uses strong colors and emphasizes decorative backgrounds and patterned materials. The painting is housed at Musée National d'Art Moderne, Centre Georges Pompidou in Paris.\n\nAs of January 1, 2019, this artwork will enter into the public domain.\n",
"type": "artwork",
"url": "the-blue-room-le-chambre-bleue",
"images": [
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],
"owner": null,
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"lovedBy": [
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{
"_id": "5c1e910527955a00056ed9a7",
"metadata": {
"artist": [
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"value": " M. C. Escher",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"exhibition": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\" M. C. Escher\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Dolphins in Phosphorescent Sea",
"wikiBody": "Dolphins also known as a Dolphins in Phosphorescent Sea is a woodcut print by the Dutch artist M. C. Escher. This work was first printed in February, 1923. Escher had been fascinated by the glowing outlines of ocean waves breaking at night and this image depicts the outlines made by a school of dolphins swimming and breaching ahead of the bow of a ship. The glow was created by bioluminescent dinoflagellates.",
"type": "artwork",
"url": "dolphins-in-phosphorescent-sea",
"images": [
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],
"owner": null,
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{
"_id": "5c1f0a7027955a00056ed9c6",
"metadata": {
"artist": [
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"value": "Picasso",
"groupId": "5ba569ec318d800005be636c"
}
],
"year": {
"value": "1932"
},
"exhibition": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Picasso\",\"groupId\":\"5ba569ec318d800005be636c\"}],\"year\":{\"value\":\"1932\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Nude, Green Leaves and Bust, 1932 by Picasso",
"wikiBody": "Picasso first encountered Marie-Thérèse Walter in January 1927. He kept their relationship secret for many years, even from some of his closest friends, but particularly from his wife Olga. In 1931-12 he embarked on a series of sculptures and paintings of Marie-Thérèse, made at his studio in the Chateau de Boisgeloup, which he had purchased in 1930. Picasso's habit of dating his work very precisely makes it possible to trace the development of this sequence as Picasso discovered an increasingly complex manipulation of her body. Made on 8 March 1932, Nude, Green Leaves and Bust is the most intense among the group of large nudes, counterpointing the real head with a sculpted head, and the folds of Marie-Thérèse's body with the luxuriant forms of a philodendron plant. The setting includes a secretive curtain against which the sculptural bust casts a double shadow, as if the white of the foreground nude was literally illuminating the space.",
"type": "artwork",
"url": "nude-green-leaves-and-bust-1932-by-picasso",
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{
"_id": "5c1f295bbd617d0005370128",
"metadata": {
"artist": [
{
"value": "Stanley Spencer",
"groupId": -1
}
],
"year": {
"value": "1922-23"
},
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Stanley Spencer\",\"groupId\":-1}],\"year\":{\"value\":\"1922-23\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "The Betrayal",
"wikiBody": "Stanley Spencer, (English painter, 1891-1959) was born at Cookham, Berkshire, and trained at the Slade School, London from 1908–1912. \r\n\r\n'The Betrayal' is set at the rear of the Spencer family home in Cookham; Stanley and his brother Gilbert are shown watching the event from the wall to the right. The subject is the betrayal of Christ and at the moment depicted, Peter is ready to cut off Malchus’s ear (centre) but Jesus (the bulky figure by the gate) restrains him.\r\nThe betrayal, arrest and captivity of Christ is part of the Passion cycle of events leading up to, and following the crucifixion. The subject has been popular in art since early Christian times.\r\n\r\nPhoto Credit: National Museums Northern Ireland.\r\n\r\nAs of January 1, 2019, this artwork will enter into the public domain.",
"type": "artwork",
"url": "the-betrayal",
"images": [
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],
"owner": null,
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"wikiVersion": 4,
"lovedBy": [
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"assets": []
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{
"_id": "5c1f428b7568c100052a9c9d",
"metadata": {
"artist": [
{
"value": "Mahesh Rajkumar",
"groupId": -1
}
],
"year": {
"value": "2017"
},
"exhibition": [
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"value": "The Art of Secret",
"groupId": "5bb81e9572f3be0005e63657"
}
],
"timestamp": 1545552523753
},
"metadataString": "{\"artist\":[{\"value\":\"Mahesh Rajkumar\",\"groupId\":-1}],\"year\":{\"value\":\"2017\"},\"exhibition\":[{\"value\":\"The Art of Secret\",\"groupId\":\"5bb81e9572f3be0005e63657\"}]}",
"title": "Best of luck.",
"wikiBody": "",
"type": "artwork",
"url": "best-of-luck",
"images": [
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"owner": null,
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{
"_id": "5c1f90bd7568c100052a9ca2",
"metadata": {
"artist": [
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"value": "Olia Lialina",
"groupId": -1
}
],
"exhibition": [
{
"value": "Zurich Art Weekend",
"groupId": -1
},
{
"value": " Olia Lialina – LOSSLESS",
"groupId": "5c2a2b9e18b6690005e95145"
},
{
"value": " Asymmetrical Response",
"groupId": -1
},
{
"value": "Electronic Superhighway (2016 – 1966)",
"groupId": -1
}
],
"gallery": [
{
"value": "Roehrs & Boetsch",
"groupId": -1
},
{
"value": "The Current Museum",
"groupId": -1
}
],
"medium": [
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"value": "Animated GIFs displayed on LED panels"
}
],
"salePrice": [
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"value": "Unknown"
}
],
"editions": {
"value": "Unique"
}
},
"metadataString": "{\"artist\":[{\"value\":\"Olia Lialina\",\"groupId\":-1}],\"exhibition\":[{\"value\":\"Zurich Art Weekend\",\"groupId\":-1},{\"value\":\" Olia Lialina – LOSSLESS\",\"groupId\":\"5c2a2b9e18b6690005e95145\"},{\"value\":\" Asymmetrical Response\",\"groupId\":-1},{\"value\":\"Electronic Superhighway (2016 – 1966)\",\"groupId\":-1}],\"gallery\":[{\"value\":\"Roehrs & Boetsch\",\"groupId\":-1},{\"value\":\"The Current Museum\",\"groupId\":-1}],\"medium\":[{\"value\":\"Animated GIFs displayed on LED panels\"}],\"salePrice\":[{\"value\":\"Unknown\"}],\"editions\":{\"value\":\"Unique\"}}",
"title": "Lossless",
"wikiBody": "Images from http://www.roehrsboetsch.com/artists/detail/olia-lialina/work/lossless/\n\nArtist quote from press release: \n\n“Lossless – from lossless compression – is the most poetic word ever used to describe a technical process. So beautiful and ephemeral that I tend to forget what it really means. Every time I see a subfolder named “Lossless” in one of my folders I am paralyzed for a moment; as if I am about to open a treasure box, to see a wonder, a remedy humankind has been searching for since the beginning of time: the elimination of loss, the undoing of the helpless, the sleepless, the inconsolable. Of course I know it is just the name for a standard computing algorithm, that the remedy works for 0s and 1s only, and that inside that folder are files waiting to be uncompressed and displayed without the loss of a single byte. But it is still a wonder.\"",
"type": "artwork",
"url": "lossless",
"images": [
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],
"owner": null,
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"wikiVersion": 2,
"lovedBy": [
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},
{
"_id": "5c20687e7568c100052a9cb1",
"metadata": {
"artist": [
{
"value": "Max Beckmann",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Max Beckmann\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Dancing Bar in Baden-Baden",
"wikiBody": "",
"type": "artwork",
"url": "dancing-bar-in-baden-baden",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
"assets": []
},
{
"_id": "5c2176e0bf94110005edb06e",
"metadata": {
"artist": [
{
"value": "Robert Delaunay",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"url": [
{
"value": "https://fr.wikipedia.org/wiki/Portrait_de_Tristan_Tzara"
}
],
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Robert Delaunay\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"https://fr.wikipedia.org/wiki/Portrait_de_Tristan_Tzara\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Portrait of Tristan Tzara",
"wikiBody": "goes into pd Jan 1, 2019",
"type": "artwork",
"url": "portrait-of-tristan-tzara",
"images": [
"RetratodeTristanTzaraRobertDelaunayjpg-1545696991623.jpg"
],
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
"assets": []
},
{
"_id": "5c218f6bbf94110005edb070",
"metadata": {
"artist": [
{
"value": "Daniel Temkin",
"groupId": "5c219022bf94110005edb073"
}
],
"year": {
"value": "2013"
},
"gallery": [
{
"value": "Transfer Gallery",
"groupId": "5bfdf3d28253fc0005058a5c"
}
],
"medium": [
{
"value": "Digital c-print on Duratrans"
}
],
"dimensions": [
{
"value": {
"length": "2\"",
"height": "24\"",
"width": "24\""
}
}
],
"exhibition": [
{
"value": "Glitchometry",
"groupId": "5c21908dbf94110005edb075"
}
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"title": "2 Seconds (Drawing)",
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"title": "The Unidentified Flying Objects",
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"title": "An Ecology of Compression Complexities",
