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],
"timestamp": 1544733167377
},
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"title": "New Galerie",
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],
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]
},
"metadataString": "{\"location\":[{\"value\":\"Saint Louis, Missouri, USA\"}]}",
"title": "Laumeier Sculpture Park",
"wikiBody": "A large outside sculpture park.\n\n#### Talk\n\n- can break apart each artwork on the map\n- then upload as artwork\n- even better if someone can upload images of the works they took photographs of...",
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},
"metadataString": "{\"location\":[{\"value\":\"New York City, USA\"}],\"url\":[{\"value\":\"harpersbooks.com\"}]}",
"title": "Harper’s Books",
"wikiBody": "#### Talk\n\n- Asked for pdf to improve images (@rejon)",
"type": "gallery",
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"wikiBody": "XPO Gallery was founded in 2012 as a response to the digital influence on art of the contemporary world. The gallery features artists who create work that documents and exhibits the effects of art after the digital age by the internet. The exhibits featured focus more on the impact of the digital world rather than the exhibits consisting of digital tools and materials. ",
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"title": "Philip Slein Gallery",
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"wikiBody": "From this link https://www.facebook.com/atmstlus/photos/a.184197935642830/195423801186910/\n\nJonathan Hanahan develops Thick Interfaces—tools, devices, softwares, artifacts, websites, videos, etc. which agitate the digital facade and reveal the physical reality and complexity which exist underneath the thin veneer of our digital devices. This Thursday, grab a drink, meet other artists, entrepreneurs, technologists. ATMSTL 07: https://www.facebook.com/events/183109055636884/\n\n\nFrom https://www.facebook.com/atmstlus/photos/a.184197935642830/195315754531048/\n\nThis Thursday is #ATMSTL 07. Meghan Grubb, Jonathan Hanahan, Drew Nikonowicz present. \n\nMeghan makes works of sculpture and installation that explore the non-rational and intuitive responses of wonder and anxiety. https://www.facebook.com/events/183109055636884/\n\nImgs: Cassie McQuater, Claire Lachow from Localhost Gallery 2017 show, There Are No Girls On The Internet\n",
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"title": "ATM: Art Tech Meetup St. Louis 10",
"wikiBody": "Kevin Harris discussed how he distances himself from corporate bias in technology through analog installations. Group discussion is getting active. #atmstl10",
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"wikiBody": "Today I am going to visit the Saint Louis Statue at Saint Louis Art Museum.\n\nI arrived on my bike around 330 PM on a hot day in Saint Louis on July 22, 2020. I proceeded to Take photos of the Saint Louis Monument. I also took some videos and used my iPad to do LIDAR scanning of the monument. However, the scanner range did not work on anything more than the base.\n\nI attach the media I gathered. \n\nI will go see the monument again tomorrow to see if anything changed and if there are people for their daily prayer meeting at 6 pm.\n\nNote, you need an account and to click edit mode to see the attachments of the 4 x 3D LiDAR scans.\n\n### TODO\n\n- upload phone images\n- upload videos\n- push out some Ann. On this working\n",
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"wikiBody": "My trip to the show on the press day before and I picked up a few press documents which show the works in the show which may help in better documenting the works.\n\nFor me the show was special bringing together friends and family from around the world to one place, St. Louis!\n\nYou need: 1. an account, and, 2. click edit view to find the assets that have the artwork listed and then words in the brochure, separated out.",
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"wikiBody": "Went on my normal Thursday flaneur and found the City Garden. I found a map and also made available so we can better assess which artists are where, and then read the stories attached to them. Nothing like a coffee and iPad in the park. Oh yeah, add art and it is great.\n\nYou need: 1. an account, and, 2. click edit view to find the assets that have the artwork listed and then words in the brochure, separated out.",
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"wikiBody": "Today I visited the monument with my friend Logan and he is going to help do more work to scan and make 3d accurate model of the Saint Louis Monument.\r\n\r\nToday arrived about 620 pm in time for the Catholic 630-7 pm prayer for St. Louis. I recorded some audio and took a few photos. Very relaxing atmosphere and relaxing prayer.\r\n\r\nAt first the sun was quite hot and everyone sweating, but there are large clouds and the sun is blocking the sun. The weather is cooling off.\r\n\r\n",
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"text": "Hong Kong — Monday, March 26, 2018 — Oui.Gallery announced the first art show of Oui.Gallery Hong Kong, displaying 9 artworks from 3 artists. British artist Matt Hope’s recent ink drawings exploring noise, computation and human production along with two emerging American artist’s, Aaron Owens and Hayden Molinarolo’s digital photography work will be shown for the first time outside of the USA.\n",
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"text": "Matt Hope’s recent ink drawing series represents a new era in the artists career. Known for big art sculptures scaled-up from Richard Serra, more grounded than Damien Hirst, and more real than Ai Weiwei, Matt Hope not only dreams big, he can make his own artwork. After living 10 years in Beijing, he now commands the complete pallet of options of the aforementioned with something fresh: vision + plan. His drawings are plans for creation of larger works and investment in these drawings are a path to create entire series of productions worldwide.\n",
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"text": "“I am an artist. That is my day job,” said artist Matt Hope from his studio. “I work everyday at the Beijing studio I control. I am a sculptor by UCSD MFA studies with Jennifer Pastor, John Welchman, Haim Steinbach, and Barbara Kruger. I worked before this all as a welder in stadiums in London. And, out of necessity, I’m self taught, CAD-certified designer. All my ideas start as ink drawings before I take them into the computer to design real working projects. Depending upon the goal, I then make or buy necessary components to realize my vision. In china, the real 3d printers are people. I’ve been there 10 years, I know the words to make dreams reality. And, my sketches and drawings are battle plans for entire pieces from paper scaled up to 3d reality.”\n",
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"text": "Also “Emerging”, are artist’s Aaron Owens and Hayden Molinarolo artwork from Saint Louis, USA. Artist Aaron Owens is a trained cartographer. His recent drone aerial photography at Oui.Gallery Saint Louis is extended with further use of the technique to highlight nature from above. Evocative of a master plan beyond people, the works investigate natural emergence. Artist Hayden Molinarolo series is called “X X STRETCH THE FUCK OUT.” Coming from the UGLY Russell crew in St Louis, Hayden is a multi-talented artist, producer, designer, and musician in his own right. For this show, Hayden’s work is extended natural processing with warping and twisting people into various shapes all printed with ink pigment as digital photography.\n",
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"text": "“Oui.Gallery is an emerging artist portal between Hong Kong and Saint Louis. We are bringing young creatives to Hong Kong from abroad and artists from Hong Kong to Saint Louis. The idea is a simple exchange of culture and ideas through projects and action,” said Redelle Lee, Co-Founder of Oui.Gallery. “This is Oui.Gallery’s second in an ongoing series of art shows in Hong Kong and Saint Louis.”\n",
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"text": "Matt Hope (born 1976, Hammersmith, London) is a British artist who lives and works in Caochangdi, an arts district in Beijing, China. He is known for elaborate kinetic art and sound art constructions made in large-scale fabrication factories in Mainland China. https://en.wikipedia.org/wiki/Matt_Hope\n",
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"text": "Aaron Owens (born 1986, Saint Louis) is a cartographer making art from marginal landscapes that intersect human and natural forms. His work explores surveillance, themes of human versus nature and holistic approaches to modern ecology. Owens’s most recent series, Order (2018), utilizes new advances in drone technology to photograph birds-eye images of the Saint Louis region. He lives and works in Saint Louis. Follow him https://www.instagram.com/owensaaron\n",
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"wikiBody": "[#NEWPALMYRA](http://newpalmyra.org) is an online platform to virtually reconstruct, and creatively reuse, the historic architecture from the city of Palmyra, Syria, and build a future Palmyra from the past.\n\nEach month we put out a call for artists and technologists to contribute their work, and a rotating panel of judges from fields of art, cultural heritage, and technology will select the top three works, which are included in the #PALMYRAVERSE collection.\n\nTo contribute your work to the monthly call:\n\n1. [Create an Artifaq account](https://artifaq.io/signup)\n2. [Upload your submission](https://artifaq.io/create) to Artifaq.\n3. Add \"#NEWPALMYRA\" as an Artifaq artist, and the \"#PALMYRAVERSE November Challenge\" as an Artifaq Exhibition on your submission. \n\n[[MORE]]\n\n### November: the Funerary Towers\n\nFor November, we’re inviting artists to create works inspired by the Palmyra Funerary Towers. The Funerary Towers were several multiple-story stone buildings in a necropolis outside the city walls of Palmyra, in an area known as the Valley of the Tombs. \n\nWe are starting the November Challenge by releasing the [Elahbel Tower]() , generously provided by [Marin Pette](http://marinpette.com/) under a CC-BY license.\n\nThe Elabel Tower was a four-story sandstone tomb, built around 103AD. It was important in the history of textiles: fragments of very early Chinese silk yarns, dated to the 1st century AD, were discovered in the tombs at the tower. The tower was demolished using explosives by the Islamic State of Iraq and the Levant in August 2015.\n\nSee more information on [Wikipedia](https://en.wikipedia.org/wiki/Tower_of_Elahbel) and reference photos on [Flickr](https://www.flickr.com/photos/newpalmyra/albums/72157682493820155)\n\n### What is the #PALMYRAVERSE?\n\nThe #PALMYRAVERSE is a 12-month online building campaign organized by [#NEWPALMYRA](https://newpalmyra.org), a project to reconstruct the endangered cultural heritage of the ancient city of Palmyra as an immersive virtual environment, based on archaeological and other clues. #NEWPALMYRA was started by Syrian-Palestinian Developer Bassel Khartabil.\n\n### What kinds of works are accepted?\n\nAnything you can think of! 3d models, renderings, poetry, music, painting; however you are inspired to build a future Palmyra from the past.\n\nHere is a short list of ideas:\n\n- Renderings of the model, with emphasis on non-standard and creative renderings\n- Improvements to the [Elahbel Tower](/artwork/elahbel-tower) model\n- Create models of the other Palmyra Funerary Towers, such as the Iamblichus Tower. Here are some photos for [reference](https://www.flickr.com/photos/newpalmyra/albums/72157682493820155)\n- Add the model to the [#newpalmyAR project](https://github.com/newpalmyra/newpalmyra-AR)\n- Create a video, or film using the 3D model\n- Create a sound or sound atmosphere for the 3D environment\n- Make a 3d print or other physical model\n- Make a physical painting about the 3D object\n- Place the 3D model into other 3D environments like Minecraft\n\n### Who are the #PALMYRAVERSE Judges?\n\nThe judges for the November 2018 are\n\n- [Isaac Mao](https://en.wikipedia.org/wiki/Isaac_Mao) is a Chinese venture capitalist, software architect, social media researcher, and the creator of Musicoin. \n- [Dana Trometer](https://danatrometer.com/) is a TV/Film Producer and Editor, a Senior Creative Editor at M&C Saatchi London, and was a core member of the #FREEBASSEL Campaign. \n- [Bradley G. Munkowitz GMUNK](https://gmunk.com/) is a Designer, Director, and Galactic Crusader. \n\n### How Will Works be Judged?\n\nEach judge will be allotted LikeCoin to use to Like works on Artifaq. (Additionally, anyone with LikeCoin may Like works.)\n\n### Is there a limit on the number of submissions?\n\nNo, you can submit as many works as you'd like! But, we recommend considering the quality, rather than the quantity, of submissions. However, if your submission includes multiple works that connect thematically, then please submit multiple pieces for the single prompt.\n\n### What is LikeCoin?\n\nLikeCoin is a technology created by the [LikeCoin Foundation](https://like.co/) to support payments to artists through a \"Like\" button. LikeCoin is an Ethereum token.\n\n### What is Artifaq?\n\nArtifaq is the open platform making art accessible, gathering facts about artworks, artists, exhibitions, and galleries, to build the world's best source of knowledge about ephemeral, hidden, digital, and emerging artworks. \n\nArtifaq is also the engine that powers the #PALMYRAVERSE. The community is encouraged to submit and add to existing works to make all work more accessible and transparent. Signup for an account to add your artworks.\n\n### Get Started!\n\n- [Join Artifaq in Telegram](https://t.me/artifaq)\n- [Create an Artifaq account](https://artifaq.io/signup)"
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"title": "Graphic Revolution: American Prints 1960 to Now",
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"wikiBody": "![Weird Capitalism](http://transfergallery.com/wp-content/uploads/2018/08/HomoEconomicus_06.png \"Weird Capitalism\")\n\nFrom http://transfergallery.com/weird-capitalism/\n\n“WEIRD CAPITALISM” A NEW EXHIBITION OF NEW WORKS BY ARTISTS ALAN BUTLER (IE) AND ALAN WARBURTON (UK), CURATED BY NORA O MURCHÚ. In the exhibition, the two artists, explore the peculiar tendencies of new modes of work that the smooth logic of capitalism sells us.\n\nA press preview of the exhibition takes place on Saturday, September 8 from 4:30-6pm, followed immediately by a public reception from 6-8pm. The exhibition continues through November 3rd, 2018.\n\nWork, work, work, work, work, work\nYou see me I be work, work, work, work, work, work\nThere’s something ’bout that work, work, work, work, work, work\nWork, work, work, work, work, work\n\nFrom endless content production to administrative bloat, today’s conditions of labour ask us to exert not just cognitive and emotional, but existential labor. Economic transactions disguise themselves as experiences, surplus value comes in the forms of retweets, reposts, and algorithmically configured trends. Work has moved beyond the merging of play and labour, and instead operates at an uncanny closeness to our corporeal forms.\n\nWork transforms us. Work contorts us. Work bends us. To live in strange worlds. Fit new ideals. To constantly consume ourselves, spreading its banality across virtually every aspect of our daily lives.\n\nThe artists in this show examine the awkward tendencies, the absurd and weird conditions of rapid economic expansion, and the social change that 100%, 24/7 Full Employment brings about. Through their work, Butler and Warburton point to the inescapable structures of capitalism we are firmly embedded within and our complicity within them.\n\nIn Homo Economicus, a collection of new video works, Warburton explores how men working in London’s financial district both modify and commodify their own bodies. In each of the works, the artist inflates and deflates 3D characters and the pitch of their voices to conflate the corporate and the corporeal, and question male self-worth and its apparent apotheosis in the hyper-competitive financial services industry.\n\nIn Dispatches, a new series of mixed-media sculptures, Butler explores ideas about new economies, precarity, and the nature of work in the internet age. His sculptures take the form of food delivery backpacks and present an array of computer-generated videos, psychedelic reproductions of soviet socialist realism paintings, prints, robotics, and lighting effects. The works raise questions about the contemporary Real, and our conscious and subconscious subjugation that is implicit in a digital society.\n\nThe work in Weird Capitalism is presented not as an attempt to develop alternatives to our current modes of employment, but instead explores the part of capitalist structure that is only open for negotiation through its own language.\n\nThe exhibition is accompanied by an essay by Nora O Murchú.\n\nThe exhibition opens to the public with an artist reception on Saturday, September 8 at TRANSFER from 6–9 PM in East Williamsburg, Brooklyn, at 1030 Metropolitan Avenue. For more information contact director@transfergallery.com.\n\nReferences:\n– Rihanna (2016), Work. Island Def Jam\n– Fisher, Mark (2009), Capitalist Realism: Is there no alternative? Zero Books",