"wikiBody": "‘Behind White Shadows’ casts light on some of the problematic issues surrounding the emergence of 3D technologies, asking questions such as: what do the hegemonic conventions of sight obscure? And: who gets to move beyond the frame and decide the perspective?\n",
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"title": "DCT:SYPHONING. The 1000000th (64th) Interval",
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"title": "Myopia",
"wikiBody": "\"Resolutions inform both machine vision and human ways of perception. Rules, or protocols, change data in order to store, show, move and connect between technologies. Protocols, together with objects and their materialities, form the resolutions that make technology run smoothly (Alexander Galloway, Protocol, 2006). But these resolutions form not only a solution, but also a compromise between multiple underlying media properties. A resolution is not a neutral facility but carries historical, economical and political ideologies. The cost of all of these media protocols is that we have gradually become unaware of the choices and compromises they represent. We are collectively suffering from technological hyperopia where these qualities have moved beyond a fold of perspective.\n\nResolutions involve /* --and lost alternatives-- */\n\nHave we become bad at constructing our own resolutions, or are we just oblivious to resolutions and their inherent compromises?\"\n",
"type": "artwork",
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"title": "Institutions of Resolutions Disputes",
"wikiBody": "Resolutions inform both machine vision and human ways of perception. Rules, or protocols, change data in order to store, show, move and connect between technologies. Protocols, together with objects and their materialities, form the resolutions that make technology run smoothly (Alexander Galloway, Protocol, 2006). But these resolutions form not only a solution, but also a compromise between multiple underlying media properties. A resolution is not a neutral facility but carries historical, economical and political ideologies. The cost of all of these media protocols is that we have gradually become unaware of the choices and compromises they represent. We are collectively suffering from technological hyperopia where these qualities have moved beyond a fold of perspective.\n\nResolutions involve /* --and lost alternatives-- */\n\nHave we become bad at constructing our own resolutions, or are we just oblivious to resolutions and their inherent compromises? \n",
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"title": "Ookie Canvas",
"wikiBody": "Ookie Canvases are “paintings” composed of cum shots sampled from pornography or submission isolated from their background, colorized, and collaged together to form an all-over composition. The original Ookie Canvas is sourced from RedTube, and the artist's later Sub/emissions canvas is composed entirely of images sent in response to an open call via email and anonymous dropbox. By using cum shots, Holland appropriates the phallus in order to infiltrate a male-dominated medium.\n",
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"metadataString": "{\"artist\":[{\"value\":\"Faith Holland\",\"groupId\":\"5c25a8900eecf100059e0bb9\"}],\"year\":{\"value\":\"2015\"},\"gallery\":[{\"value\":\"TRANSFER Gallery\",\"groupId\":\"5bfdf3d28253fc0005058a5c\"}],\"dimensions\":[{\"value\":{\"length\":\"2\\\"\",\"height\":\"40\\\"\",\"width\":\"40\\\"\"}}],\"medium\":[{\"value\":\"Digital Print on Canvas\"}]}",
"title": "Sub/Emissions",
"wikiBody": "Ookie Canvases are “paintings” composed of cum shots sampled from pornography or submission isolated from their background, colorized, and collaged together to form an all-over composition. The original Ookie Canvas is sourced from RedTube, and the artist's later Sub/emissions canvas is composed entirely of images sent in response to an open call via email and anonymous dropbox. By using cum shots, Holland appropriates the phallus in order to infiltrate a male-dominated medium.",
"type": "artwork",
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"timestamp": 1545972287237
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"metadataString": "{\"artist\":[{\"value\":\"Faith Holland\",\"groupId\":\"5c25a8900eecf100059e0bb9\"}],\"year\":{\"value\":\"2013\"},\"medium\":[{\"value\":\"Animated GIF (1000x 667px, 1000 frames)\"}],\"gallery\":[{\"value\":\"TRANSFER Gallery\",\"groupId\":\"5bfdf3d28253fc0005058a5c\"}]}",
"title": "Visual Orgasms: Fireworks",
"wikiBody": "Filmic media has put pressure on sex to be visually consumable. Actors perform for a camera and an audience, for maximum visibility rather than pleasure. As a result, pornography is often brightly lit, performed in “unnatural” poses, and, most infamously, ejaculation almost always occurs externally as if to prove that some gratification was attained.\n \nHollywood, too, has faced this problem of visualization but for the opposite reason: restraint and censorship. After the Hays Code was put into place in 1930, sex could only ever be implied, never depicted. Thus, a close-up of a kiss might dissolve into two characters smoking cigarettes or, on the campier end, a train going through a tunnel or fireworks being set off. Although the Hays Code was abandoned in the late 1960s, its legacy left a stylistic mark.\n \nVISUAL ORGASMS exaggerates this mandate to ‘make-visible’ by creating excessive moving image collages that depict metaphors for orgasm with no actual depiction of sex.\n",
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"title": "Visual Orgasms: Birds and Bees",
"wikiBody": "Filmic media has put pressure on sex to be visually consumable. Actors perform for a camera and an audience, for maximum visibility rather than pleasure. As a result, pornography is often brightly lit, performed in “unnatural” poses, and, most infamously, ejaculation almost always occurs externally as if to prove that some gratification was attained.\n \nHollywood, too, has faced this problem of visualization but for the opposite reason: restraint and censorship. After the Hays Code was put into place in 1930, sex could only ever be implied, never depicted. Thus, a close-up of a kiss might dissolve into two characters smoking cigarettes or, on the campier end, a train going through a tunnel or fireworks being set off. Although the Hays Code was abandoned in the late 1960s, its legacy left a stylistic mark.\n \nVISUAL ORGASMS exaggerates this mandate to ‘make-visible’ by creating excessive moving image collages that depict metaphors for orgasm with no actual depiction of sex.\n",
"type": "artwork",
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"title": "Visual Orgasms: Champaign Popping",
"wikiBody": "Filmic media has put pressure on sex to be visually consumable. Actors perform for a camera and an audience, for maximum visibility rather than pleasure. As a result, pornography is often brightly lit, performed in “unnatural” poses, and, most infamously, ejaculation almost always occurs externally as if to prove that some gratification was attained.\n \nHollywood, too, has faced this problem of visualization but for the opposite reason: restraint and censorship. After the Hays Code was put into place in 1930, sex could only ever be implied, never depicted. Thus, a close-up of a kiss might dissolve into two characters smoking cigarettes or, on the campier end, a train going through a tunnel or fireworks being set off. Although the Hays Code was abandoned in the late 1960s, its legacy left a stylistic mark.\n \nVISUAL ORGASMS exaggerates this mandate to ‘make-visible’ by creating excessive moving image collages that depict metaphors for orgasm with no actual depiction of sex.\n",
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"title": "Visual Orgasms: Geysers",
"wikiBody": "Filmic media has put pressure on sex to be visually consumable. Actors perform for a camera and an audience, for maximum visibility rather than pleasure. As a result, pornography is often brightly lit, performed in “unnatural” poses, and, most infamously, ejaculation almost always occurs externally as if to prove that some gratification was attained.\n \nHollywood, too, has faced this problem of visualization but for the opposite reason: restraint and censorship. After the Hays Code was put into place in 1930, sex could only ever be implied, never depicted. Thus, a close-up of a kiss might dissolve into two characters smoking cigarettes or, on the campier end, a train going through a tunnel or fireworks being set off. Although the Hays Code was abandoned in the late 1960s, its legacy left a stylistic mark.\n \nVISUAL ORGASMS exaggerates this mandate to ‘make-visible’ by creating excessive moving image collages that depict metaphors for orgasm with no actual depiction of sex.\n",
"type": "artwork",
"url": "visual-orgasms-geysers",
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"title": "Visual Orgasms: Popcorn",
"wikiBody": "Filmic media has put pressure on sex to be visually consumable. Actors perform for a camera and an audience, for maximum visibility rather than pleasure. As a result, pornography is often brightly lit, performed in “unnatural” poses, and, most infamously, ejaculation almost always occurs externally as if to prove that some gratification was attained.\n \nHollywood, too, has faced this problem of visualization but for the opposite reason: restraint and censorship. After the Hays Code was put into place in 1930, sex could only ever be implied, never depicted. Thus, a close-up of a kiss might dissolve into two characters smoking cigarettes or, on the campier end, a train going through a tunnel or fireworks being set off. Although the Hays Code was abandoned in the late 1960s, its legacy left a stylistic mark.\n \nVISUAL ORGASMS exaggerates this mandate to ‘make-visible’ by creating excessive moving image collages that depict metaphors for orgasm with no actual depiction of sex.\n",