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"title": "Judy Chicago: A Reckoning",
"wikiBody": "A solo show of Judy Chicago's work.\n\n#### Talk\n\n- break out artworks as photos to artifaq artworks (@rejon)\n- added link to press which can be mined for more info (@rejon)",
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"title": "Basquiat Before Basquiat: East 12th Street, 1979–1980",
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"title": "Paint Louis 2018",
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],
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"title": "Talk to Me",
"wikiBody": "Whether openly and actively or in subtle, subliminal ways, things talk to us. Tangible and intangible, and at all scales—from the spoon to the city, the government, and the Web, and from buildings to communities, social networks, systems, and artificial worlds—things communicate. They do not all speak up: some use text, diagrams, visual interfaces, or even scent and temperature: others just keep us company in eloquent silence.\n\nThe purpose of design began to shift in the late 20th century from utility toward a more holistic combination of purpose and meaning. Thus far, 21st-century culture is centered on interaction: “I communicate, therefore I am” is the defining affirmation of contemporary existence, and objects and systems that were once charged only with formal elegance and functional soundness are now also expected to have personalities. Contemporary designers do not just provide function, form, and meaning, but also must draft the scripts that allow people and things to develop and improvise a dialogue.\n\nNew branches of design practice have emerged in the past decades that combine design’s old-fashioned preoccupations—with form, function, and meaning—with a focus on the exchange of information and even emotion. Communication design deals with the delivery of messages, encompassing graphic design, wayfinding, and communicative objects of all kinds, from printed materials to three-dimensional and digital projects. Interface and interaction design delineate the behavior of products and systems as well as the experiences that people will have with them. Information and visualization design deal with the maps, diagrams, and tools that filter and make sense of information. In critical design, conceptual scenarios are built around hypothetical objects to comment on the social, political, and cultural consequences of new technologies and behaviors.\n\nTalk to Me explores this new terrain, featuring a variety of designs that enhance communicative possibilities and embody a new balance between technology and people, bringing technological breakthroughs up or down to a comfortable, understandable human scale. Designers are using the whole world to communicate, transforming it into a live stage for an information parkour and enriching our lives with emotion, motion, direction, depth, and freedom.",
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"value": "South Beach, Miami"
}
],
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"value": "2018-12"
}
],
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},
"metadataString": "{\"location\":[{\"value\":\"South Beach, Miami\"}],\"date\":[{\"value\":\"2018-12\"}]}",
"title": "Untitled Art Fair Miami 2018",
"wikiBody": "A satellite art fair of Art Basel Miami.",
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"url": "untitled-art-fair-miami-2018",
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},
{
"_id": "5c13f463df2c230005a8b794",
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"location": [
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"value": "Gabriel Dunne Studio, 1410 62nd St, Emeryville, CA 94608"
}
],
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"value": "September 22, 2018 - November 17th, 2018"
}
],
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"value": "Gabriel Dunne",
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"value": "http://gabrieldunne.com/metaflux/"
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]
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"metadataString": "{\"location\":[{\"value\":\"Gabriel Dunne Studio, 1410 62nd St, Emeryville, CA 94608\"}],\"date\":[{\"value\":\"September 22, 2018 - November 17th, 2018\"}],\"curator\":[{\"value\":\"Gabriel Dunne\",\"groupId\":-1}],\"link\":[{\"value\":\"http://gabrieldunne.com/metaflux/\"}]}",
"title": "Metaflux",
"wikiBody": "META\nFLUX\nof Present Futures\n\nWORKS BY\nNicole Aptekar\nRyan Alexander\nHarvey Moon\nGabriel Dunne\nMike Jacobs\n\nABOUT\nmeta (a) pertaining to or noting an abstract, high-level analysis or commentary, especially one that consciously references something of its own type.\n\nflux (n) continuous change, passage, or movement\n\nFraming understanding through routines and systems, Metaflux is a body of procedure-oriented artworks based on system-focused approaches and integrations. The processes examined by the artists featured in Metaflux are intrinsic to navigating shifts and changes by establishing routines and frameworks. The artifacts of these personal frameworks, as well as the frameworks themselves, represent the efforts to create reliable variables and constructs in a life defined by constant transition and flux.",
"type": "exhibition",
"url": "metaflux",
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"_id": "5c141994f0fab70005daf2ea",
"metadata": {
"location": [
{
"value": "Faena Forum, Miami Beach"
}
],
"date": [
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"value": "December, 2018"
}
],
"link": [
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"value": "https://www.bloomberg.com/news/articles/2018-11-29/billionaires-blockchain-and-art-set-to-collide-in-miami-beach"
},
{
"value": "https://www.forbes.com/sites/rachelwolfson/2018/12/12/blockchains-impact-on-the-billion-dollar-art-market-debated-during-miami-art-week/#2dfbe36c239a"
},
{
"value": "https://www.vulture.com/2018/12/a-blockchain-conference-during-art-basel-miami-beach.html"
},
{
"value": "https://news.artnet.com/art-world/art-of-blockchains-1411054"
}
],
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"value": "Artblx"
}
]
},
"metadataString": "{\"location\":[{\"value\":\"Faena Forum, Miami Beach\"}],\"date\":[{\"value\":\"December, 2018\"}],\"link\":[{\"value\":\"https://www.bloomberg.com/news/articles/2018-11-29/billionaires-blockchain-and-art-set-to-collide-in-miami-beach\"},{\"value\":\"https://www.forbes.com/sites/rachelwolfson/2018/12/12/blockchains-impact-on-the-billion-dollar-art-market-debated-during-miami-art-week/#2dfbe36c239a\"},{\"value\":\"https://www.vulture.com/2018/12/a-blockchain-conference-during-art-basel-miami-beach.html\"},{\"value\":\"https://news.artnet.com/art-world/art-of-blockchains-1411054\"}],\"sponsor\":[{\"value\":\"Artblx\"}]}",
"title": "The Art of Blockchains",
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},
{
"_id": "5c142be584ec1f0005ae7eda",
"metadata": {
"location": [
{
"value": "St. Louis"
}
],
"date": [
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"value": "Jun 27 – Aug 10, 2014"
}
],
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"value": "Contemporary Art Museum St. Louis",
"groupId": "5c142c1f84ec1f0005ae7edc"
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],
"curator": [
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"value": "Zach Feuer Gallery, New York"
}
],
"link": [
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"value": "https://camstl.org/exhibitions/jon-rafman-the-end-of-the-end-of-the-end/"
}
],
"timestamp": 1544825829662
},
"metadataString": "{\"location\":[{\"value\":\"St. Louis\"}],\"date\":[{\"value\":\"Jun 27 – Aug 10, 2014\"}],\"gallery\":[{\"value\":\"Contemporary Art Museum St. Louis\"}],\"curator\":[{\"value\":\"Jeffrey Uslip\"}],\"sponsor\":[{\"value\":\"Zach Feuer Gallery, New York\"}],\"link\":[{\"value\":\"https://camstl.org/exhibitions/jon-rafman-the-end-of-the-end-of-the-end/\"}]}",
"title": "The end of the end of the end",
"wikiBody": "The end of the end of the end, the first American solo museum exhibition of Canadian artist Jon Rafman, features the single channel video Still Life (Betamale) as well as a selection of recent sculpture and photography from the artist’s New Age Demanded series. In his multidisciplinary practice, Rafman often explores the relationship between the “real” and the “virtual” in contemporary life, urging viewers to reconsider the boundaries between the two.\n\nRafman’s recent video works excavate subcultural erotica trafficked on the Deep or Invisible Web—the majority of the content on the Internet, which is not accessible through standard search engines—and celebrate the utopian possibility for online self-reinvention. Still Life (Betamale) elaborates on the artist’s earlier film works; here, assembled images of virtual landscapes address issues of social and sexual exoticism. Drawing from the aesthetics of imageboards (think Tumblr or Reddit), Rafman guides viewers through a series of vignettes culled from the Invisible Web, navigating what the video calls the “endlessly winding paths” of Furry fandoms, 8-bit video game GIFsets, Internet “troll caves,” and manga pornography.\n\nRafman’s New Age Demanded works comprise a series of 3D-printed busts and their 2D digital counterparts, which blur the traditional distinctions between an image and its physical analog. The anonymous, alien, digitally-derived heads collapse the contemporary and the anachronistic with a radical reimagining of the canonical Greco-Roman bust while the accompanying “photographs” relocate the physical busts to a two-dimensional plane, grafting layers of digital paint onto Internet-driven imagery.\n\nForegrounding the degree to which digital information permeates our everyday lives, Rafman underscores the conflict between intangible imagery and the human impulse to connect, revealing both the possibilities and limitations of virtual exploration. In combining both the physical and the virtual, his works take up an unfamiliar and uncanny third space between the two realms.",
"type": "exhibition",
"url": "the-end-of-the-end-of-the-end",
"owner": null,
"ownerUserId": null,
"wikiVersion": 0
},
{
"_id": "5c1469826f68890005f3baf3",
"metadata": {
"location": [
{
"value": "London"
}
],
"date": [
{
"value": "December 2018"
}
],
"gallery": [
{
"value": "arebyte Gallery"
}
],
"timestamp": 1544841602013
},
"metadataString": "{\"location\":[{\"value\":\"London\"}],\"date\":[{\"value\":\"December 2018\"}],\"gallery\":[{\"value\":\"arebyte Gallery\"}]}",
"title": "Re-Figure Ground",
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"type": "exhibition",
"url": "re-figure-ground",
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},
{
"_id": "5c1469c66f68890005f3baf5",
"metadata": {
"location": [
{
"value": "Santa Fe"
}
],
"date": [
{
"value": "June 2018"
}
],
"gallery": [
{
"value": "Transfer Gallery",
"groupId": "5bfdf3d28253fc0005058a5c"
},
{
"value": "Thoma Foundation"
}
],
"timestamp": 1544841670724
},
"metadataString": "{\"location\":[{\"value\":\"Santa Fe\"}],\"date\":[{\"value\":\"June 2018\"}],\"gallery\":[{\"value\":\"Transfer Gallery\",\"groupId\":\"5bfdf3d28253fc0005058a5c\"},{\"value\":\"Thoma Foundation\"}]}",
"title": "TRANSFER DOWNLOAD",
"wikiBody": "",
"type": "exhibition",
"url": "transfer-download",
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"title": "LA BELLE VIE NUMÉRIQUE!",
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"title": "Cyber Corporealities",
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"title": "Subversions of Reality",
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"title": "The Garden of Virtual Utopias",
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"title": "Online All Summer",
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"title": "Nocturnal City",
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"metadataString": "{\"date\":[{\"value\":\"February 2014\"}],\"gallery\":[{\"value\":\"Pari Nadimi Gallery\"}],\"curator\":[{\"value\":\"Sarah Friend\",\"groupId\":\"5bb44f591649a30005582921\"}]}",
"title": "Pics or It Didn't Happen",
"wikiBody": "A group exhibition in Pari Nadimi Gallery's project space, including works by Rachel de Joode Berlin, Felix Kalmenson Toronto, Adriana Rami Los Angeles, David Hanes Baltimore, Elliot Vredenburg Los Angeles, and Elle Kurancid Toronto. This show is curated by Toronto-based writer, maker, and activist Sarah Friend.\n\nThe phrase \"pics or it didnt happen\" began in web forums as a response to an outlandish or dubious claim like, Duuuude. Last night I met Miley Cyrus and she twerked on me. Response: Pics or it didnt happen. Such an exchange is a reminder that our culture equates photos with proof a flawed proposition.\n\nThis is an exhibition of art documentation photosthe digital traces that remain after an exhibition, the self-made archivepresented in place of art itself. But in Pics or it didnt happen, the art documented does not exist. Various artists explore this conundrum and its ramifications, both in and outside of this exhibition, and the art world.\n\nRachel de Joode has a solo exhibition opening at Neumeister Bar-Am Berlin in February, and another at SWG3 Glasgow in June. She is the founder and art-director of Meta Magazine. Felix Kalmenson completed the residency at ZK/U Center for Art and Urbanistics Berlin in fall 2013. His solo exhibition HLS-F71, opened in January at The New Gallery Calgary. Adriana Rami received her BFA from the University of California San Diego in 2011. Her recent projects include Craigslist-Assisted Readymade at Stadium New York and Architects of Gamma Bad at Sunhoo Industrial Design Park Fuyang, China. David Hanes received his BFA from the Ontario College of Art and Design University Toronto in 2013. His solo exhibition David Hanes: Aware, opens in April at Birch Contemporary Toronto. Elliot Vredenburg is currently an MA candidate at the California Institute of the Arts Los Angeles. He is a member of the Toronto collective Workparty, whose project The Little People was installed at Toronto City Hall for Nuit Blanche in fall 2013. Elle Kurancid exhibited in Reputations, a two-person show at Pari Nadimi Gallery in fall 2013. She will start an MA at Goldsmiths London in September. Sarah Friend organizes an interdisciplinary lecture series called Small Talk Toronto, 2012-3. Her research interests include modernism, utopian politics/aesthetics, and rapid-prototyping technologies.",
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"title": "3D Man Resting Prone",
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"title": "Solito",