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"title": "Visual Orgasms: Waterfalls",
"wikiBody": "Filmic media has put pressure on sex to be visually consumable. Actors perform for a camera and an audience, for maximum visibility rather than pleasure. As a result, pornography is often brightly lit, performed in “unnatural” poses, and, most infamously, ejaculation almost always occurs externally as if to prove that some gratification was attained.\n \nHollywood, too, has faced this problem of visualization but for the opposite reason: restraint and censorship. After the Hays Code was put into place in 1930, sex could only ever be implied, never depicted. Thus, a close-up of a kiss might dissolve into two characters smoking cigarettes or, on the campier end, a train going through a tunnel or fireworks being set off. Although the Hays Code was abandoned in the late 1960s, its legacy left a stylistic mark.\n \nVISUAL ORGASMS exaggerates this mandate to ‘make-visible’ by creating excessive moving image collages that depict metaphors for orgasm with no actual depiction of sex.\n",
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"title": "Visual Orgasms: Trains Erupting from Tunnels",
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"title": "Queer Connections: Red-White-Blue",
"wikiBody": "Queer Connections is a parody of the heteronormative pairing of wires, which are divided into ‘male’ and ‘female’ parts. Through sculptural intervention, different typed and gendered wires are connected using nail polish. These orgiastic unions are then photographed and re-rendered as laser-cut prints mounted on a substrate that float larger-than-life on the wall.\n",
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"title": "Queer Connections: Pink",
"wikiBody": "Queer Connections is a parody of the heteronormative pairing of wires, which are divided into ‘male’ and ‘female’ parts. Through sculptural intervention, different typed and gendered wires are connected using nail polish. These orgiastic unions are then photographed and re-rendered as laser-cut prints mounted on a substrate that float larger-than-life on the wall.\n",
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"groupId": "5c1d205447e64d0005c6597f"
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"title": "Les Deux Amies",
"wikiBody": "A work entering the public domain Jan 1 2019",
"type": "artwork",
"url": "les-deux-amies",
"images": [
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"title": "Ecce Homo (portfolio of lithographs)",
"wikiBody": "#### Talk\r\n\r\n- Really needs better photos of the entire set. @rejon",
"type": "artwork",
"url": "ecce-homo-portfolio-of-lithographs",
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"title": "Companion, Resting Place",
"wikiBody": "#### Talk\n\n- photo comes from IG from city museum, much better we take our own photos ;)",
"type": "artwork",
"url": "companion-resting-place",
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"title": "Bowls Players",
"wikiBody": "A work entering the public domain on Jan 1, 2019.\n\nFrench name is: joueur de pétanque\n\nImage source under fair use representation sample found here: \n\n- http://www.museedelaboule.com/art.htm\n\n#### Talk\n\n- Would be great to get a higher quality image (@rejon)",
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"title": "Untitled (PlumPurplePink)",
"wikiBody": "An artwork from the upcoming show.",
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"title": "Mountain Light/Time",
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"type": "artwork",
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"metadataString": "{\"artist\":[{\"value\":\"Marguerite Huré\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Stained glass windows at Église Notre-Dame du Raincy",
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"url": "stained-glass-windows-at-glise-notre-dame-du-raincy",
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"metadata": {
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"groupId": -1
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],
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}
],
"medium": [
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"metadataString": "{\"artist\":[{\"value\":\"Takuro Kuwata\",\"groupId\":-1}],\"year\":{\"value\":\"2012\"},\"dimensions\":[{\"value\":{\"length\":\"25 inches\",\"height\":\"23.43 inches\",\"width\":\"26.38 inches\"}}],\"medium\":[{\"value\":\"Porcelain, needle, aluminum\"}],\"exhibition\":[{\"value\":\"Flavor of Nature\",\"groupId\":-1}],\"gallery\":[{\"value\":\"Salon 94 Bowery\",\"groupId\":-1}]}",
"title": "Red-slipped Platinum Kairagi Shino Ball",
"wikiBody": "From the first solo exhibition in the United States of the Japanese artist, Takuro Kuwata.",
"type": "artwork",
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{
"_id": "5c2c43fab8b23b00053010a9",
"metadata": {
"artist": [
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"value": "Ernst Ludwig Kirchner",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"exhibition": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
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]
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"metadataString": "{\"artist\":[{\"value\":\"Ernst Ludwig Kirchner\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "The Sleigh Ride",
"wikiBody": "English: The Sleigh Ride\r\nDeutsch: Die Schlittenfahrt",
"type": "artwork",
"url": "the-sleigh-ride",
"images": [
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],
"owner": null,
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"metadata": {
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],
"year": {
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"url": [
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}
],
"exhibition": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Sir John Lavery\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/File:TheRedRose.jpg\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "The Red Rose",
"wikiBody": "An artwork that entered the public domain on Jan 1, 2019.",
"type": "artwork",
"url": "the-red-rose",
"images": [
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"_id": "5c2c4d1fb8b23b00053010b6",
"metadata": {
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],
"year": {
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},
"url": [
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}
],
"exhibition": [
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"groupId": "5c1d205447e64d0005c6597f"
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"metadataString": "{\"artist\":[{\"value\":\"Bertram Mackennal\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"https://commons.wikimedia.org/wiki/File:Phoebus_Driving_the_Horses_of_the_Sun.jpg\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Phoebus Driving the Horses of the Sun",
"wikiBody": "An artwork that entered the public domain on Jan 1, 2019.",
"type": "artwork",
"url": "phoebus-driving-the-horses-of-the-sun",
"images": [
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{
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],
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"url": [
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},
{
"value": "https://en.wikipedia.org/wiki/Caledonian_Club"
}
],
"exhibition": [
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"groupId": "5c1d205447e64d0005c6597f"
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},
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"title": "Mouther Courage",
"wikiBody": "An artwork entering the public domain on Jan 1, 2019.\n\n\n\n#### Talk\n\n- The photo used is from: https://en.wikipedia.org/wiki/Caledonian_Club#/media/File:9_Halkin_Street_(geograph_4768947).jpg\n- This photo is of the Caledonaian Club. We need a photo of the work. (@rejon)\n",
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"title": "Eton College War Memorial",
"wikiBody": "",
"type": "artwork",
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"value": "1923"
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],
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"title": "Odalisque with Raised Arms",
"wikiBody": "From Wikipedia:\r\n\r\nMatisse's style changed and evolved drastically throughout his career, including a wide and varying collection of paintings depicting the female nude. His Odalisque paintings were inspired by his trip to Morocco. Many of the female subjects in the Odalisque paintings were modeled after Matisse's main model at the time, Henriette Darricarrère.\r\n\r\n\r\n#### Talk\r\n\r\n- Need to finish compiling data @rejon",
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"title": "Window at Tangier",
"wikiBody": "An artwork entering public domain on Jan 1, 2019.",
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"url": "window-at-tangier",
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"_id": "5c2c5f5bb8b23b00053010d7",
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"value": "Challenge: Public Domain 2019",