"wikiBody": "From press release: \n\nProduced on site at the Kölnischer Kunstverein over the course of two months, Julien Ceccaldi’s Solito is a large-scale exhibition in which a fairy tale unfolds around a character of the same name, a concupiscent and boyish 30-year-old virgin willing to give himself to anybody. The plot is inspired by stories such as “Beauty and the Beast“, “Bluebeard“, and “The Nutcracker and the Mouse King“, in which the female protagonists end up in love with ugly men, and sexuality manifests itself through power and violence. However, all Solito gets out of his unsightly, quickly aborted love story, is a fading souvenir of happiness.\n\nMisery is all the more evident in the comic book published by Ceccaldi for this exhibition. In what could be interpreted as a dream of his own doing, the titular character goes so far as to make advances to death itself. He follows Oscar, a soldier from a magical land who is nothing more than “a cadaver, an empty shell [he] projects on” (J. Ceccaldi). Solito is presented as ambivalent: Desperate for partnership and security, he also acts masochistically in that he orchestrates a self-fulfilling destiny of being forever rejected. He plays with the dead like one does with dolls, and dreams of an eternal tea party with skeletons, all the while unconsciously wishing they would turn on him. Betraying their trust ultimately gets him thrown back onto the cold sidewalk of the real world – an allusion to “The Little Match Girl” by Hans-Christian Andersen, one of the most prominent fairy tale writers.\n\nCeccaldi took descriptions of the author’s life as a template for Solito’s character traits. Andersen never engaged in sexual relations with women nor men, indulging in intense masturbation after each encounter instead. Described as childish and love-obsessed in equal measures, he was considered an outsider and a loner within the Copenhagen elite of the 19th century, and he died alone at the end of his days. His original tales were perverse and morbid; his suffering heroines often dying a painful death. Later adaptations of his more tragic stories have been rewritten with a happy ending.\n\nFurther aesthetic and conceptual references can be found in the animation TV-series “Revolutionary Girl Utena” (1997) by Kunihiko Ikuhara, and the manga “The Rose of Versailles” (1972) and “Oniisama E” (1975) by Riyoko Ikeda, which weave together fairytale symbols, androgyny, and inescapable fates along with modern backdrops and contemporary preoccupations. The exhibition also borrows from these works the liberty to blend myths from different places across history from the Middle Ages, to 19th century Europe and our present time.\n\nThese different starting points establish the framework for the figures and setting in Solito, which are transferred onto various surfaces both inside and outside the exhibition spaces: animated video loops, sculptures, digital drawings, and paintings on plastic. The works no longer follow a consistently linear narrative as on the pages of the book. Inspired by cel art, a technique used in animation to separate backgrounds from foregrounds, images of different moods manifest themselves through overlays, off-sets, and trompe l’œil effects. They circulate around the figure of Solito, with whom visitors get closer to as they walk through the exhibition hall. Like the fragmented pieces that come together to form identity itself, repeated variations of the same figure elicit feelings of vanity and confinement, but also moments of emancipatory liberation.",
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"title": "Surface Proxy",
"wikiBody": "Surface Proxy is a show of picture surrogates, inkjet prints on linen wrapped around CNC milled foam sculptures.\n\nValla begins with Medieval French architectural and sculptural fragments that have made their way into the collections of museums in New York and Providence, where the artist lives and works. The objects at the various institutions are chosen because they bear visible scars of their transformation from fixed architectural ornaments to stand-alone sculptural works.\n\nIn order to reproduce the fragments Valla uses a process known as photogrammetry: objects are photographed from multiple angles and a 3d model of the objects is produced by triangulating the multiple images.\n\nThe origins of photogrammetry are intrinsically linked with the medieval content. The technique was invented by a French mathematician in 1849 and perfected in the later half of the 19th century by Albrecht Meydenbauer, a Prussian architect tasked with surveying historical monuments on the verge of complete decay. A near fatal fall from a gothic cathedral convinces Meydenbauer to employ the ‘magic scaffold’ of photogrammetry – to measure and model from a distance. Contemporary photogrammetry software has made this once specialized scientific process widely accessible.\n\nThe 3d models produced by photogrammetry are images in a quite literal sense – extracted from optical technologies, they are formed on the computer screen by wrapping and folding flat pictures around hollow 3d volumes. The promise of 3d scanning and manufacturing is that we will be able to reproduce objects. The truth is that we get 3d images. Valla emphasises the increasing confusion between image and objects in these works.",
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"timestamp": 1545109873970
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"title": "Important Men",
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"title": "The Blue Pill",
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"metadataString": "{\"location\":[{\"value\":\"Vancouver\"}],\"date\":[{\"value\":\"2016\"}],\"gallery\":[{\"value\":\"Western Front\"}]}",
"title": "Screening: Jennifer Chan",
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"title": "Sea of Men",
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"curator": [
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"title": "Next Time Baby, I'll Be #Bulletproof",
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"title": "ltd presents... Jennifer Chan",
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"title": "BLONDIE BUBBA: NEW PAINTINGS BY JAMIE ADAMS",
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"title": "Define Your Terms (or Kanye West Fucked Up My Show)",
"wikiBody": "From seventeengallery.com\n\nPaul B. Davis’ probing, contemplative second solo show at Seventeen represents a bold step forward for the artist…though not necessarily one he expected to take. It was instigated by a semi-voluntary rejection of a practice that, until very recently, was central to his creative output and figured prominently in his debut exhibition at the gallery – ‘Intentional Computing’ (2007). A curious turn of events led to this unforeseen repudiation and redefinition of practice: \n\nI woke up one morning in March to a flood of emails telling me to look at some video on YouTube. Seconds later saw I Kanye West strutting around in a field of digital glitches that looked exactly like my work. It fucked my show up…the very language I was using to critique pop content from the outside was now itself a mainstream cultural reference.\n\nContentiously dubbed ‘datamoshing’, (or ‘compression aesthetics’, as Davis prefers to describe it), this practice ultimately emerged out of artefacts inherent in the compression algorithms of digitally distributed media. Davis seized upon the glitchy pixellation that is often present while viewing YouTube clips or Digital TV, and repurposed it as a tool of cultural rupture. Alongside other artists such as Paper Rad, Sven König and Takeshi Murata, he engaged this effect as a tool for aestheticized intervention, a fresh framework for analysis, and a new visual language. \n\nIn contemporary culture, mainstream media pilfering of independent artistic production is expected. Moreover, it’s a generative force – renegade practice and/or methodology is forced into evolution by the appropriation of its pioneering techniques. But for Davis this perhaps inevitable incorporation by Kanye West, the self proclaimed “voice of this generation”, served as a trigger to directly engage his growing concern that current artistic methods for grappling with digital culture—hacks, remixes, and “mash-ups” among them— are ill-equipped for sustaining serious and self-reflexive critical examination. As Davis has commented, “These methods generate riffs…restatements or celebrations of existing cultural behaviours, and artists who use them are seemingly unable to either offer incisive alternatives or generate new cultural forms. I was one of these artists, making these riffs, and I’d come to realize their limitations.” \n\nDefine Your Terms (or Kanye West Fucked Up My Show) concerns Davis’ attempt to understand, react to, and depart from this crossroads. The works in the exhibition, many of which disavow his previous modes of hacking or mashing-up existing digital artefacts, have all been produced in the past two months, and will instead propose some alternate strategies for provocatively getting under the skin of Civilisation 2.0. \n\nIn Codec (2009), Davis’ created his own proprietary video compression/decompression algorithm – ‘PBD compression’ – which is free of now-standardized templating and presets. This algorithm is—defiantly—unavailable for commercial use. With Critical Space Headgear (2009) a head-mounted video camera is fed to a head-mounted display, the resolution of camera output and viewed input being reduced to 320×200 pixels thereby creating a self-mediated “reality” that’s flattened in real-time to the same dimensions as YouTube. In The Symbol Grounding Problem (2009) Davis simultaneously ingests a bacon sandwich while defecating in a perspex box as philosopher Luciano Floridi narrates the viewer through what they see onscreen as the interaction of dynamic informational entities. Floridi asserts that as we move closer towards the singularity—the future point in which human consciousness merges with the consciousness of our machinic progeny—our own experiential trajectory in the physical world will become secondary to the interaction of informationally-modeled simulacrum. This inevitable futurity is reinforced while experiencing the most base, mundane of bodily functions– simply taking a poo.\n\nIn this way, the works in this show are built. They are constructed out of whole cloth. There are no naïve uses of technology here as they turn away from seemingly arbitrary, uninterrogated appropriation of digi-cultural artefacts and seek to offer alternative strategies for taking on the protocols of new media. In essence, Define Your Terms (or Kanye West Fucked Up My Show) is an exhibition about Davis breaking free from his own creative paradigm and setting forth a revivified agenda. Through radical reevaluation of his process, Davis has offered some new approaches for tackling the hovering questions that are relentlessly generated by this – our age of over-caffeinated cultural cycles, empty signifiers, and supreme technological oversaturation.",
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"metadataString": "{\"location\":[{\"value\":\"Ancienne École des beaux-arts\"}],\"date\":[{\"value\":\"26.05.2018 - 02.06.2018\"}],\"gallery\":[{\"value\":\"Chromatic Fest\"},{\"value\":\"Art Contemporary Club\"}],\"link\":[{\"value\":\"https://www.artcontemporaryclub.space/la-croix-digital-oasis\"}]}",
"title": "La Croix™️ Digital Oasis",
"wikiBody": "From the website:\n\nIn the age of hyper-capitalism, staff productivity has become a focal point for the modern office. In this economy of high-festivity and analgesic entertainment, encouragement to stay longer at the office comes in the form of fun.\n\nThrough La Croix TM Digital Oasis, a digital art lounge, Art Contemporary Club takes a critical and ironic look at this new form of office engagement otherwise known as business gamification.\n\nIn an optimized corporate atmosphere, somewhere between 1990 and 2018, Art Contemporary Club presents a collection of works by Kara Güt, Alex McLeod, Colin Meredith, Alexis Quesnel- Denette, Louis TB and Sam Walker, in the form of an immersive experience. The artists participating have been known to reference subjects such as virtual communities, dynamics of power within the capitalist system and the emergence of alternate economies from cryptocurrencies.\n \nWelcome to La Croix TM Digital Oasis. You are invited to stick around the office and have fun! Get comfortable on our beanbags. Let yourself be carried away by your imagination. Your ideas may be our next success story.",
"type": "exhibition",
"url": "la-croix-digital-oasis",
"owner": null,
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"images": [
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{
"_id": "5c1d1cf547e64d0005c6597b",
"metadata": {
"location": [
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"value": "Online"
}
],
"date": [
{
"value": "2018"
}
]
},
"metadataString": "{\"location\":[{\"value\":\"Online\"}],\"date\":[{\"value\":\"2018\"}]}",
"title": "Challenge: Document Art Hack Day Artworks and Artists",
"wikiBody": "#### Join Us in Documenting Art Hack Day Artworks and Artists\n\nSince 2012 Art Hack Day has prompted artists and technologists to create new artworks which demonstrate the expressive potential of new technology and radical collaboration through grassroots hackathons and exhibitions. Join our effort to fully document the unique body of artworks that have been created over the last six years. \n\n- [Join our Telegram group](http://t.me/artifaq) and ask for the invite code\n- [Create an Artifaq account](https://artifaq.io/signup) with the invite code\n- [Upload your submission](https://artifaq.io/create) to the Art Hack Day exhibition on Artifaq\n\n#### What is Art Hack Day?\n\n[Art Hack Day](http://www.arthackday.net) is a non-profit arts organization that makes pop-up art hackathons around the world. It is \"part happening, part hackathon\" with emphasis on using open source technologies. The goal of Art Hack Day is to bring together hackers whose medium is art and artists whose medium is technology. \n\n#### What is Artifaq?\nArtifaq is a source for ephemeral, hidden, digital, and emerging artworks. Artifaq is also the engine that powers the [#PALMYRAVERSE](https://artifaq.io/faq). The community is encouraged to submit and add to existing works to make artworks more accessible and transparent. [Signup for an account](https://artifaq.io/signup) to add artworks.\n\n#### Get Started\n[Join Artifaq in Telegram to ask for your invite code](https://t.me/artifaq)\n",
"type": "exhibition",
"url": "challenge-document-art-hack-day-artworks-and-artists",
"owner": null,
"ownerUserId": null,
"wikiVersion": 2,
"assets": [],
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},
{
"_id": "5c1d205447e64d0005c6597f",
"metadata": {
"location": [
{
"value": "Artifaq.io"
}
],
"date": [
{
"value": "2019"
}
]
},
"metadataString": "{\"location\":[{\"value\":\"Artifaq.io\"}],\"date\":[{\"value\":\"2019\"}]}",
"title": "Challenge: Public Domain 2019",
"wikiBody": "#### STATUS: CHALLENGE COMPLETED SUCCESSFULLY.\n\n#### Help Document Artworks Entering the Public Domain on January 1, 2019\n\nOn January 1, 2019, for the first time in more than 20 years, published works will enter the US public domain. Help make these works more accessible by uploading public domain art and adding information about those pieces. \n\n- NOTE: We are focusing on ART purely for this Jan 1, 2019. We are ignoring film and music right now.\n\n#### Discussion\n- [Join us in our group chat](https://t.me/artifaq)\n\n#### Sources of Lists of Artwork\n\n- (DONE) [lifehacker long list including films and music](https://lifehacker.com/these-1923-copyrighted-works-enter-the-public-domain-in-1825241296)\n- (DONE) [10 works entering pd](https://www.toptenz.net/10-famous-works-about-to-enter-the-public-domain.php)\n- (EXTRACTED, NEEDS CREATED) [1923 artworks on wikipedia](https://en.wikipedia.org/wiki/1923_in_art)\n- (NEW) [Wikipedia 1923 Sculptures] (https://en.wikipedia.org/wiki/Category:1923_sculptures)\n\n#### Artwork to CREATE\n\nOnce created, delete from this list. When this list is empty, then Extract more from the Sources above.\n\n- All artworks entered from the above set of Sources. \n\n\n\n",
"type": "exhibition",
"url": "challenge-public-domain-2019",
"owner": null,
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"wikiVersion": 27,
"assets": [
"TheBlueRoomValadonjpg-1545508324243.jpg"
],
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},
{
"_id": "5c1d714ca8ddd10005b67a19",
"metadata": {
"gallery": [
{
"value": "Flood Plain",
"groupId": -1
}
],
"timestamp": 1545433420640
},
"metadataString": "{\"gallery\":[{\"value\":\"Flood Plain\",\"groupId\":-1}]}",
"title": "Youthful Discretion",
"wikiBody": "",
"type": "exhibition",
"url": "youthful-discretion",
"owner": null,
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"wikiVersion": 0
},
{
"_id": "5c21908dbf94110005edb075",
"metadata": {
"location": [
{
"value": "Transfer Gallery"
}
],
"date": [
{
"value": "November 16th – December 14th"
}
]
},
"metadataString": "{\"location\":[{\"value\":\"Transfer Gallery\"}],\"date\":[{\"value\":\"November 16th – December 14th\"}]}",
"title": "Daniel Temkin 'Glitchometry'",
"wikiBody": "Glitchometry is an ongoing body of work from Daniel Temkin, an artist and programmer who produces humanistic collaborative works with the machine. The collaboration is an uneasy one, where the artist and algorithm have conflicting agendas and trade off control in building the work. The result is an exploration of our relationship with machines; a collision between our desire for accessible forms in chaotic processes and a compulsiveness arising from our attempts to think logically.\n\nIn his emphasis on process over product and on the constraint system defining the work, Temkin recalls both the ‘structures’ of Sol LeWitt and Gerhard Richter’s Abstraktes Bild, with its ambivalence of authorship within a system.\n\nTemkin’s exhibition will close with Net Worth, a collection of forged artworks. Temkin invited over 50 artists to produce a piece of artwork counterfeiting the work of another artist of their selection, in hopes the collection will expose net art as a viable investment to big money collectors by establishing a shadow market, proving its ability to hide illicit profits and transfer them easily around the globe.\n\nDANIEL TEMKIN makes images, programming languages, and interactive pieces exploring our inherently broken patterns of thought and the clash between human and algorithmic thinking. Daniel has spoken widely to both art and hacker audiences, at Media Art History (Liverpool 2011 and Riga 2013), CAA, GLI.TC/H conference in 2010 and 2012 (where he led a three-day session on Glitch and Oulipo), Notacon, and Hackers on Planet Earth, among others. He appeared on PBS’s OffBook episode on Glitch Art. His writing has been published in academic journals such as World Picture and Media-N Journal and has been taught at Bard College, Penn State, and Clark University.\n\nDaniel received his MFA from International Center of Photography / Bard College in 2012. His work has been featured at American University Museum, Christopher Henry Gallery, Higher Pictures and Carroll/Fletcher.\n\nMore information is available at danieltemkin.com",
"type": "exhibition",
"url": "daniel-temkin-glitchometry",
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
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},
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"_id": "5c21b4d2bf94110005edb084",
"metadata": {
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"value": "Transfer Gallery"
}
],
"date": [
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"value": "October 17 – November 8"
}
],
"gallery": [
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"value": "Transfer Gallery",
"groupId": "5bfdf3d28253fc0005058a5c"
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"timestamp": 1545712850520
},
"metadataString": "{\"location\":[{\"value\":\"Transfer Gallery\"}],\"date\":[{\"value\":\"October 17 – November 8\"}],\"gallery\":[{\"value\":\"Transfer Gallery\",\"groupId\":\"5bfdf3d28253fc0005058a5c\"}]}",
"title": "Rick Silva 'Sky Burial'",
"wikiBody": "TRANSFER is pleased to present 'SKY BURIAL’ the gallery's second solo exhibition with Rick Silva, featuring new video, print, and sculpture works. \n\nTitled ‘SKY BURIAL’, the exhibition takes as its starting point the Tibetan Buddhist funeral practice in which a body is placed on a mountaintop to be eaten by birds of prey. In lieu of bodies and birds, Silva uses quadcopter drones and digital images to reflect on ritual and ascension in the 21st century. \n\nUsing a camera drone, Silva lifts the artist’s submitted image hundreds of feet into the air until it loses contact with the remote and the drones programmed artificial intelligence takes over. Silva records a series of these “sky burials” for 10 artists, selected by the artist from his friends and past collaborators. Silva’s installation of prints and sculpture in the exhibition further explore a world of post military drones and future rituals. \n",
"type": "exhibition",
"url": "rick-silva-sky-burial",
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"_id": "5c2a2b9e18b6690005e95145",
"metadata": {
"date": [
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"value": "Apr 26th – Jun 23rd"
}
],
"gallery": [
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"value": "Roehrs & Boetsch ",
"groupId": -1
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],
"location": [
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"value": "Zürich, Bachstrasse 9"
}
]
},
"metadataString": "{\"date\":[{\"value\":\"Apr 26th – Jun 23rd\"}],\"gallery\":[{\"value\":\"Roehrs & Boetsch \",\"groupId\":-1}],\"location\":[{\"value\":\"Zürich, Bachstrasse 9\"}]}",
"title": " Olia Lialina – LOSSLESS",
"wikiBody": "“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.”\n\nBorn in Moscow in 1971 and now based in Germany, Olia Lialina is among the best-known participants in the 1990s net.art scene – an early-days, network-based art pioneer. Her early work had a great impact on recognizing the Internet as a medium for artistic expression and storytelling. This century, her continuous and close attention to Internet architecture, “net.language” and vernacular web – in both artistic and publishing projects – has made her an important voice in contemporary art and new media theory.\n\nThe exhibition “LOSSLESS” showcases Lialina’s recent works centred on invisible or disappearing phenomena of today’s online culture. Since the early years of the World Wide Web, the Internet has departed greatly from its original vision as an idealised platform of information circulation where users were able to create very personalised content and were only restricted by the capacities of the existing software and hardware – and of course their own abilities. According to Lialina, this web of the 1990s was “bright, rich, personal, slow and under construction”. However, with the first dot.com bubble and the subsequent launch of the so-called Web 2.0, as the platform became more and more professionalized and standardized with authoring tools, this washed away the web’s individualistic expression. Instead, we found ourselves in an Internet of perfect surfaces, flawless designs and polished appearances. In addition to the web becoming increasingly user-friendly, computer technology has become less and less detectable, hiding behind the designed outer shells, obscuring the inner workings.\n\nThe works in “LOSSLESS” go behind the designed presentation of today’s Internet and reveal the codes and protocols, the visible and hidden matters, the artefacts left by developers and users. For instance, the series “Network Portraits” highlights the variety of protocols and segmentation of the web. In other works, Lialina showcases an online culture outside of the mainstream web, such as Blingee.com or the now discontinued network Hyves, where users were given a rather high degree of control over the appearance of their profiles. With her works the artist faithfully translates and adapts digital matters into new forms – the lossless uncompression and exhibition of otherwise easily overlooked parts of the Internet. In this way, Lialina monumentalizes and pays respect to the vernacular of today’s online culture while also trying to prevent its disappearance by acting as its archivist.\n\nThe title “LOSSLESS” thus serves as a description of the works as well as of Lialina’s artistic practice in this exhibition. Furthermore, the word reminds us of the idealistic spirit of the early Internet, the hope of having found a remedy, the wonder instilled by the countless possibilities. We have long since learned of the limits of technology, but “LOSSLESS” demonstrates that the web is a lot less uniform than we are led to believe and that it is still a place of wonder.",
"type": "exhibition",
"url": "olia-lialina-lossless",
"owner": null,
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"metadata": {
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],
"date": [
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"value": " Friday, January 11, 7:00 - 10:00 pm"
}
],
"gallery": [
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"value": "Monaco",
"groupId": "5c2ba44fcb7f260005f1fd2d"
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},
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"value": "https://twitter.com/Monaco_USA/status/1080144438930952192"
}
]
},
"metadataString": "{\"location\":[{\"value\":\"Saint Louis, Missouri, USA\"}],\"date\":[{\"value\":\" Friday, January 11, 7:00 - 10:00 pm\"}],\"gallery\":[{\"value\":\"Monaco\",\"groupId\":-1}],\"link\":[{\"value\":\"https://monacomonaco.us\"},{\"value\":\"https://twitter.com/Monaco_USA/status/1080144438930952192\"}]}",
"title": "Tensor Field",
"wikiBody": "A solo exhibition by Chicago artist Zachary Buchner.",
"type": "exhibition",
"url": "tensor-field",
"owner": null,
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"title": "Flavor of Nature",
"wikiBody": "Salon 94 Bowery presented the first solo exhibition in the United States of the Japanese artist, Takuro Kuwata.\n\nJapanese ceramic techniques and aesthetic principles, both traditional and experimental, form the foundation for Takuro Kuwata’s otherworldly objects & vessels. His creations push the ancient medium to a riotous extreme, dancing between pop and Kogei (traditional craft). Kuwata presents contemporary textures and colors, inspired by the world around him.\n\nRiffing on the classical tea vessel, Kuwata plays freely with an intense chromatic repertoire: blue, red and gold are a favored palette—quoting Yves Klein and Yayoi Kusama with whimsy and sophistication. The vivid colors paired with the metallic glazes provide an at once rustic and futuristic update to the more austere wabi sabi aesthetic of traditional tea ceremony wares.\n\nKuwata also turns up the volume on Ishihaze or “stone explosion”. By adding stones to his clay mix, when fired, they puncture and burst through the clay, as if a tooth growing out of place. In his hands, the shrunken, crackled glaze of the Kairagi technique brings to mind exploded prehistoric eggs or plants dipped in metal. Kuwata actually adds powdered platinum and almost pure gold on top of the cracked white glazed and refires it. In other works, the cracked mercury surface breaks on top, and spikes of the metallic substrate pierce through the surface, to melt at the bottom. Kuwata has pioneered the incorporation of needles employed in the construction of kilns, using them in the ceramic works to catch the glaze on its slide down, creating a textural marvel and mystery. Some of the sculptures are functional; others stand as abstract totems—their origin and time slipping from East to West, past to future.",
"type": "exhibition",
"url": "flavor-of-nature",
"owner": null,
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],
"date": [
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"value": "Jan 18, 2019"
},
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"value": "Apr 21, 2019"
}
],
"gallery": [
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"value": "Contemporary Art Museum St. Louis",
"groupId": "5c142c1f84ec1f0005ae7edc"
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"link": [
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"value": "https://camstl.org/exhibitions/christine-corday/"
}
],
"timestamp": 1546445284253
},
"metadataString": "{\"location\":[{\"value\":\"Saint Louis, Missouri, USA\"}],\"date\":[{\"value\":\"Jan 18, 2019\"},{\"value\":\"Apr 21, 2019\"}],\"gallery\":[{\"value\":\"Contemporary Art Museum St. Louis\",\"groupId\":\"5c142c1f84ec1f0005ae7edc\"}],\"link\":[{\"value\":\"https://camstl.org/exhibitions/christine-corday/\"}]}",
"title": "RELATIVE POINTS",
"wikiBody": "",
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"url": "relative-points",
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],
"date": [
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"value": "Jan 18, 2019"
},
{
"value": "Apr 21, 2019"
}
],
"link": [
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"value": "https://camstl.org/exhibitions/guan-xiao/"
}
],
"curator": [
{
"value": "Wassan Al-Khudhairi",
"groupId": -1
},
{
"value": "Misa Jeffereis",
"groupId": -1
}
],
"timestamp": 1546445733651
},
"metadataString": "{\"location\":[{\"value\":\"Saint Louis, Missouri, USA\"}],\"date\":[{\"value\":\"Jan 18, 2019\"},{\"value\":\"Apr 21, 2019\"}],\"link\":[{\"value\":\"https://camstl.org/exhibitions/guan-xiao/\"}],\"curator\":[{\"value\":\"Wassan Al-Khudhairi\",\"groupId\":-1},{\"value\":\"Misa Jeffereis\",\"groupId\":-1}]}",
"title": "Fiction Archive Project",
"wikiBody": "",
"type": "exhibition",
"url": "fiction-archive-project",
"owner": null,
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{
"_id": "5c2ce570e9b14f00058b6d85",
"metadata": {
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],
"date": [
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"value": "Jan 18, 2019"
},
{
"value": "Apr 21, 2019"
}
],
"link": [
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"value": "https://camstl.org/exhibitions/oliver-laric-2000-cliparts/"
}
]
},
"metadataString": "{\"location\":[{\"value\":\"Saint Louis, Missouri, USA\"}],\"date\":[{\"value\":\"Jan 18, 2019\"},{\"value\":\"Apr 21, 2019\"}],\"link\":[{\"value\":\"https://camstl.org/exhibitions/oliver-laric-2000-cliparts/\"}]}",
"title": "2000 Cliparts",
"wikiBody": "From the website for the show:\n\nBerlin-based artist Oliver Laric accumulates, sorts, and recycles visual materials available online. For Street Views, on view on the museum’s facade from dusk to midnight, CAM presents Laric’s 2000 Cliparts (2010). In this video, Laric animated a sequence of 2,000 examples of copyright-free clipart taken from various sources depicting human figures in different positions. The three-minute animation speeds through a range of stock characters such as martial artist, tennis player, and knight. Laric organized the images based on the form, pose, and action of the figure in relation to the image that comes before and after. The result is a spectacular, morphing portrait of human culture and cultural stereotypes. This work, a reinterpretation of his earlier 787 Cliparts (2006), anticipates our readiness to express ourselves through found images—a key component of meme and emoji culture. 2000 Cliparts is available for download on the artist’s website—its accessibility and free distribution is integral to the work.",
"type": "exhibition",
"url": "2000-cliparts",
"owner": null,
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},
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"metadata": {
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}
],
"date": [
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"value": "2018-2019"
}
],
"gallery": [
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"value": "Pulitzer Arts Foundation",
"groupId": "5c2e83303194880005ef6e6d"
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]
},
"metadataString": "{\"location\":[{\"value\":\"Saint Louis\"}],\"date\":[{\"value\":\"2018-2019\"}],\"gallery\":[{\"value\":\"Pulitzer Arts Foundation\",\"groupId\":\"5c2e83303194880005ef6e6d\"}]}",
"title": "Ruth Asawa: Life’s Work",
"wikiBody": "",
"type": "exhibition",
"url": "ruth-asawa-life-s-work",
"owner": null,
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"_id": "5c2eed213b0fb7000547a7f3",
"metadata": {
"location": [
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"value": "San Francisco, CA, USA"
}
],
"date": [
{