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"metadataString": "{\"artist\":[{\"value\":\"Mikhail Nesterov\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/File:Mikhail_Nesterov_055.jpg\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Girl by the Pool",
"wikiBody": "An artwork that entered the public domain on Jan 1, 2019.",
"type": "artwork",
"url": "girl-by-the-pool",
"images": [
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{
"_id": "5c2c6032b8b23b00053010db",
"metadata": {
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"value": "William Orpen",
"groupId": -1
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],
"year": {
"value": "1923"
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"exhibition": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
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"timestamp": 1546412082350
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"metadataString": "{\"artist\":[{\"value\":\"William Orpen\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "To the Unknown British Soldier in France",
"wikiBody": "An artwork that entered the public domain on Jan 1, 2019.",
"type": "artwork",
"url": "to-the-unknown-british-soldier-in-france",
"images": [
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"owner": null,
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{
"_id": "5c2cd580e9b14f00058b6d4e",
"metadata": {
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"value": "Pablo Picasso",
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],
"year": {
"value": "1923"
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"url": [
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"value": "https://en.wikipedia.org/wiki/The_Pipes_of_Pan_(painting)"
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],
"dimensions": [
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],
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"metadataString": "{\"artist\":[{\"value\":\"Pablo Picasso\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/The_Pipes_of_Pan_(painting)\"}],\"dimensions\":[{\"value\":{\"height\":\"205 cm\",\"width\":\"174 cm\"}}],\"location\":[{\"value\":\"Paris\"}],\"gallery\":[{\"value\":\"Musée Picasso\",\"groupId\":\"5c2cd59fe9b14f00058b6d50\"}],\"medium\":[{\"value\":\"Oil on canvas\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "The Pipes of Pan",
"wikiBody": "An artwork that entered the public domain on Jan 1, 2019.",
"type": "artwork",
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],
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"metadataString": "{\"artist\":[{\"value\":\"Pablo Picasso\",\"groupId\":\"5c2cd634e9b14f00058b6d52\"}],\"year\":{\"value\":\"1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Paulo on a Donkey",
"wikiBody": "An artwork that entered the public domain on Jan 1, 2019.",
"type": "artwork",
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"images": [
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"_id": "5c2cd912e9b14f00058b6d5b",
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"year": {
"value": "1923"
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"url": [
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"value": "https://en.wikipedia.org/wiki/Object_to_Be_Destroyed"
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],
"exhibition": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
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]
},
"metadataString": "{\"artist\":[{\"value\":\"Man Ray\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Object_to_Be_Destroyed\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Object to Be Destroyed",
"wikiBody": "An artwork that entered the public domain on Jan 1, 2019.\n\nThe first object was destroyed 1957. It was remade again in 1965.",
"type": "artwork",
"url": "object-to-be-destroyed",
"images": [
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{
"_id": "5c2cdb2ee9b14f00058b6d68",
"metadata": {
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],
"year": {
"value": "1923"
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"exhibition": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
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],
"url": [
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"value": "https://artuk.org/discover/artworks/sheffield-from-wincobank-wood-72282#"
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]
},
"metadataString": "{\"artist\":[{\"value\":\"Stanley Royle\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}],\"url\":[{\"value\":\"https://artuk.org/discover/artworks/sheffield-from-wincobank-wood-72282#\"}]}",
"title": "Sheffield from Wincobank Wood",
"wikiBody": "An artwork that entered the public domain on Jan 1, 2019.\r\n\r\n",
"type": "artwork",
"url": "sheffield-from-wincobank-wood",
"images": [
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{
"_id": "5c2cdd4fe9b14f00058b6d6d",
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"year": {
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],
"location": [
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],
"url": [
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"metadataString": "{\"artist\":[{\"value\":\"Lorado Taft\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}],\"location\":[{\"value\":\"Forest Mound Cemetery Waupun, Wisconsin\"}],\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/The_Recording_Angel\"}]}",
"title": "The Recording Angel",
"wikiBody": "A scuplture that went into the public domain on Jan 1, 2019.",
"type": "artwork",
"url": "the-recording-angel",
"images": [
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"owner": null,
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"assets": []
},
{
"_id": "5c2ce11ce9b14f00058b6d76",
"metadata": {
"artist": [
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],
"year": {
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"gallery": [
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"groupId": "5c142c1f84ec1f0005ae7edc"
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],
"medium": [
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"value": "Iron, metals, metalloids, sodium silicate"
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"metadataString": "{\"artist\":[{\"value\":\"Christine Corday\",\"groupId\":-1}],\"year\":{\"value\":\"2018\"},\"gallery\":[{\"value\":\"Contemporary Art Museum St. Louis\",\"groupId\":\"5c142c1f84ec1f0005ae7edc\"}],\"medium\":[{\"value\":\"Iron, metals, metalloids, sodium silicate\"}],\"dimensions\":[{\"value\":{\"length\":\"53 in.\",\"height\":\"53 in.\",\"width\":\"49 in.\"}}],\"exhibition\":[{\"value\":\"RELATIVE POINTS\",\"groupId\":-1}],\"url\":[{\"value\":\"https://camstl.org/exhibitions/christine-corday/\"}]}",
"title": "RELATIVE POINTS",
"wikiBody": "From emailed promotion:\r\n\r\n- Artist rendering of RELATIVE POINTS commission for CAM, 2018. Iron, metals, metalloids, sodium silicate, . Courtesy the artist.",
"type": "artwork",
"url": "relative-points",
"images": [
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"_id": "5c2ce302e9b14f00058b6d7d",
"metadata": {
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"title": "Weather Forecast",
"wikiBody": "From promotion:\r\n\r\n- Guan Xiao, Weather Forecast, installation view, K11 Art Foundation Shanghai, in association with Institute of Contemporary Arts London, 2016. Courtesy the artist; Kraupa-Tuskany Zeidler, Berlin; and Antenna Space, Shanghai. Photo: Christian Schwager, Winterthur.\r\n- Photo sampled.\r\n\r\n\r\n#### Talk\r\n\r\n- need to break down more information on the artworks.",
"type": "artwork",
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"title": "2000 Cliparts",
"wikiBody": "From promotion:\r\n\r\n- Oliver Laric, 2000 Cliparts (compilation still), 2010. Single-channel video, 2:46 minutes. Courtesy the artist; Tanya Leighton, Berlin; and Metro Pictures, New York.",
"type": "artwork",
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"metadataString": "{\"artist\":[{\"value\":\"Aapo Nikkanen\",\"groupId\":\"5c2d2e32e9b14f00058b6d89\"}],\"year\":{\"value\":\"2016\"}}",
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"title": "Abstracts 3",
"wikiBody": "\"a semi-open-source material that is free for reinterpretation in different contexts, challenging the autonomy of both the artwork and the artist.\"",