"value": "January 12, 2019"
},
{
"value": "February 23, 2019"
}
],
"link": [
{
"value": "https://cultexhibitions.com/exhibition/masako-miki-shapeshifters/"
}
],
"gallery": [
{
"value": "CULT Aimee Friberg Exhibitions",
"groupId": "5bf31f6902dd540005bf82c0"
}
],
"dateOpening": {
"value": "January 12, 2019, 6-8 PM"
}
},
"metadataString": "{\"location\":[{\"value\":\"San Francisco, CA, USA\"}],\"date\":[{\"value\":\"January 12, 2019\"},{\"value\":\"February 23, 2019\"}],\"link\":[{\"value\":\"https://cultexhibitions.com/exhibition/masako-miki-shapeshifters/\"}],\"gallery\":[{\"value\":\"CULT Aimee Friberg Exhibitions\",\"groupId\":\"5bf31f6902dd540005bf82c0\"}],\"dateOpening\":{\"value\":\"January 12, 2019, 6-8 PM\"}}",
"title": "Masako Miki: Shapeshifters",
"wikiBody": "Text on the website for the show.",
"type": "exhibition",
"url": "masako-miki-shapeshifters",
"owner": null,
"ownerUserId": null,
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"assets": [],
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},
{
"_id": "5c2ff201e01f2400064500d7",
"metadata": {
"gallery": [
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"value": " Sheldon Concert Hall and Art Galleries",
"groupId": -1
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],
"location": [
{
"value": "St. Louis, Missouri"
}
],
"dateClosing": {
"value": "January 26, 2019"
},
"dateOpening": {
"value": "January 4, 2019"
},
"sponsor": [
{
"value": "John and Alison Ferring"
}
],
"timestamp": 1546646017191
},
"metadataString": "{\"gallery\":[{\"value\":\" Sheldon Concert Hall and Art Galleries\",\"groupId\":-1}],\"location\":[{\"value\":\"St. Louis, Missouri\"}],\"dateClosing\":{\"value\":\"January 26, 2019\"},\"dateOpening\":{\"value\":\"January 4, 2019\"},\"sponsor\":[{\"value\":\"John and Alison Ferring\"}]}",
"title": "Re/Constructing Identity",
"wikiBody": "",
"type": "exhibition",
"url": "re-constructing-identity",
"owner": null,
"ownerUserId": null,
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},
{
"_id": "5c34302aab57600005d0c008",
"metadata": {
"dateClosing": {
"value": "February 23, 2019"
},
"dateOpening": {
"value": "January 26, 2019"
},
"curator": [
{
"value": "Gretta Louw",
"groupId": -1
}
],
"timestamp": 1546924074898
},
"metadataString": "{\"dateClosing\":{\"value\":\"February 23, 2019\"},\"dateOpening\":{\"value\":\"January 26, 2019\"},\"curator\":[{\"value\":\"Gretta Louw\",\"groupId\":-1}]}",
"title": "ICONICITY",
"wikiBody": "ICONICITY brings together contemporary artworks that examine the concept, construction, and mythology of the icon. The artists in the exhibition explore ideas ranging from the connection between Medieval devotional iconography and emojis to the religious fervor of technology. Guest curated by Munich-based artist and curator Gretta Louw, the exhibition includes video, software and net art, textile art, and digital prints by nine international artists and artist groups.\n\nArtists include: American Artist, Carla Gannis, Jan Robert Leegte, Gretta Louw, Keiichi Matsuda, Owen Mundy, Tabita Rezaire, Alicia Ross, and the Warnayaka Art Centre.\n\nJanuary 26 – February 23, 2019\nReception: Saturday, January 26, 7-9pm\nArtist/Curator Talk: Monday, January 28, time to be announced",
"type": "exhibition",
"url": "iconicity",
"owner": null,
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},
{
"_id": "5c343e0bab57600005d0c021",
"metadata": {
"link": [
{
"value": "https://www.swissinstitute.net/exhibition/one-for-all-andrea-crespo-virocrypsis/"
}
],
"dateClosing": {
"value": "20 December 2015"
},
"dateOpening": {
"value": "18 November 2015"
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"title": "Sum of the Parts",
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"metadataString": "{\"location\":[{\"value\":\"Granite City, IL,\"}],\"date\":[{\"value\":\"2017\"}],\"gallery\":[{\"value\":\"G-CADD\"},{\"value\":\"Plaque at G-CADD\",\"groupId\":-1}],\"exhibitionType\":[{\"value\":\"Solo Show\"}]}",
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{
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"title": "6 paintings 9 sculptures",
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"metadataString": "{\"location\":[{\"value\":\"Saint Louis, MO, USA\"}],\"date\":[{\"value\":\"2015\"}],\"gallery\":[{\"value\":\"Hoffman LaChance Contemporary\",\"groupId\":-1}],\"exhibitionType\":[{\"value\":\"Solo Show\"}]}",
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"metadataString": "{\"location\":[{\"value\":\"Saint Louis, MO, USA\"}],\"date\":[{\"value\":\"2015\"}],\"gallery\":[{\"value\":\"The Millitzer Gallery\",\"groupId\":-1}]}",
"title": "Vibration Process",
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"metadataString": "{\"location\":[{\"value\":\"Saint Louis, MO, USA\"}],\"date\":[{\"value\":\"2013\"}],\"gallery\":[{\"value\":\"Fifty 09 Gallery\",\"groupId\":-1}]}",
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"metadataString": "{\"location\":[{\"value\":\"Saint Louis, MO, USA\"}],\"date\":[{\"value\":\"2013\"}],\"curator\":[{\"value\":\"SPACE\",\"groupId\":-1}],\"exhibitionType\":[{\"value\":\"Solo Show\"}]}",
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],
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],
"timestamp": 1547528263754
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"metadataString": "{\"location\":[{\"value\":\"Saint Louis, MO, USA\"}],\"date\":[{\"value\":\"2018\"}],\"exhibitionType\":[{\"value\":\"Group\"}],\"gallery\":[{\"value\":\"Beverly (redux)\",\"groupId\":-1}]}",
"title": "G-CASH",
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],
"date": [
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"value": "Februrary 2019"
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],
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],
"timestamp": 1547529101410
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"metadataString": "{\"location\":[{\"value\":\"Saint Louis, MO, USA\"}],\"date\":[{\"value\":\"Februrary 2019\"}],\"gallery\":[{\"value\":\"Erica Popp Gallery\",\"groupId\":-1}]}",
"title": "In the Flesh",
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],
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],
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],
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"metadataString": "{\"location\":[{\"value\":\"St. Louis, Missouri, USA\"}],\"date\":[{\"value\":\"2011\"}],\"gallery\":[{\"value\":\"The Luminary Center for the Arts\",\"groupId\":-1}]}",
"title": "Format",
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],
"date": [
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"link": [
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],
"timestamp": 1550552320646
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"metadataString": "{\"location\":[{\"value\":\"Los Angeles, California, USA\"}],\"date\":[{\"value\":\"17 February 2019\"}],\"link\":[{\"value\":\"https://thenewsstandproject.com/MATT-HOPE\"}]}",
"title": "Sleight of Hand",
"wikiBody": "From thenewsstandproject.com\n\nTHE NEWSSTAND PROJECT is pleased to present SLEIGHT OF HAND, an exhibition of recent work by London-born, Beijing-based artist MATT HOPE, organized by Alexis Hyde. SLEIGHT OF HAND will be on view by appointment at 8361 Beverly Boulevard, Los Angeles, CA. 90048 from February 17 to March 23, 2019, with a public reception to be held on Sunday, February 17 from 11:00am - 1:30pm. \n \nSLEIGHT OF HAND features selected recent drawings and sculptures from Hope’s expansive and enigmatic artistic practice, one consistently in conversation with aspects of architecture, engineering, industry, and technology. On view during this exhibition are a collection of intricate drawings hand-rendered onto paper through a digitally-derived image generation process. For their inception, Hope generates and manipulates three-dimensional models and spaces using various computer-aided design softwares. He subsequently hand-translates these digital compositions into two-dimensional drawings via a labyrinthian, draftsman-like mark making methodology. Intricate yet restrained, Hope’s drawings merge organic and synthetic imagery in fictitious extra-dimensional spaces, folding recognizable motifs into hallucinatory, yet unified scenarios. \n \nHope describes the exhibition title, SLEIGHT OF HAND, as “a slight play on words... slighting referring to the destruction of a castle [in Old English]. The drawings feature many scenes of decay and ruin, or blatant destruction, and synthetic hands, and robotic arms… [the employed digital processes being] a kind of technological threat to the artist’s hand via automated image generation techniques and thinking.” \n \nAlso in SLEIGHT OF HAND are two cast steel sculptures from a series of enlarged facsimiles of common construction tools, originally created in 2010 by a clandestine Chinese aerospace parts manufacturer. Acting as minimalist monuments to the engineering feats of the recent past, Hope examines these tools’ practical beauty by highlighting their Platonic form via contemporary fabrication techniques. Stark and unforgiving, Hope’s sculptures continue the ever-expanding post-minimal approach to art making. He utilizes twenty-first century industrial machine production techniques to construct towering meta-replicas of the very tools used during the process of their own creation.",
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{
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},
"metadataString": "{\"location\":[{\"value\":\"Schlafly Tap Room\"}],\"date\":[{\"value\":\"Thursday, February 21st, 2019\"}]}",
"title": "Ghost Ice @ Schlafly Tap Room ",
"wikiBody": "Ghost Ice (Jeremy Kannappel) performing at Schlafly Tap Room",
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},
"metadataString": "{\"location\":[{\"value\":\"Schlafly Tap Room, St. Louis \"}],\"date\":[{\"value\":\"Thursday, February the 21st, 2019\"}]}",
"title": "Fuck Lungs at Schlafly Tap Room ",
"wikiBody": "Fuck Lungs playing at Schlafly Tap room in St. Louis",
"type": "exhibition",
"url": "fuck-lungs-at-schlafly-tap-room",
"owner": null,
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},
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"metadata": {
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}
],
"date": [
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}
],
"gallery": [
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],
"dateOpening": {
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},
"timestamp": 1552455336805
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"metadataString": "{\"location\":[{\"value\":\"Hong Kong\"}],\"date\":[{\"value\":\"2019-03\"}],\"gallery\":[{\"value\":\"Oui.Gallery\"}],\"dateOpening\":{\"value\":\"2019-03-13\"}}",
"title": "Entropic Bodies HK 03",
"wikiBody": "This is the roaming exhibition in Hong Kong.",
"type": "exhibition",
"url": "entropic-bodies-hk-03",
"owner": null,
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},
{
"_id": "5ca38607f632240005bf4c55",
"metadata": {
"location": [
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"value": "Saint Louis"
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],
"date": [
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],
"curator": [
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],
"gallery": [
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"value": "Venture Cafe Saint Louis",
"groupId": -1
}
],
"sponsor": [
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"value": "Fabricatorz Foundation"
}
],
"link": [
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]
},
"metadataString": "{\"location\":[{\"value\":\"Saint Louis\"}],\"date\":[{\"value\":\"2019-04-02\"}],\"curator\":[{\"value\":\"Tyler Mathews\"}],\"gallery\":[{\"value\":\"Venture Cafe Saint Louis\",\"groupId\":-1}],\"sponsor\":[{\"value\":\"Fabricatorz Foundation\"}],\"link\":[{\"value\":\"https://artifaq.io/search/atm\"}]}",
"title": "Art Tech Media Saint Louis",
"wikiBody": "There were 14 Art + Technology + Media presentations by 24 presenters in Saint Louis.\r\n\r\n### Previous Presenters\r\n\r\n- [Lee Kratzer](https://artifaq.io/person/lee-kratzer)\r\n- [Rachel Youn](https://artifaq.io/person/rachel-youn)\r\n- Eric Dontè\r\n- [Kevin Harris](https://artifaq.io/person/kevin-harris)\r\n- Dylan Schnitker\r\n- [Marina Peng](https://artifaq.io/person/marina-peng)\r\n- [Evan T.](https://artifaq.io/person/evan-t-smith) & [Stacey Smith](https://artifaq.io/person/stacey-smith)\r\n- Meghan Grubb\r\n- Aaron Owens\r\n- Drew Nikonowicz\r\n- Hayden Molinarolo\r\n- Jonathana Hanahan\r\n- PWMD (Paal Williams & Marissa Dembkosk)\r\n- James C. Krane\r\n- Honna Veerkamp\r\n- Foveal Media\r\n- Alexa Clavijo\r\n- [Maxwell Foley](https://artifaq.io/person/maxwell-foley)\r\n- Ian Patrick Cunningham\r\n- Ann Johnson\r\n- Saylor Surkamp\r\n- Happy Badger / Rampant Stuido\r\n- Tyler Mathews\r\n- Exist Magazine\r\n\r\n### Past Art Tech Meetups\r\n\r\n- [ATMSTL 14](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-14)\r\n- [ATMSTL 13](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-13)\r\n- [ATMSTL 12](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-12)\r\n- [ATMSTL 11](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-11)\r\n- [ATMSTL 10](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-10)\r\n- [ATMSTL 09](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-09)\r\n- [ATMSTL 08](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-08)\r\n- [ATMSTL 07](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-07)\r\n- [ATMSTL 06](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-06)\r\n- [ATMSTL 05](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-05)\r\n- [ATMSTL 04](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-04)\r\n- [ATMSTL 03](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-03)\r\n- [ATMSTL 02](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-02)\r\n- [ATMSTL 01](https://artifaq.io/lecture/atm-art-tech-meetup-st-louis-01)\r\n",
"type": "exhibition",
"url": "art-tech-media-saint-louis",
"owner": null,
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"assets": [],
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},
{
"_id": "5cb69a11394f25000589e35a",
"metadata": {
"location": [
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"value": "Paris"
},
{
"value": "France"
}
],
"date": [
{
"value": "April 15, 2019"
}
],
"link": [
{
"value": "https://en.wikipedia.org/wiki/Notre-Dame_de_Paris"
}
],
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"value": "Group"
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],
"dateOpening": {
"value": "April 15, 2019"
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"sponsor": [
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]
},
"metadataString": "{\"location\":[{\"value\":\"Paris\"},{\"value\":\"France\"}],\"date\":[{\"value\":\"April 15, 2019\"}],\"link\":[{\"value\":\"https://en.wikipedia.org/wiki/Notre-Dame_de_Paris\"}],\"exhibitionType\":[{\"value\":\"Group\"}],\"dateOpening\":{\"value\":\"April 15, 2019\"},\"sponsor\":[{\"value\":\"New Palmyra\"}]}",
"title": "Notre-Dame de Paris 2019",
"wikiBody": "This is an online collection of photos of Notre-Dame de Paris being gathered by New Palmyra from the community. New Palmyra makes a call: \"The Notre-Dame de Paris was a tragedy,\" said Barry Threw, Executive Director of New Palmyra and the Bassel Khartabil Fellowship. \"Bassel Khartabil developed the Aiki technology that powers New Palmyra's platform, Artifaq which allows us to gather photos from the public and use those through 'photogrammetry' to model various versions, past and present of Notre-Dame de Paris for a future version we may all take part in building.\"\n\nTo share you photo please:\n\n- [Create an Account on Artifaq](https://artifaq.io)\n- Edit this Exhibition\n- Share Your Photos\n- Join Our Chat\n\n\n[Photo from Wikipedia](https://en.wikipedia.org/wiki/Notre-Dame_de_Paris#/media/File:Notre_Dame_de_Paris_DSC_0846w.jpg)",
"type": "exhibition",
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"text": "Cryptography and magic have a deep, intertwined history dating back to the origins of writing. During the European dark ages monastic sects bore the responsibility of keeping the rites of the sacred ancient mystery cults of Egypt and Greece intact. However, in doing so they ran the risk of being burned at the stake for committing crimes of heresy. Some of them developed cryptographic systems to encode these secrets into their manuscripts. It was not only the monks working with ciphers but also natural magicians and occultists. The latter groups weren’t only using cryptography to obfuscate sensitive information, but also to devise keys and linguistic frameworks for communicating into the Ethereal realms. By devising new linguistic schemata these magicians believed that they could access the preternatural realms outside the worlds they were exploring in their scientific pursuits. Although the blockchain space is largely secularized, the principles of the Ethereum network is a manifest dream of the ancient magi. Magicians are the original cipherpunks. Solidity, Serpent, and LLL are grimoires (Latin ‘grammaire’) or books of magical grammar. Smart contracts are daemons invoked to enact our Will. DAOs (Decentralized Autonomous Organizations) are archons governing and managing resources from the Ether. Pentacles are cryptographic tokens for binding daemons and storing value. Magical codes of ethics are emblematized in protocol authorship. Salt, one of the alchemical primes, is also used in cryptography where it serves as random data that is used as an additional input to a one-way function that ‘hashes’ the Word. Sigils are graphical databases used for storing enciphered information.",
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"text": "One of the most recognizable structures in the ancient city of Palmyra (تدمر) is the remarkable monumental arch (قوس النصر). Also known as the triumphal arch or victory arch, it was constructed during the reign of Emperor Septimius Severus, who ruled from 193 to 211. Despite being built more than a half century after Hadrian’s visit to the city, the monument is often erroneously referred to as Hadrian’s arch. It was restored in the 1930s.",
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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": "One of China’s leading conceptual artists, Ai is known for his social or performance-based interventions as well as object-based artworks. Citing Marcel Duchamp, he refers to himself as a ‘readymade’, merging his life and art in order to advocate both the freedoms and responsibilities of individuals. ‘From a very young age I started to sense that an individual has to set an example in society’, he has said. ‘Your own acts and behaviour tell the world who you are and at the same time what kind of society you think it should be.’ As material for his art, he draws upon the society and politics of contemporary China as well as cultural artefacts such as ancient Neolithic vases and traditional Chinese furniture, whose function and perceived value he challenges and subverts.",
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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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"text": "The Other Nefertiti is an artistic intervention by German artists Nora Al-Badri and Jan Nikolai Nelles. In August 2015, Al-Badri and Nelles scanned the head of Nefertiti clandestinely in the Neues Museum Berlin without permission of the Museum, by wearing a modified Kinect under a scarf; then they handed the files to an anonymous group of hackers that worked on them and gave them back an high quality .stl file, that they made available as a torrent file under a Creative Commons Licence. “With the data leak as a part of this counter narrative we want to activate the artefact, to inspire a critical re-assessment of today’s conditions and to overcome the colonial notion of possession in Germany”, the two artists said.",
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"text": "In November 2015, with the help of the Goethe Institute, the artists brought some 3D printed copies of the artwork to Egypt, and exhibited them as part of the OFF Biennale Cairo. The event marked a symbolic return of the iconic sculpture to the place where it was excavated and stolen by German archeologists, an hundred years later. The project became part of a larger cultural debate after December 2015, when it was presented at the Chaos Communication Congress in Hamburg, Germany. The story was covered by online news media such as the New Stateman, The New York Times, and Hyperallergic, and raised questions about the notion of belonging and possession of objects of other cultures, copyright and control over the use of historical artifacts. The bust of Nefertiti was found in Akhetaten (present-day Amarna) in 1912, was brought to Germany and became part of the collection of the Neues Museum before WWII. Although Egypt would like to bring the sculpture back, Germany has repeatedly refused. Although the Neues Museum made its own high quality 3D scan for archiving and preservation purposes, and even produced an expensive, limited edition copy of the artwork out of it for merchandising, visitors are even prevented from taking photos.",
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"wikiBody": "**Gossip**\n\n- need to break down text to fields. (in-progress)\n- No dimensions, listed, I will try to get from my phone today (@REJON)",
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"title": "Graphic Look of Elahbel",
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"title": "Moonrise",
"wikiBody": "",
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"images": [
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"owner": null,
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"groupId": "5bbaa16cdfc01800057e076f",
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"title": "Chameleon Dance Series",
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"title": "Pacific Drift",
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"title": "Striped Lampshade",
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"title": "Emanating Traces",
"wikiBody": "A video piece.",
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"metadataString": "{\"artist\":[{\"value\":\"William Morris\"}],\"year\":{\"value\":\"2018\"},\"exhibition\":[{\"value\":\"Chameleon Lamp\",\"groupId\":\"5bf3015a02dd540005bf82af\"}]}",
"title": "Road",
"wikiBody": "undefined",
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{
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"timestamp": 1542655849281
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"metadataString": "{\"artist\":[{\"value\":\"Natalie Rainer\"}],\"year\":{\"value\":\"2018\"},\"exhibition\":[{\"value\":\"Chameleon Lamp\",\"groupId\":\"5bf3015a02dd540005bf82af\"}]}",
"title": "The One Tree Project",
"wikiBody": "undefined",
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"groupId": "5bbaa16cdfc01800057e076f"
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"groupId": "5bf3015a02dd540005bf82af"
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"metadataString": "{\"artist\":[{\"value\":\"Zlatko Cosic\",\"groupId\":\"5bbaa16cdfc01800057e076f\"}],\"year\":{\"value\":\"2018\"},\"exhibition\":[{\"value\":\"Chameleon Lamp\",\"groupId\":\"5bf3015a02dd540005bf82af\"}]}",
"title": "Blue December",
"wikiBody": "A video ",
"type": "artwork",
"url": "blue-december",
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"groupId": "5bbaa16cdfc01800057e076f",
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"groupId": "5bf3015a02dd540005bf82af",
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"metadataString": "{\"artist\":[{\"value\":\"Zlatko Cosic\",\"groupId\":\"5bbaa16cdfc01800057e076f\",\"id\":\"5bbaa16cdfc01800057e076f\"}],\"year\":{\"value\":\"2018\"},\"exhibition\":[{\"value\":\"Chameleon Lamp\",\"groupId\":\"5bf3015a02dd540005bf82af\",\"id\":\"5bf3015a02dd540005bf82af\"}]}",
"title": "Shimmer",
"wikiBody": "An artwork displayed at Angad Arts Hotel on the Chameleon Lamp.",
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"owner": null,
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{
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"metadata": {
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"groupId": "5bf3137b02dd540005bf82b7",
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"year": {
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"medium": [
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],
"collection": [
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],
"gallery": [
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"groupId": "5bf098411015ed000563d069",
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"metadataString": "{\"artist\":[{\"value\":\"Dan Flavin\",\"groupId\":\"5bf3137b02dd540005bf82b7\",\"id\":\"5bf3137b02dd540005bf82b7\"}],\"year\":{\"value\":\"1970\"},\"medium\":[{\"value\":\"fluorescent lights\"}],\"collection\":[{\"value\":\"Saint Louis Art Museum\"}],\"gallery\":[{\"value\":\"Saint Louis Art Museum\",\"groupId\":\"5bf098411015ed000563d069\",\"id\":\"5bf098411015ed000563d069\"}],\"location\":[{\"value\":\"Saint Louis, Missouri, USA\"}]}",
"title": "Untitled (to Ileana and Michael Sonnabend)",
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"groupId": "5bf3257d02dd540005bf82c9",
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"year": {
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},
"medium": [
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"value": "Powder coated steel"
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],
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"height": "60 in",
"width": "31.5 in"
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],
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"title": "Swift Kick (blue)",
"wikiBody": "Artwork for show.",
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"exhibition": [
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"metadataString": "{\"artist\":[{\"value\":\"Lorna Simpson\",\"groupId\":null,\"id\":-1}],\"year\":{\"value\":\"1994\"},\"exhibition\":[{\"value\":\"Graphic Revolution: American Prints 1960 to Now\",\"groupId\":\"5bf1cc1c1015ed000563d073\"}],\"gallery\":[{\"value\":\"Saint Louis Art Museum\",\"groupId\":\"5bf098411015ed000563d069\"}]}",
"title": "Wigs",
"wikiBody": "undefined",
"type": "artwork",
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"groupId": "5bf334a202dd540005bf82e5"
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"year": {
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],
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"metadataString": "{\"artist\":[{\"value\":\"Erik Parker\",\"groupId\":\"5bf334a202dd540005bf82e5\"}],\"year\":{\"value\":\"2018\"},\"exhibition\":[{\"value\":\"Millennial’s Dilemma – a Solo Exhibition by Erik Parker\",\"groupId\":\"5bf3350502dd540005bf82e7\"}],\"gallery\":[{\"value\":\"Hong Kong Contemporary Art\",\"groupId\":\"5bf3342e02dd540005bf82e1\"}],\"location\":[{\"value\":\"Hong Kong\"}],\"url\":[{\"value\":\"http://hoca.org/millennials-dilemma-solo-exhibition-erik-parker/\"}]}",
"title": "Millenial's Dilemma (Need Artwork Name)",
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"metadataString": "{\"artist\":[{\"value\":\"Banksy\",\"groupId\":\"5c0add9ccab8b200055fb3dc\",\"id\":\"5c0add9ccab8b200055fb3dc\"}],\"year\":{\"value\":\"2010\"},\"url\":[{\"value\":\"https://www.imdb.com/title/tt4036488/\"}],\"location\":[{\"value\":\"Miami\"}]}",
"title": "Haight Street Rat",
"wikiBody": "Shown at Artbasel Miami Superchief gallery last night.",
"type": "artwork",
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"metadata": {
"artist": [
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"value": "Ashley Holmes",
"groupId": "5c0b421dcab8b200055fb3e5"
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],
"year": {
"value": "2018"
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}
],
"exhibition": [
{
"value": "Cry Then Win Then Lose Reaction"
}
],
"gallery": [
{
"value": "Two Queens"
}
],
"timestamp": 1544242160971
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"metadataString": "{\"artist\":[{\"value\":\"Ashley Holmes\",\"groupId\":\"5c0b421dcab8b200055fb3e5\"}],\"year\":{\"value\":\"2018\"},\"medium\":[{\"value\":\"Performance\"}],\"exhibition\":[{\"value\":\"Cry Then Win Then Lose Reaction\"}],\"gallery\":[{\"value\":\"Two Queens\"}]}",
"title": "AAA",
"wikiBody": "AAA is a performance consisting of a presentation of recent text based works and live soundtrack by Ashley Holmes to accompany the exhibition Cry Then Win Then Lose Reaction.",
"type": "artwork",
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{
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"metadata": {
"artist": [
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"groupId": "5c0b4b75cab8b200055fb3e9"
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],
"timestamp": 1544244129619
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"metadataString": "{\"artist\":[{\"value\":\"Molly O'Donnell\",\"groupId\":\"5c0b4b75cab8b200055fb3e9\"}]}",
"title": "Sexting",
"wikiBody": "",
"type": "artwork",
"url": "sexting",
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{
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"metadata": {
"artist": [
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"value": "Robert Beatty",
"groupId": "5c0c59f2cab8b200055fb3f5",
"id": "5c0c59f2cab8b200055fb3f5"
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],
"year": {
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],
"url": [
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"value": "https://robertbeattyart.com/Dries-Van-Noten-Men-A-W-2018-2019"
}
],
"exhibition": [
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"value": "Dries Van Noten A/W 2018-2019"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Robert Beatty\",\"groupId\":\"5c0c59f2cab8b200055fb3f5\",\"id\":\"5c0c59f2cab8b200055fb3f5\"}],\"year\":{\"value\":\"2018\"},\"medium\":[{\"value\":\"Video\"},{\"value\":\"JPG\"}],\"url\":[{\"value\":\"https://robertbeattyart.com/Dries-Van-Noten-Men-A-W-2018-2019\"}],\"exhibition\":[{\"value\":\"Dries Van Noten A/W 2018-2019\"}]}",
"title": "The Flower",
"wikiBody": "",
"type": "artwork",
"url": "the-flower",
"images": [
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],
"owner": null,
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},
{
"_id": "5c0c6d32cab8b200055fb3fe",
"metadata": {
"artist": [
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"value": "Constant Dullaart",
"groupId": "5c0c6c5dcab8b200055fb3fc"
}
],
"year": {
"value": "2014"
},
"dimensions": [
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"value": {
"height": "106 cm",
"width": "165 cm"
}
}
],
"exhibition": [
{
"value": "Stringendo, Vanishing Mediators"
}
],
"gallery": [
{
"value": "Carroll / Fletcher"
}
],
"timestamp": 1544318258336
},
"metadataString": "{\"artist\":[{\"value\":\"Constant Dullaart\",\"groupId\":\"5c0c6c5dcab8b200055fb3fc\"}],\"year\":{\"value\":\"2014\"},\"dimensions\":[{\"value\":{\"height\":\"106 cm\",\"width\":\"165 cm\"}}],\"exhibition\":[{\"value\":\"Stringendo, Vanishing Mediators\"}],\"gallery\":[{\"value\":\"Carroll / Fletcher\"}]}",
"title": "Youtube as a Glass Window",
"wikiBody": "",
"type": "artwork",
"url": "youtube-as-a-glass-window",
"images": [
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],
"owner": null,
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},
{
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"metadata": {
"artist": [
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"value": "Alan Warburton",
"groupId": "5c0c6f37cab8b200055fb402",
"id": "5c0c6f37cab8b200055fb402"
}
],
"year": {
"value": "2018"
},
"exhibition": [
{
"value": "Weird Capitalism",
"groupId": "5c0c6f1fcab8b200055fb400"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Alan Warburton\",\"groupId\":\"5c0c6f37cab8b200055fb402\",\"id\":\"5c0c6f37cab8b200055fb402\"}],\"year\":{\"value\":\"2018\"},\"exhibition\":[{\"value\":\"Weird Capitalism\",\"groupId\":\"5c0c6f1fcab8b200055fb400\"}]}",
"title": "Gammon",
"wikiBody": "",
"type": "artwork",
"url": "gammon",
"images": [
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],
"owner": null,
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},
{
"_id": "5c0c8699cab8b200055fb40c",