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"wikiBody": "From https://www.yoyolin.com/manifest\n\nManifest is a music-driven gallery of technology-enabled art in collaboration with live-performing musicians.\n\nDriven by Sunni Colon's new album, the experience guides the audience through a multi-dimensional world that reconfigures perceptions of time and space. \n\nInspired by sci-fi films, we created an intricate onboarding process before people entered the performance space. In collaboration with Design Director Melisa Dougherty and Interactive Designer Skylar Jessen, we developed a sensory deprivation tunnel that each person entered in alone with a custom ID.\n\nEach generative color ID was driven by emotional data translated from a text response to the question \"when was a time you felt most alone?\" The tunnel transforms from pitch-black darkness to color based on presence.\n\nWith over 75 Philips Color Kinetic LED fixtures lining the rim of the rounded performance space and yards of LED Neopixel tape inside the center enclosure, we had every type of color combination and lighting cue you could possibly imagine. \n\nSunni Colon saw his music as a force, much like light, that energized an environment. It was not important for him to be seen, but rather for people to feel his presence. Throughout the 45 minute performance, Sunni stayed hidden from view inside a light-up chamber in the middle of the listening area. \n\nAudience members were encouraged to lie down and meditate on pillows throughout the performance. Many did not realize there was a live performer in the room with them. Curious individuals were often rewarded with a glimmer of someone behind the glass. \n\nThe intimate performance space brought music listening experiences to an immersive level like never before. With a custom quadrophonic, live mixing audio system using Ableton and Max for Live, audience members likened the experience to that of a sound bath. \n\nCredits\n\nDirection\n\nArt Director: Yo-Yo Lin\n\nDesign Director: Melisa Dougherty\n\nCreative Director: Steve Dabal\n\nExecutive Producer: Jordan Caldwell\n\nEnvironment\n\nArchitect: Jules Molloy \n\nLighting Designer: Dominick Chang\n\nBuild Manager: Robert Morris\n\nLead Carpenter: Jay Miller\n\nLighting Consultant: Jordan Frand\n\nInteractive\n\nInteractive Design & Art Director: Skylar Jessen\n\nMovement Consultant: Tara O’Con\n\nCreative Technologist: Wipawe Sirikolkarn\n\nElectrical Consultant: Aaron Parsekian \n\nSound\n\nMusician + Engineer: Dillon Pace \n\nAudio Supervisor: Joanna Fang \n\nAudio Designer + Technician: David Britton \n\nAudio Designer + Integration Specialist: Michael Matchen \n\nAudiovisual Coordinator: Chris Robinson\n\nContent\n\nGraphic / Web Designer: John Provencher\n\nEPK Director of Photography: Griffin Yu\n\nEPK B-Camera Operator: Filippo Nesci\n\nEPK Additional Videography: Zack Filkoff\n\nVR Specialist: Jesse Sperling",
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"metadataString": "{\"artist\":[{\"value\":\"Yo-Yo Lin\"},{\"value\":\"Steve Dabal\",\"groupId\":-1},{\"value\":\"Jesse Sperling\",\"groupId\":-1}],\"year\":{\"value\":\"In Progress\"},\"url\":[{\"value\":\"https://www.yoyolin.com/blue-tears/\"}]}",
"title": "Blue Tears",
"wikiBody": "From website:\n\nThe Blue Tears phenomenon is a rare biological happening. Unlike the average tourist attraction, Blue Tears is just as much science as it is sensorial magic-- relying on a set of environmental conditions to exist, and a bit of luck to be seen. \n\n“The Blue Tears cinematic installation experience takes place in a dimly lit room with a low ambient music score. As viewers approach, they realize the space is scattered with traditional Matsu Island boats. Friends and lovers climb inside. As they become settled, the room becomes illuminated with a blue glow. The walls slowly disappear, revealing projections of a stunning view of Blue Tears at a massive scale.\n\nViewers are transported on an immersive journey through bioluminescence in the comfort of a wooden boat. As the music reaches a crescendo, there is a low rumble of thunder and drops of digital rain start falling on the ground around the viewers.\n\nThe floor becomes covered in a projected ocean. As each drop hits the floor, it ripples a ring of blue light. Much to the wonder of the boat-riders, the floor becomes filled with dazzling sea sparkles. The screens dim and viewers are left in the dark with the sea a-glow around them.” \n\nWith a modular screen set-up of 2-4 translucent projection screens and interactive floor, the Blue Tears experience brings viewers through an immersive journey through the bioluminescent phenomenon of Matsu, Taiwan. \n\nThe installation was originally intended for a new Ecology Center being built in Matsu. Because the bioluminescence is only visible in the summertime, the tourism bureau thought it would be great to have an immersive installation available to entice visitors.\n\nInstead of creating the glow using CG, I thought it was more apt if we can get footage of the actual experience to create a film-based experience. According to locals, no one had successfully filmed the Blue Tears in high definition until now.\n\nOver the course of 15 days, we chased the Blue Tears nonstop. Finding them was not easy, but with the help from the locals, we were able to capture enough footage for a cinematic installation. Unfortunately, the Ecology Center project lost funding– thus, the installation remains without a home. \n\n",
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"metadataString": "{\"artist\":[{\"value\":\"Yo-Yo Lin\"},{\"value\":\"Madeleine Rodriguez\",\"groupId\":-1},{\"value\":\"DaAe Kim\",\"groupId\":-1},{\"value\":\"Brenda Chen\",\"groupId\":-1},{\"value\":\"Andrew Setiawan\",\"groupId\":-1},{\"value\":\"La Pintoresca Teen Education Center\",\"groupId\":-1},{\"value\":\"Youthbuild\",\"groupId\":-1},{\"value\":\"Lisa Mann\",\"groupId\":-1}],\"year\":{\"value\":\"2016\"},\"url\":[{\"value\":\"https://www.yoyolin.com/rotopasadena-installation/\"},{\"value\":\"https://vimeo.com/191892484\"}],\"sponsor\":[{\"value\":\"Art Works\"},{\"value\":\"National Endowment for the Arts\"},{\"value\":\"Side Street Projects\"},{\"value\":\"City of Pasadena\"}]}",
"title": "Roto Pasadena",
"wikiBody": "From website:\n\nAnimated projections on Pasadena's City Hall, Police Station, and Central Library. Created by artists Lisa Mann and Yo-Yo Lin, ROTO PASADENA is a community animation project funded through the National Endowment of the Arts \"Our Town\" Grant, produced by City of Pasadena Cultural Affairs and Side Street Projects.\n\nThe goal is to open a dialogue between Pasadena officials and decision-makers and the people they serve, to bridge the divide between generations, cultures, and races. \n\nROTO PASADENA is a community art project created by Pasadena artists Lisa Mann and Yo-Yo Lin. They have collaborated with two Northwest Pasadena youth groups -- La Pintoresca Teen Education Center and Pasadena YouthBuild-- to create a video poem from a teen perspective of living in Pasadena and to conduct and film interviews with the Pasadena Police department’s top brass and city council members.",
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"url": [
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"value": "https://github.com/robbiebarrat/art-DCGAN#nude-portrait-gan"
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],
"timestamp": 1548824990673
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"metadataString": "{\"artist\":[{\"value\":\"Robbie Barrat\",\"groupId\":-1}],\"url\":[{\"value\":\"https://robbiebarrat.github.io/oth/nude.html\"},{\"value\":\"https://github.com/robbiebarrat/art-DCGAN#nude-portrait-gan\"}]}",
"title": "AI Generated Nude Portraits",
"wikiBody": "Using an implementation of Progressive Growing of GANs and a corpus of thousands of nude portraits scraped primarily from WikiArt, a neural network was trained to create nude portraits.\n\nThe resulting portraits are not realistic. The machine failed to learn all of the proper attributes found in nude portraits and instead has fallen into a local minima where it generates surreal blobs of flesh.",
"type": "artwork",
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"metadataString": "{\"artist\":[{\"value\":\"Mr. Yuk\",\"groupId\":-1}],\"year\":{\"value\":\"2019\"}}",
"title": "Ornery",
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"metadataString": "{\"artist\":[{\"value\":\"Lee Yun Bok\",\"groupId\":-1}],\"year\":{\"value\":\"2014\"},\"location\":[{\"value\":\"Hong Kong\"}]}",
"title": "River Flow",
"wikiBody": "An artwork at Sheung Shui MTR Station.",
"type": "artwork",
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"groupId": -1
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],
"year": {
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"metadataString": "{\"artist\":[{\"value\":\"STORM\",\"groupId\":-1}],\"location\":[{\"value\":\"Hollywood Road, Hong Kong\"}],\"year\":{\"value\":\"2018\"}}",
"title": "STORM (Off Hollywood Road)",
"wikiBody": "Found by @rejon in 2019 Feb",
"type": "artwork",
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"title": "Kylie Jenner",
"wikiBody": "Work Richard Prince gave to me after he signed. This is not the final artwork. But a signed version.",
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"metadataString": "{\"artist\":[{\"value\":\"Sterling Crispin\"}],\"url\":[{\"value\":\"https://twitter.com/sterlingcrispin/status/1097664649909026816\"},{\"value\":\"http://www.sterlingcrispin.com/Sterling_Crispin_MFA_Thesis.pdf\"},{\"value\":\"http://animalnewyork.com/2014/artists-notebook-sterling-crispin/\"},{\"value\":\"http://www.sterlingcrispin.com/charon.html\"}]}",
"title": "CHARON: The Self and the Technological-Other",
"wikiBody": "From Sterling's Twitter: \n\nSterling Crispin's MFA thesis, CHARON: The Self and the Technological-Other, an improvised performance and sculpture with an autonomous quadrocopter in a CAVE VR environment using motion capture.\n\nCharon is an interactive installation and sculpture intended to physically embody the tension between humans, robotic autonomous agents, and the virtual models which these agents rely on to understand the world. \n\nA sculpture was created from the flightpath of an autonomous quadrocopter in pursuit of a human within a motion tracking lab. Both physical and virtual forces exerted their influence on the drone, creating a two-way boundary crossing between the internal world-model of the drone and its external physical surroundings. Thus, these sculptural forms can be considered as the shadow of this boundary crossing, fueled by the complex exchange between a sentient human and a robotic proto-lifeform.\n\nThe drone wirelessly receives its vision and thoughts from an array of cameras and computers, which are an extension of its being. The transLAB when considered as whole a system is akin a living creature’s biological functions.\n\n\"This first image is from the performance and capturing of the flight path data while the drone danced and attacked me, the second is the raw data, the third is a processed version before 3D printing and the final is a 3D print in resin on a TV screen",