"metadata": {
"artist": [
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"value": "Alan Warburton",
"groupId": "5c0c6f37cab8b200055fb402",
"id": "5c0c6f37cab8b200055fb402"
}
],
"year": {
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},
"exhibition": [
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"groupId": "5c0c6f1fcab8b200055fb400",
"id": "5c0c6f1fcab8b200055fb400"
}
],
"duration": {
"value": "2:00 min"
}
},
"metadataString": "{\"artist\":[{\"value\":\"Alan Warburton\",\"groupId\":\"5c0c6f37cab8b200055fb402\",\"id\":\"5c0c6f37cab8b200055fb402\"}],\"year\":{\"value\":\"2018\"},\"exhibition\":[{\"value\":\"Weird Capitalism\",\"groupId\":\"5c0c6f1fcab8b200055fb400\",\"id\":\"5c0c6f1fcab8b200055fb400\"}],\"duration\":{\"value\":\"2:00 min\"}}",
"title": "Homo Economicus: Michael",
"wikiBody": "From: https://www.seditionart.com/alan-warburton/homo-economicus-michael\n\nHomo Economicus (2018) is a collection of three video works exploring how men working in the City of London’s financial district both modify and commodify their own bodies. The work intentionally conflates the corporate and the corporeal, questioning male self-worth and its apparent apotheosis in the hyper-competitive financial services industry.\n\nIn each of the works, a constructed 3D character is portrayed as a businessman with its own name Ray, Kumar and Michael, who exist within a virtual corporate space. The personal narration is grounded in interviews by the artist with real city men describing their daily routine. During the narration, each character inflates and subsequently deflates like a balloon as the pitch of the voice rises and lowers, acting as a metaphor for the male ego. Homo Economicus proposes an alternative economy of the male body; not as an unquestioned instrument of power, but a site of vulnerability and power-play.\n\nHomo Economicus was produced at Somerset House Studios with sound design by Nick Ryan and commissioned with the support of the London Community Foundation and Cockayne - Grants for the Arts.",
"type": "artwork",
"url": "homo-economicus-michael",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 2,
"assets": []
},
{
"_id": "5c0c8a7fcab8b200055fb40f",
"metadata": {
"artist": [
{
"value": "Alan Warburton",
"groupId": "5c0c6f37cab8b200055fb402"
}
],
"year": {
"value": "2018"
},
"exhibition": [
{
"value": "Weird Capitalism",
"groupId": "5c0c6f1fcab8b200055fb400"
}
],
"duration": {
"value": "2:00 min"
},
"url": [
{
"value": "https://www.seditionart.com/alan-warburton/homo-economicus-kumar"
}
],
"gallery": [
{
"value": "Transfer Gallery",
"groupId": "5bfdf3d28253fc0005058a5c"
}
],
"timestamp": 1544325759604
},
"metadataString": "{\"artist\":[{\"value\":\"Alan Warburton\",\"groupId\":\"5c0c6f37cab8b200055fb402\"}],\"year\":{\"value\":\"2018\"},\"exhibition\":[{\"value\":\"Weird Capitalism\",\"groupId\":\"5c0c6f1fcab8b200055fb400\"}],\"duration\":{\"value\":\"2:00 min\"},\"url\":[{\"value\":\"https://www.seditionart.com/alan-warburton/homo-economicus-kumar\"}],\"gallery\":[{\"value\":\"Transfer Gallery\",\"groupId\":\"5bfdf3d28253fc0005058a5c\"}]}",
"title": "Homo Economicus: Kumar",
"wikiBody": "From: https://www.seditionart.com/alan-warburton/homo-economicus-kumar\n\nHomo Economicus (2018) is a collection of three video works exploring how men working in the City of London’s financial district both modify and commodify their own bodies. The work intentionally conflates the corporate and the corporeal, questioning male self-worth and its apparent apotheosis in the hyper-competitive financial services industry.\n\nIn each of the works, a constructed 3D character is portrayed as a businessman with its own name Ray, Kumar and Michael, who exist within a virtual corporate space. The personal narration is grounded in interviews by the artist with real city men describing their daily routine. During the narration, each character inflates and subsequently deflates like a balloon as the pitch of the voice rises and lowers, acting as a metaphor for the male ego. Homo Economicus proposes an alternative economy of the male body; not as an unquestioned instrument of power, but a site of vulnerability and power-play.\n\nHomo Economicus was produced at Somerset House Studios with sound design by Nick Ryan and commissioned with the support of the London Community Foundation and Cockayne - Grants for the Arts.",
"type": "artwork",
"url": "homo-economicus-kumar",
"images": [
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"ScreenShot20181209at14220AMpng-1544341352807.png"
],
"owner": null,
"ownerUserId": null,
"wikiVersion": 0
},
{
"_id": "5c0d324ecab8b200055fb414",
"metadata": {
"artist": [
{
"value": "Ismael Shammout"
}
],
"year": {
"value": "1965"
},
"exhibition": [
{
"value": "Sharjah Art Museum"
}
],
"url": [
{
"value": "https://twitter.com/sultanalqassemi/status/1071776921057484800?s=21"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Ismael Shammout\"}],\"year\":{\"value\":\"1965\"},\"exhibition\":[{\"value\":\"Sharjah Art Museum\"}],\"url\":[{\"value\":\"https://twitter.com/sultanalqassemi/status/1071776921057484800?s=21\"}]}",
"title": "The PLO, the mother (organisation)",
"wikiBody": "An amazing piece of art\n\n### Gossip\n\n- add more info\n- comvert text to links\n- find more info on author (@rejon)",
"type": "artwork",
"url": "the-plo-the-mother-organisation",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
"assets": []
},
{
"_id": "5c0e871dcab8b200055fb420",
"metadata": {
"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"
}
]
},
"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": [
{
"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,
"ownerUserId": null,
"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": [
"93B51380184044F6B32506476AEDA334jpeg-1544507015776.jpeg"
],
"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"
},
{
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],
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],
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"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)",
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"title": "Caress",
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}
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"title": "THEY WERE LIKE PLANETS ORBITING SO CLOSELY THEY BREATHED THE SAME ATMOSPHERE",
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"title": "POLARVISIONS 002",
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"title": "Untitled - iPhone Smashed Print 51",
"wikiBody": " A limited edition print of a smashed iphone.",
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},
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"title": "Ripples echo up and through.",
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"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",
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"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.",
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"title": "Bird in Space",
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"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": [
"VassilyKandinsky1923OnWhiteIIjpg-1545353287367.jpg"
],
"owner": null,
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"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",
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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": [
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"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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"owner": null,
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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": [
{
"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": [
"PBDFailedAestheticsjpg-1545373736774.jpg"
],
"owner": null,
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{
"_id": "5c1c88728f490c0005aa9208",
"metadata": {
"artist": [
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"value": "Paul B. Davis",
"groupId": "5bb94b23dfc01800057e0741"
}
],
"year": {
"value": "2009"
},
"medium": [
{
"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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},
{
"_id": "5c1dc9556319a8000573b131",
"metadata": {
"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": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"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",
"type": "artwork",
"url": "circles-in-a-circle",
"images": [
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],
"owner": null,
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},
{
"_id": "5c1dd3e76319a8000573b135",
"metadata": {
"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"
}
]
},
"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.",
"type": "artwork",
"url": "kandinskypep",
"images": [
"KANDINSKYPEPjpeg-1545458661893.jpeg"
],
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
"assets": [],
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},
{
"_id": "5c1dd91d6319a8000573b138",
"metadata": {
"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/"
}
],
"timestamp": 1545459997489
},
"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",
"url": "under-the-wave-off-kanagawa",
"images": [
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],
"owner": null,
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},
{
"_id": "5c1ddf0f93cf1a00053cef95",
"metadata": {
"artist": [
{
"value": "Banksy",
"groupId": "5c0add9ccab8b200055fb3dc"
}
],
"year": {
"value": "2005"
},
"timestamp": 1545461519137
},
"metadataString": "{\"artist\":[{\"value\":\"Banksy\",\"groupId\":\"5c0add9ccab8b200055fb3dc\"}],\"year\":{\"value\":\"2005\"}}",
"title": "Christmas card",
"wikiBody": "",
"type": "artwork",
"url": "christmas-card",
"images": [
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],
"owner": null,
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},
{
"_id": "5c1e40bcf06a700005937773",
"metadata": {
"artist": [
{
"value": "Wang Li Zhong",
"groupId": -1
}
],
"year": {
"value": "2018"
},
"medium": [
{
"value": "LED Light"
},
{
"value": "Reflective plastic"
}
],
"timestamp": 1545486524059
},
"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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},
{
"_id": "5c1e60c7f06a700005937775",
"metadata": {
"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"
}
]
},
"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",
"images": [
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],
"owner": null,
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},
{
"_id": "5c1e61fbf06a700005937779",
"metadata": {
"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"
}
]
},
"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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"metadata": {
"artist": [
{
"value": "Suzanne Valadon",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"exhibition": [
{
"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": [
"Valadonjpg-1545507855710.jpg"
],
"owner": null,
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{
"_id": "5c1e910527955a00056ed9a7",
"metadata": {
"artist": [
{
"value": " M. C. Escher",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"exhibition": [
{
"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": [
"EscherDolphinsjpg-1545507076671.jpg"
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"owner": null,
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{
"_id": "5c1f0a7027955a00056ed9c6",
"metadata": {
"artist": [
{
"value": "Picasso",
"groupId": "5ba569ec318d800005be636c"
}
],
"year": {
"value": "1932"
},
"exhibition": [
{
"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",
"images": [
"nudegreenleavesandbustjpg-1545538158494.jpg"
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"owner": null,
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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": [
"44131EF4E01E4DDABEFB8DD6FC11A6D2jpeg-1545546186733.jpeg"
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"owner": null,
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{
"_id": "5c1f428b7568c100052a9c9d",
"metadata": {
"artist": [
{
"value": "Mahesh Rajkumar",
"groupId": -1
}
],
"year": {
"value": "2017"
},
"exhibition": [
{
"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": [
{
"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"
}
},
"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": [
"olialialinalosslessgif-1545572541019.gif",
"OliaLialinaLossless20181jpg-1546267255388.jpg",
"OliaLialinaLossless20182jpg-1546267284212.jpg",
"OliaLialinaLossless20183jpg-1546267302133.jpg"
],
"owner": null,
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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,
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"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": [
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],
"owner": null,
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"wikiVersion": 1,
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},
{
"_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"
}
]
},
"metadataString": "{\"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\"}]}",
"title": "Glitchometry Stripes #8",
"wikiBody": "‘Glitchometry’ takes algorithms designed for sound editing and sets\nthem loose on images, twisting the data into strange new patterns.\nEach image begins as a simple geometric shape; a circle, triangle\nor stripes. As they are composed, the artist sees the image only as\na soundwave, with no immediate way to monitor the visual result of\nhis edits. Temkin paints with a very blunt brush that has a mind of\nits own. ‘Glitchometry’ is a wrestling with the computer, the results\nof which are abstract compositions, exhibited as vibrantly colored\nbacklit prints and monochrome large-format works on canvas.",
"type": "artwork",
"url": "glitchometry-stripes-8",
"images": [
"DANIELTEMKINGlitchometryStripes8png-1545703274207.png"
],
"owner": null,
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{
"_id": "5c21a4bbbf94110005edb078",
"metadata": {
"artist": [
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"value": "Daniel Temkin",
"groupId": "5c219022bf94110005edb073"
}
],
"year": {
"value": "2011"
},
"gallery": [
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"value": "Transfer Gallery",
"groupId": "5bfdf3d28253fc0005058a5c"
}
],
"dimensions": [
{
"value": {
"length": "2\"",
"height": "16\"",
"width": "30\""
}
}
],
"medium": [
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}
],
"exhibition": [
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"groupId": "5c21908dbf94110005edb075"
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},
"metadataString": "{\"artist\":[{\"value\":\"Daniel Temkin\",\"groupId\":\"5c219022bf94110005edb073\"}],\"year\":{\"value\":\"2011\"},\"gallery\":[{\"value\":\"Transfer Gallery\",\"groupId\":\"5bfdf3d28253fc0005058a5c\"}],\"dimensions\":[{\"value\":{\"length\":\"2\\\"\",\"height\":\"16\\\"\",\"width\":\"30\\\"\"}}],\"medium\":[{\"value\":\"Digital c-print on Duratrans\"}],\"exhibition\":[{\"value\":\"Glitchometry\",\"groupId\":\"5c21908dbf94110005edb075\"}]}",
"title": "Glitchometry #17",
"wikiBody": "‘Glitchometry’ takes algorithms designed for sound editing and sets them loose on images, twisting the data into strange new patterns. Each image begins as a simple geometric shape; a circle, triangle or stripes. As they are composed, the artist sees the image only as a soundwave, with no immediate way to monitor the visual result of his edits. Temkin paints with a very blunt brush that has a mind of its own. ‘Glitchometry’ is a wrestling with the computer, the results of which are abstract compositions, exhibited as vibrantly colored backlit prints and monochrome large-format works on canvas.",
"type": "artwork",
"url": "glitchometry-17",
"images": [
"WSJTemkinglitchometry17png-1545708730286.png"
],
"owner": null,
"ownerUserId": null,
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{
"_id": "5c21b141bf94110005edb07d",
"metadata": {
"artist": [
{
"value": "Daniel Temkin",
"groupId": "5c219022bf94110005edb073"
}
],
"year": {
"value": "2013"
},
"medium": [