"type": "artwork",
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"value": "Matt Hope"
}
],
"year": {
"value": "2017"
},
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"value": {
"height": "120 cm",
"width": "80 cm"
}
}
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"exhibition": [
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"value": "Sleight of Hand",
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"gallery": [
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"value": "The Newsstand Project",
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"metadataString": "{\"artist\":[{\"value\":\"Matt Hope\"}],\"year\":{\"value\":\"2017\"},\"dimensions\":[{\"value\":{\"height\":\"120 cm\",\"width\":\"80 cm\"}}],\"exhibition\":[{\"value\":\"Sleight of Hand\",\"groupId\":\"5c6b8d00dbff910005de25eb\"}],\"gallery\":[{\"value\":\"The Newsstand Project\",\"groupId\":\"5c6b8d44dbff910005de25ee\"}]}",
"title": "Stereo Decay",
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"_id": "5c781449645d6700057a2655",
"metadata": {
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"value": "Ai Weiwei"
}
],
"year": {
"value": "2014"
},
"url": [
{
"value": "https://www.instagram.com/p/BuZbax_BAgg/"
},
{
"value": "https://www.phillips.com/detail/AI-WEIWEI/UK010119/17"
}
],
"dimensions": [
{
"value": {
"length": "27 cm",
"height": "35 cm",
"width": "50 cm"
}
}
],
"collection": [
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"value": "Faurschou Foundation"
}
],
"genre": [
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"value": "Sculpture"
}
],
"medium": [
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"value": "Painted Han dynasty vase (206 BC-220 AD)"
}
],
"salePrice": [
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"value": "£250,000"
},
{
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}
]
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"metadataString": "{\"artist\":[{\"value\":\"Ai Weiwei\"}],\"year\":{\"value\":\"2014\"},\"url\":[{\"value\":\"https://www.instagram.com/p/BuZbax_BAgg/\"},{\"value\":\"https://www.phillips.com/detail/AI-WEIWEI/UK010119/17\"}],\"dimensions\":[{\"value\":{\"length\":\"27 cm\",\"height\":\"35 cm\",\"width\":\"50 cm\"}}],\"collection\":[{\"value\":\"Faurschou Foundation\"}],\"genre\":[{\"value\":\"Sculpture\"}],\"medium\":[{\"value\":\"Painted Han dynasty vase (206 BC-220 AD)\"}],\"salePrice\":[{\"value\":\"£250,000\"},{\"value\":\"£350,000\"}]}",
"title": "Coca-Cola Vase",
"wikiBody": "This is an well known Ai Weiwei Coca-Cola Vase up for auction at Phillips Auction. Collecting all information on this piece.\n\n## Talk\n\n- Found from Simon Depury instagram, and tracked down the provenance on Phillips Auction website.\n- Data from auction site:\n\nsigned and dated 'Weiwei 2014' on the underside\npainted Han dynasty vase (206 BC-220 AD)\n35 x 50 x 27 cm (13 3/4 x 19 5/8 x 10 5/8 in.)\nExecuted in 2014.\n\nLast sale price on vase was £650,000\n",
"type": "artwork",
"url": "coca-cola-vase",
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"metadata": {
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],
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"value": "2019"
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"exhibition": [
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"value": "Bruxism 37",
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}
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"metadataString": "{\"artist\":[{\"value\":\"Neil Stuber\"}],\"year\":{\"value\":\"2004\"},\"workReferenced\":[{\"value\":\"Horn Massive\"}]}",
"title": "Horn Massive Flier",
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"title": "Untitled 13",
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"year": {
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"title": "Blue Chandelier",
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"title": "Red Resin Stair",
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"metadataString": "{\"artist\":[{\"value\":\"Max Lamb\",\"groupId\":-1}],\"year\":{\"value\":\"2019\"}}",
"title": "Consoles",
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"timestamp": 1592664310766
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"metadataString": "{\"artist\":[{\"value\":\"Slike na Platnu\",\"groupId\":-1}]}",
"title": "Modern Abstract",
"wikiBody": "Modern abstract \nDimensions:\n\n37x37 cm\n20x65 cm\n20x65 cm\n37x37 cm\n\nCijena: 105 KM (besplatna dostava)",
"type": "artwork",
"url": "modern-abstract",
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"metadataString": "{\"artist\":[{\"value\":\"Marcel Breuer\",\"groupId\":-1}]}",
"title": "Wassily Chair",
"wikiBody": "L’iconica Wassily Chair di Marcel Breuer è una delle poltroncine più belle al mondo. ",
"type": "artwork",
"url": "wassily-chair",
"images": [
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"metadata": {
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],
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"metadataString": "{\"artist\":[{\"value\":\"Erwin Wurm\",\"groupId\":-1}],\"gallery\":[{\"value\":\"City Garden Saint Louis\",\"groupId\":-1}],\"medium\":[{\"value\":\"Painted aluminum\"}],\"url\":[{\"value\":\"https://twitter.com/jaybirdstl/status/1274119206355828739?s=21\"}],\"collection\":[{\"value\":\"City Garden Saint Louis\"}]}",
"title": "Big Suit",
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"metadata": {
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"timestamp": 1592753450242
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"metadataString": "{\"artist\":[{\"value\":\"Megan Carty\",\"groupId\":-1}]}",
"title": "Fashion Walk",
"wikiBody": "https://www.megancartyart.com/abstract-paintings\n\n@megan_carty_art \n---\n“Fashion Walk” is 5x7 on paper.",
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{
"_id": "5ef0f6dcc3547c000713bc87",
"metadata": {
"artist": [
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"groupId": -1
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],
"year": {
"value": "1996"
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"timestamp": 1592850140009
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"metadataString": "{\"artist\":[{\"value\":\"Chris Ofili\",\"groupId\":-1}],\"year\":{\"value\":\"1996\"}}",
"title": "untitled 15",
"wikiBody": " Repost @vasilikaliman \n\nChrisOfili acrylic, oil, polyester resin, paper collage, glitter, map pins and elephant dung on linen from 1996\n",
"type": "artwork",
"url": "untitled-15",
"images": [
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"owner": null,
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{
"_id": "5ef23379c3547c000713bc8d",
"metadata": {
"artist": [
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"value": "Virginia Overton",
"groupId": -1
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],
"year": {
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"groupId": -1
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"timestamp": 1592931193797
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"metadataString": "{\"artist\":[{\"value\":\"Virginia Overton\",\"groupId\":-1}],\"year\":{\"value\":\"2019\"},\"gallery\":[{\"value\":\"Galerie Francesca Pia\",\"groupId\":-1}],\"medium\":[{\"value\":\"Aluminum\"}]}",
"title": "Untitled 16",
"wikiBody": " Repost @vasilikaliman \n---\nVirginiaOverton painted aluminum from 2019, currently on viewing in the @galerie_francescapia virtual booth at the @artbasel ‘Online Viewing Rooms’ until 26th June",
"type": "artwork",
"url": "untitled-16",
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"value": "2020"
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"timestamp": 1593040905319
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"metadataString": "{\"artist\":[{\"value\":\"Jonathan Lawes\",\"groupId\":-1}],\"year\":{\"value\":\"2020\"}}",
"title": "Untitled Commission",
"wikiBody": "commission piece by @jonathanlawes from south london",
"type": "artwork",
"url": "untitled-commission",
"images": [
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"timestamp": 1593530148738
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"metadataString": "{\"artist\":[{\"value\":\"Alex Kuznetsov\",\"groupId\":-1}],\"year\":{\"value\":\"2014\"}}",
"title": "High Heels",
"wikiBody": "High Heels. Pedro Almodovar\nMovie series, 2014, acrylic on paper\n",
"type": "artwork",
"url": "high-heels",
"images": [
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"metadata": {
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"year": {
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"timestamp": 1594046208928
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"metadataString": "{\"artist\":[{\"value\":\"Acryl auf Heinen\",\"groupId\":-1}],\"year\":{\"value\":\"2020\"}}",
"title": "Heiß",
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"metadata": {
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"url": [
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"value": "https://www.invaluable.com/auction-lot/from-the-studio-of-bob-cassilly-concrete-garden-p-91-c-c90458eb12"
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"metadataString": "{\"artist\":[{\"value\":\"Bob Cassilly\"}],\"url\":[{\"value\":\"https://www.invaluable.com/auction-lot/from-the-studio-of-bob-cassilly-concrete-garden-p-91-c-c90458eb12\"}]}",
"title": "Concrete garden pedestal",
"wikiBody": "From Auction website, to be flowed in:\n\nFrom the studio of Bob Cassilly Concrete garden pedestal.\nLot 91: From the studio of Bob Cassilly Concrete garden pedestal.\nEstimate: $400 - $600\n\nDescription: From the studio of Bob Cassilly American (1949-2011) Concrete garden pedestal. Height 28 1/2 inches",
"type": "artwork",
"url": "concrete-garden-pedestal",
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"owner": null,
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"url": [
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"value": "https://www.invaluable.com/auction-lot/robert-bob-cassilly-american-saint-louis-1949-437a-c-8233485830"
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"metadataString": "{\"artist\":[{\"value\":\"Bob Cassilly\"}],\"url\":[{\"value\":\"https://www.invaluable.com/auction-lot/robert-bob-cassilly-american-saint-louis-1949-437a-c-8233485830\"}]}",
"title": "Patypus Birdbath",
"wikiBody": "From auction website:\n\nLot 437A: Robert (Bob) Cassilly, American/Saint Louis (1949-2011), Patypus Birdbath, cementland cement., Height 34 inches, width 27 inches\n\nEstimate: $500 - $700",
"type": "artwork",
"url": "patypus-birdbath",
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"url": [
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"value": "https://www.invaluable.com/auction-lot/bob-cassilly-american-b1949-circular-glass-to-260-c-ksbo25r9tw"
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"value": "https://www.invaluable.com/auction-lot/bob-cassilly-american-b1949-circular-glass-to-1104-c-z7n5oyi30v"
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"metadataString": "{\"artist\":[{\"value\":\"Bob Cassilly\"}],\"url\":[{\"value\":\"https://www.invaluable.com/auction-lot/bob-cassilly-american-b1949-circular-glass-to-260-c-ksbo25r9tw\"},{\"value\":\"https://www.invaluable.com/auction-lot/bob-cassilly-american-b1949-circular-glass-to-1104-c-z7n5oyi30v\"}]}",
"title": "Circular glass top",
"wikiBody": "From auction:\n\nLot 260: BOB CASSILLY, AMERICAN (B.1949) Circular glass top\n\nEstimate: $800 - $1,000",
"type": "artwork",
"url": "circular-glass-top",
"images": [
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"owner": null,
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"medium": [
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"collection": [
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"commissionedBy": [
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"title": "Christopher Columbus",
"wikiBody": "This is a retired sculpture.\n\nThe most information comes from: https://racstl.org/public-art/christopher-columbus/\n\nData from ractstl :\n\nHenry Shaw wanted fine music and works of art in his Tower Grove Park, so he hired architects to build cupola-covered bandstands and commissioned artists to produce sculptures, including marble busts of his favorite composers—Mozart, Rossini, Wagner, Beethoven, Gounod, and Verdi. Busts of Sullivan and Donizetti were planned for the last two pedestals, but Shaw passed away before they could be produced, so simple marble spheres took their place. Beginning in 1873, Shaw provided free Sunday concerts during summer months, featuring at least one piece by one of the composers represented on the busts. The badly deteriorated original busts were put in storage at the park in 1992 and replaced with the replica composite stone sculptures that are on view today. Several of the original pieces are on view in the Piper Palm House in Tower Grove Park.\n\nDimensions: 9′ x 4′ x 4′\n\n---\n\nThis sculpture is now retired and removed from display at Tower Grow Park as part of the shuffle from the George Floyd Protests since May 2020.\n\n\n\n\n",
"type": "artwork",
"url": "christopher-columbus",
"images": [
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"groupId": -1
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"year": {
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}
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"title": "Finding Art",
"wikiBody": "Iphone Photo at Metropolitan Museum of Art\n\nwhat artwork is this? @rain",
"type": "artwork",
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"groupId": -1
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"timestamp": 1594824972668
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"title": "Attitüde Leben",
"wikiBody": " @brianesch\n---\nTitel: Attitüde Leben - Brian Esch - Juli 2020 - Paperwork 50cm × 65cm ",
"type": "artwork",
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"metadataString": "{\"artist\":[{\"value\":\"New Palmyra\"}],\"year\":{\"value\":2015}}",
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"wikiBody": "Created from uploader",
"title": "#NEWPALMYRA Column 3D model",
"url": "newpalmyra-column-3d-model",
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"groupId": -1
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"groupId": -1
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],
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},
"metadataString": "{\"artist\":[{\"value\":\"W.R. Hodges\",\"groupId\":-1},{\"value\":\"Henry Niehaus\",\"groupId\":-1}],\"year\":{\"value\":\"1906\"},\"collection\":[{\"value\":\"Saint Louis Art Museum\"}],\"medium\":[{\"value\":\"Bronze\"},{\"value\":\"Limestone\"}],\"location\":[{\"value\":\"St. Louis, Missouri, USA\"}]}",
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"wikiBody": "Monument in Forest Park of St. Louis recently under scrutiny in US National news. Now with a daily prayer at 6 pm each day.\r\n\r\n### TODO\r\n\r\n- get text from images\r\n- get scans",
"title": "Apotheosis of St. Louis",
"url": "apotheosis-of-st-louis",
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"groupId": -1
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],
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"wikiBody": "Film by RIP!",
"title": "Art Hill Late July",
"url": "art-hill-late-july",
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"wikiBody": "Film by RIP!",
"title": "st louis now and forever",
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"wikiBody": "As the background situation for any addition which for myself, seems a reasonable fit into the space I created with this piece.\nA development or evolution in content from a first realized piece, created whilst translating myself with then current experiences. Into a presentation of artwork which can be observed in the attached file.jpg entitled : No 1, LaLa lunar John, 24-12-2017\n\nIt must be told that further to the information given (above). I also experienced during a period in 1995 through '96 notions of vast infinity on, say, levels of the micro as well as macro scale. Held within thought from then, I figured at some point to come that I may place in some fashion the ideas I was privy to. The experiences I had had. \n\nSo, the adventure here on this website. Is to present to you the viewer a slice or sectioning of my thought-forms and productions which I select to share. Which have emerged into their being over a good few years. And, the opening decisions I take now, in placing this work as my first offerings. Are to hopefully serve as basis and ground to travel productively for a period in an open and congenial manner.\n\nFinally: I hope I am enjoyed....and you take sense from the work, as it being honest in production aims. As answers to issues, experiences and/or problems at that instance I dealt with. Or as a compound of feeling(s) which as you may observe, are very much in play.\n\nMany Thanks...\n\nJohn L",
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"wikiBody": "Hello.\n\nI have decided to add here for you to view. This piece which carries in the image its title also.\nIt is difficult to tell you what I exactly mean or experienced during the events which brought to being the piece. In fact, as I 'created' or 'constructed' the item/entity of a seeming cube. It was at the time a cardboard form which was as I fashioned it at the time. A sizable and unknown quantity to be thought of as a 'Probe' in its first appearance. Then, as I observed this cardboard form, as I built it...I began to paint it in acrylic white when the 'cubic' representation was pieced together as far as it seemed to be going at that time. And upon the final touch of that paint. As though realized at the very instance. It became an 'Arrival'.\n\nThis (above) description of the Probe Arrival was indeed in 1995. And may I offer that despite its here placement now in an image, and of fashion to be understood by you (the viewer) as being essentially a latter and re-constructed item. I would counter and insist that no matter how I am or think. It is as it is and will be and always shall be the same item in any form I have it. It is not a facsimile of the say, original. NO, it is what it is. It remains and endures as complete in any manner I have it.\n\nWhat do I mean exactly?\n\nWell, the item of the Probe Arrival has many aspects. Some of which I have still. And the cubes, for there are several, are all involved as being the same item. \n\nHow to illustrate for you?\n\nWell, I shall attempt to. And to do this I shall now place the four other aspects to the Probe Arrival here also. Please see the display of them and know I shan't be explaining further at this point. Yet to view, one is able to swipe the main image here seen, and track through to see my presentation.\n\nI will leave them here now, and hope to my fullest that (your) interest brings comment. There are mystery and enigma to these for me. And yet I am convinced of use for them in the current period I am within today and going forwards. You see, thought and consideration; the notions of mind and otherness with self and say (if i may be bold), a contact to create in a unified fashion with elements of presence, and which guides one's self in order form a language of understanding in/with this Universe of possibilities.\n\nSimply expressed : togetherness.\n\nI believe this is now best left as presented to you here-and-now.\n\nMany thanks.\n\nJohn L.\n",
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"wikiBody": "Hello there.\n\nCheck Check...\nThis is an experimental entry upon this the 'artifaq.io' site here.\nHowever I will explain as best I can.\n. \nI have discovered that when using an Android driven device. Then to swipe across the picture plane presented. Will allow the viewing of further artwork held as a series on this site, and which I have uploaded to be seen. Please try to swipe and view.\n\nAnyhow, you will see three pieces from 2016. Do enjoy.\nYou will see as I hope to show. That the curious effect of color to be luminescent in certain conditions. (As here?) Is possible in the main and titled piece, which to my (own) eyes is reminiscent of a golden sheen.\n\nThe remaining two items on display here are for interest. They show a development in my use of a type adhesive which I am removing as I experimented too, to create the final piece.\n\nWell, that's it.\n\nThank-you very much.\n\nJohn L\n\n###\n\nWhat medium are these? do you have any web links to your works or exhibition of them so we can add more details? @rain, 2021-08-24",
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{
"_id": "620ff3ab7ea6580012e59f64",
"type": "artwork",
"metadata": {
"artist": [
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"value": "Georg Nees"
}
],
"year": {
"value": 1964
},
"url": [
{
"value": "http://dada.compart-bremen.de/item/artwork/639"
}
],
"medium": [
{
"value": "Ink on paper"
}
],
"gallery": [],
"editions": {
"value": "2"
},
"genre": [
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"value": "Generative"
},
{
"value": "Design"
}
],
"exhibition": [
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"value": "Computergrafik"
}
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"tag": [
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"value": "drawing"
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{
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{
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],
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"timestamp": 1645212587045
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"metadataString": "{\"artist\":[{\"value\":\"Georg Nees\"}],\"year\":{\"value\":1964},\"url\":[{\"value\":\"http://dada.compart-bremen.de/item/artwork/639\"}],\"medium\":[{\"value\":\"Ink on paper\"}],\"gallery\":[],\"editions\":{\"value\":\"2\"},\"genre\":[{\"value\":\"Generative\"},{\"value\":\"Design\"}],\"exhibition\":[{\"value\":\"Computergrafik\"}],\"style\":[],\"tag\":[{\"value\":\"drawing\"},{\"value\":\"computer-generated\"},{\"value\":\"ink on paper\"}],\"dimensions\":[]}",
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"wikiBody": "#### NEED\n\n- higher quality photos of the work\n\n#### TODO\n\n- need to add a field for: algorithm:\t23-ecke\n\n#### Notes\n\nThere are two versions of this work:\nA print with 14×19 figures (29.7 × 21 cm), first published in rot 19, 1965.\nA print with 14×20 figures, first published in Zeitschrift Grundlagenstudien aus Kybernetik und Geisteswissenschaft, 1964.",
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"title": "23-Ecke (Polygon of 23 vertices)",
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"url": [
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"value": "http://dada.compart-bremen.de/item/artwork/435"
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"value": "Computergrafik"
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],
"timestamp": 1645212761465
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"ownerUserId": 1,
"wikiBody": "#### TODO\n\n- find an official list of works in the original show\n- get more information on this piece, but looks similar to works already tracked in the show",
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"title": "8-ecke",
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"ownerUserId": 1,
"wikiBody": "#### NOTES\n\n- Not much info on this piece...need to find more...",
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],
"title": "Andreaskreuz",
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"ownerUserId": 1,
"wikiBody": "#### NOTES\n\n- Not much info on this piece, needs to find more",
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"title": "Gardinen",
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],
"timestamp": 1645213075313
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"metadataString": "{\"artist\":[{\"value\":\"Georg Nees\"}],\"year\":{\"value\":1965},\"url\":[{\"value\":\"http://dada.compart-bremen.de/item/artwork/438\"}],\"exhibition\":[{\"value\":\"Computergrafik\"}],\"medium\":[{\"value\":\"Ink on paper\"},{\"value\":\"computer-generated\"}],\"style\":[],\"genre\":[{\"value\":\"Generative\"},{\"value\":\"Design\"},{\"value\":\"Print\"}],\"tag\":[{\"value\":\"drawing\"},{\"value\":\"computer-generated\"},{\"value\":\"generative\"},{\"value\":\"black and white\"},{\"value\":\"b_w\"}]}",
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"wikiBody": "#### NOTES\n- Need to find more info on this piece",
"images": [
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"title": "achsenparalleler irrweg (1)",
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"timestamp": 1645213228444
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"metadataString": "{\"artist\":[{\"value\":\"Georg Nees\"}],\"year\":{\"value\":1965},\"url\":[{\"value\":\"http://dada.compart-bremen.de/item/artwork/439\"}],\"exhibition\":[{\"value\":\"Computergrafik\"}],\"medium\":[{\"value\":\"Ink on paper\"}],\"genre\":[{\"value\":\"Design\"},{\"value\":\"Print\"},{\"value\":\"Generative\"}],\"style\":[],\"tag\":[{\"value\":\"drawing\"},{\"value\":\"computer-generated\"},{\"value\":\"generative\"}]}",
"ownerUserId": 1,
"wikiBody": "#### NOTES\n\n- need to find more info on the work\n\n#### RAW\n\n\nyear:\t1965\nmaterial:\t\ndrawing, b/w, computer-generated\nink on paper\nartwork type:\tdrawing",
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"title": "achsenparalleler irrweg (2)",
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"value": "Lionel Radisson"
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"value": "Clément Renaud"
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],
"year": {
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"value": "https://opensea.io/assets/0x7150cd8593670341121eee513538108029298cf7/425"
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"timestamp": 1645214559639
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"metadataString": "{\"artist\":[{\"value\":\"Lionel Radisson\"},{\"value\":\"Clément Renaud\"}],\"year\":{\"value\":2022},\"url\":[{\"value\":\"https://makio135.com/slashes/\"},{\"value\":\"https://opensea.io/assets/0x7150cd8593670341121eee513538108029298cf7/425\"},{\"value\":\"https://opensea.io/collection/slashes\"}],\"collection\":[{\"value\":\"Opensea\"}],\"series\":[{\"value\":\"Slashes\"}],\"medium\":[{\"value\":\"Computer graphics\"}],\"editions\":{\"value\":\"1024\"},\"tag\":[{\"value\":\"generative\"}],\"genre\":[{\"value\":\"Design\"}],\"exhibition\":[]}",
"ownerUserId": 1,
"wikiBody": "#### TODO\n- need a field or edition in addition to the editions field",
"images": [
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],
"title": "Slashes 425",
"url": "slashes-425",
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{
"_id": "621591517ea6580012e59f88",
"type": "artwork",
"metadata": {
"artist": [
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"value": "Vera Molnar"
}
],
"year": {
"value": 1968
},
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],
"medium": [
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{
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],
"genre": [
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],
"tag": [
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"url": [
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],
"sponsor": [
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],
"timestamp": 1645580625105
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"metadataString": "{\"artist\":[{\"value\":\"Vera Molnar\"}],\"year\":{\"value\":1968},\"dimensions\":[{}],\"medium\":[{\"value\":\"Black ink on translucent paper\"},{\"value\":\"Benson plotter\"}],\"genre\":[{\"value\":\"Design\"},{\"value\":\"Print\"}],\"tag\":[{\"value\":\"generative\"},{\"value\":\"plotter\"}],\"url\":[{\"value\":\"https://www.themorgan.org/morganmobile/order-and-disorder/molnar\"}],\"sponsor\":[{\"value\":\"Agnes Gund\"}]}",
"ownerUserId": 1,
"wikiBody": "#### Notes\n\n- There are several pieces in this series that need to be archived.",
"images": [
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],
"title": "Interruptions",
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"year": {
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"wikiBody": "Gift for Chinese New Year 2023",
"images": [
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