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"value": "Digital c-print on Duratrans"
}
],
"dimensions": [
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"value": {
"length": "4\"",
"height": "36\"",
"width": "72\""
}
}
],
"exhibition": [
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"value": "Glitchometry",
"groupId": "5c21908dbf94110005edb075"
}
],
"timestamp": 1545711937122
},
"metadataString": "{\"artist\":[{\"value\":\"Daniel Temkin\",\"groupId\":\"5c219022bf94110005edb073\"}],\"year\":{\"value\":\"2013\"},\"medium\":[{\"value\":\"Digital c-print on Duratrans\"}],\"dimensions\":[{\"value\":{\"length\":\"4\\\"\",\"height\":\"36\\\"\",\"width\":\"72\\\"\"}}],\"exhibition\":[{\"value\":\"Glitchometry\",\"groupId\":\"5c21908dbf94110005edb075\"}]}",
"title": "Glitchometry Circles #9",
"wikiBody": "‘Glitchometry’ takes algorithms designed for sound editing and sets them loose on images, twisting the data into strange new patterns. Each image begins as a simple geometric shape; a circle, triangle or stripes. As they are composed, the artist sees the image only as a soundwave, with no immediate way to monitor the visual result of his edits. Temkin paints with a very blunt brush that has a mind of its own. ‘Glitchometry’ is a wrestling with the computer, the results of which are abstract compositions, exhibited as vibrantly colored backlit prints and monochrome large-format works on canvas.",
"type": "artwork",
"url": "glitchometry-circles-9",
"images": [
"DANIELTEMKINGlitchometryCircles9digitaljpg-1545711935243.jpg"
],
"owner": null,
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{
"_id": "5c21b329bf94110005edb080",
"metadata": {
"artist": [
{
"value": "Rick Silva",
"groupId": "5c094333cab8b200055fb3a5"
}
],
"year": {
"value": "2014"
},
"medium": [
{
"value": "Compilation Video (11:38) and 18 Individual Birds (00:30)"
}
],
"gallery": [
{
"value": "Transfer Gallery",
"groupId": "5bfdf3d28253fc0005058a5c"
}
],
"timestamp": 1545712425990
},
"metadataString": "{\"artist\":[{\"value\":\"Rick Silva\",\"groupId\":\"5c094333cab8b200055fb3a5\"}],\"year\":{\"value\":\"2014\"},\"medium\":[{\"value\":\"Compilation Video (11:38) and 18 Individual Birds (00:30)\"}],\"gallery\":[{\"value\":\"Transfer Gallery\",\"groupId\":\"5bfdf3d28253fc0005058a5c\"}]}",
"title": "The Silva Field Guide to Birds of a Parallel Future",
"wikiBody": "Inspired by 'Sibley’s Field Guide to Birds' and readings on multiverse theory, Silva modeled the first of his birds in 2014. ‘The Silva Field Guide to Birds of a Parallel Future’ is a web-based video work consisting of 18 animations, 30 seconds each, accompanied by a short story by Claire L. Evans. \n\nSilva's birds take flight over gleaming horizons with impossible geometries, flapping their wings with imaginary physics and stunning the viewer with beguiling colors and textures. \n\nhttp://silvafieldguide.com/\n\nThe work can be viewed online, displayed as a single-channel seamless loop, or in a grid featuring the individual birds playing on loop. \n\nRick Silva(1977, São Paulo, Brazil) is an artist whose recent videos, websites and images explore notions of landscape and wilderness in the 21st century. He received an MFA from The University of Colorado in 2007, and has since shown extensively nationally and internationally, with recent solo exhibitions at TRANSFER Gallery in New York, Wil Aballe Art Projects in Vancouver, New Shelter Plan in Copenhagen, and Ditch Projects in Oregon. His projects are included in multiple permanent collections such as The Whitney Museum of American Art and the Borusan Contemporary Collection. \n\n",
"type": "artwork",
"url": "the-silva-field-guide-to-birds-of-a-parallel-future",
"images": [
"SFBPF1jpg-1545712412560.jpg"
],
"owner": null,
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{
"_id": "5c21b6f1bf94110005edb086",
"metadata": {
"artist": [
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"value": "Rick Silva",
"groupId": "5c094333cab8b200055fb3a5"
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],
"year": {
"value": "2014"
},
"dimensions": [
{
"value": {
"length": ".05\"",
"height": "40\"",
"width": "22.5\""
}
}
],
"gallery": [
{
"value": "Transfer Gallery",
"groupId": "5bfdf3d28253fc0005058a5c"
}
],
"exhibition": [
{
"value": "Rick Silva 'Sky Burial'",
"groupId": "5c21b4d2bf94110005edb084"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Rick Silva\",\"groupId\":\"5c094333cab8b200055fb3a5\"}],\"year\":{\"value\":\"2014\"},\"dimensions\":[{\"value\":{\"length\":\".05\\\"\",\"height\":\"40\\\"\",\"width\":\"22.5\\\"\"}}],\"gallery\":[{\"value\":\"Transfer Gallery\",\"groupId\":\"5bfdf3d28253fc0005058a5c\"}],\"exhibition\":[{\"value\":\"Rick Silva 'Sky Burial'\",\"groupId\":\"5c21b4d2bf94110005edb084\"}]}",
"title": "Circling ",
"wikiBody": "Titled ‘SKY BURIAL’, the exhibition takes as its starting point the Tibetan Buddhist funeral practice in which a body is placed on a mountaintop to be eaten by birds of prey. In lieu of bodies and birds, Silva uses quadcopter drones and digital images to reflect on ritual and ascension in the 21st century. \n\nUsing a camera drone, Silva lifts the artist’s submitted image hundreds of feet into the air until it loses contact with the remote and the drones programmed artificial intelligence takes over. Silva records a series of these “sky burials” for 10 artists, selected by the artist from his friends and past collaborators. Silva’s installation of prints and sculpture in the exhibition further explore a world of post military drones and future rituals. \n",
"type": "artwork",
"url": "circling",
"images": [
"RICKSILVASkyBurialCirclingjpg-1545713391723.jpg"
],
"owner": null,
"ownerUserId": null,
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"assets": []
},
{
"_id": "5c22fce2bf94110005edb0a4",
"metadata": {
"artist": [
{
"value": "Felice Casorati",
"groupId": -1
}
],
"url": [
{
"value": "https://en.wikipedia.org/wiki/Felice_Casorati"
},
{
"value": "https://www.wikiart.org/en/felice-casorati/concerto-1924"
},
{
"value": "http://www.museorevoltella.it/opere.php?id_opera=39"
}
],
"year": {
"value": "1923"
},
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Felice Casorati\",\"groupId\":-1}],\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Felice_Casorati\"},{\"value\":\"https://www.wikiart.org/en/felice-casorati/concerto-1924\"},{\"value\":\"http://www.museorevoltella.it/opere.php?id_opera=39\"}],\"year\":{\"value\":\"1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": " Meriggio (Noon)",
"wikiBody": "A well known artwork going into the public domain Jan 1, 2019\r\n\r\n#### Talk\r\n\r\n- wikiart has fields for style and genre which are useful. @rejon\r\n - https://www.wikiart.org/en/felice-casorati/concerto-1924",
"type": "artwork",
"url": "meriggio-noon",
"images": [
"94E68F720E424368B865B76EE11020CBjpeg-1545796833581.jpeg"
],
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
"assets": []
},
{
"_id": "5c2306cebf94110005edb0ab",
"metadata": {
"artist": [
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"title": "Stuntwoman",
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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": "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",
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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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"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",
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"title": "Visual Orgasms: Champaign Popping",
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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",
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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",
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"title": "Visual Orgasms: Trains Erupting from Tunnels",
"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": "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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],
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"title": "Les Deux Amies",
"wikiBody": "A work entering the public domain Jan 1 2019",
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"metadataString": "{\"artist\":[{\"value\":\"George Grosz\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"https://www.lempertz.com/en/catalogues/lot/1051-1/294-george-grosz.html\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"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",
"images": [
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},
{
"_id": "5c28654604c7f70005191c37",
"metadata": {
"artist": [
{
"value": "KAWS",
"groupId": -1
}
],
"year": {
"value": "2013"
},
"gallery": [
{
"value": "City Museum"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"KAWS\",\"groupId\":-1}],\"year\":{\"value\":\"2013\"},\"gallery\":[{\"value\":\"City Museum\"}]}",
"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",
"images": [
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],
"owner": null,
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},
{
"_id": "5c2a8d75cb7f260005f1fd1e",
"metadata": {
"artist": [
{
"value": "Auguste Herbin",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Auguste Herbin\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"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)",
"type": "artwork",
"url": "bowls-players",
"images": [
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],
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},
{
"_id": "5c2ba4eacb7f260005f1fd30",
"metadata": {
"artist": [
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"value": "Zachary Buchner",
"groupId": -1
}
],
"year": {
"value": "2018"
},
"dimensions": [
{
"value": {
"length": "3\"",
"height": "22\"",
"width": "20\""
}
}
],
"gallery": [
{
"value": "Monaco",
"groupId": "5c2ba44fcb7f260005f1fd2d"
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],
"exhibition": [
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"value": "Tensor Field",
"groupId": "5c2ba402cb7f260005f1fd2a"
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],
"url": [
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"value": "https://twitter.com/Monaco_USA/status/1080144438930952192"
}
],
"location": [
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"value": "Saint Louis, Missouri, USA"
}
],
"timestamp": 1546364138473
},
"metadataString": "{\"artist\":[{\"value\":\"Zachary Buchner\",\"groupId\":-1}],\"year\":{\"value\":\"2018\"},\"dimensions\":[{\"value\":{\"length\":\"3\\\"\",\"height\":\"22\\\"\",\"width\":\"20\\\"\"}}],\"gallery\":[{\"value\":\"Monaco\",\"groupId\":\"5c2ba44fcb7f260005f1fd2d\"}],\"exhibition\":[{\"value\":\"Tensor Field\",\"groupId\":\"5c2ba402cb7f260005f1fd2a\"}],\"url\":[{\"value\":\"https://twitter.com/Monaco_USA/status/1080144438930952192\"}],\"location\":[{\"value\":\"Saint Louis, Missouri, USA\"}]}",
"title": "Untitled (PlumPurplePink)",
"wikiBody": "An artwork from the upcoming show.",
"type": "artwork",
"url": "untitled-plumpurplepink",
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{
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"metadata": {
"artist": [
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"value": "Lorna Mills",
"groupId": "5c2bdee1b8b23b0005301090"
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],
"year": {
"value": "2015"
}
},
"metadataString": "{\"artist\":[{\"value\":\"Lorna Mills\",\"groupId\":\"5c2bdee1b8b23b0005301090\"}],\"year\":{\"value\":\"2015\"}}",
"title": "Mountain Light/Time",
"wikiBody": "Mountain/Light Time is an animated GIF of a speedy sunrise over mountain tops with each loop timed to match the duration of a deep breath. A virtual inhilation and exhalation of mountain air and light.",
"type": "artwork",
"url": "mountain-light-time",
"images": [
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"metadata": {
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"groupId": -1
}
],
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"value": "1923"
},
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"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",
"wikiBody": "An artwork that entered the public domain on Jan 1, 2019.",
"type": "artwork",
"url": "stained-glass-windows-at-glise-notre-dame-du-raincy",
"images": [
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"owner": null,
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},
{
"_id": "5c2c0e23b8b23b0005301098",
"metadata": {
"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": "5c2c0e3eb8b23b000530109a"
}
],
"gallery": [
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"value": "Salon 94 Bowery",
"groupId": -1
}
],
"timestamp": 1546391075915
},
"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",
"url": "red-slipped-platinum-kairagi-shino-ball",
"images": [
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"owner": null,
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},
{
"_id": "5c2c43fab8b23b00053010a9",
"metadata": {
"artist": [
{
"value": "Ernst Ludwig Kirchner",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"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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"wikiVersion": 1,
"assets": []
},
{
"_id": "5c2c494fb8b23b00053010ad",
"metadata": {
"artist": [
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"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"
}
]
},
"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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],
"owner": null,
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},
{
"_id": "5c2c4d1fb8b23b00053010b6",
"metadata": {
"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"
}
]
},
"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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],
"owner": null,
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},
{
"_id": "5c2c5598b8b23b00053010bf",
"metadata": {
"artist": [
{
"value": "Bertram Mackennal",
"groupId": "5c2c4e6bb8b23b00053010b9"
}
],
"year": {
"value": "1923"
},
"url": [
{
"value": "https://en.wikipedia.org/wiki/Bertram_Mackennal"
},
{
"value": "https://en.wikipedia.org/wiki/Caledonian_Club"
}
],
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Bertram Mackennal\",\"groupId\":\"5c2c4e6bb8b23b00053010b9\"}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Bertram_Mackennal\"},{\"value\":\"https://en.wikipedia.org/wiki/Caledonian_Club\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"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",
"type": "artwork",
"url": "mouther-courage",
"images": [
"9HalkinStreetgeograph4768947jpg-1546409367320.jpg"
],
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
"assets": []
},
{
"_id": "5c2c5974b8b23b00053010c2",
"metadata": {
"artist": [
{
"value": "Bertram Mackennal",
"groupId": "5c2c4e6bb8b23b00053010b9"
}
],
"year": {
"value": "1923"
},
"url": [
{
"value": "http://www.ngv.vic.gov.au/explore/collection/work/70369/"
},
{
"value": "https://en.wikipedia.org/wiki/Bertram_Mackennal"
}
],
"medium": [
{
"value": "bronze"
}
],
"dimensions": [
{
"value": {
"length": "123.3 cm",
"height": "187.6 cm",
"width": "80.8 cm"
}
}
],
"collection": [
{
"value": "National Gallery of Victoria, Melbourne"
}
],
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Bertram Mackennal\",\"groupId\":\"5c2c4e6bb8b23b00053010b9\"}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"http://www.ngv.vic.gov.au/explore/collection/work/70369/\"},{\"value\":\"https://en.wikipedia.org/wiki/Bertram_Mackennal\"}],\"medium\":[{\"value\":\"bronze\"}],\"dimensions\":[{\"value\":{\"length\":\"123.3 cm\",\"height\":\"187.6 cm\",\"width\":\"80.8 cm\"}}],\"collection\":[{\"value\":\"National Gallery of Victoria, Melbourne\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Eton College War Memorial",
"wikiBody": "",
"type": "artwork",
"url": "eton-college-war-memorial",
"images": [
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],
"owner": null,
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"wikiVersion": 1,
"assets": []
},
{
"_id": "5c2c5ab0b8b23b00053010c9",
"metadata": {
"artist": [
{
"value": "Henri Matisse",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"url": [
{
"value": "https://en.wikipedia.org/wiki/Odalisque_with_Raised_Arms"
}
],
"medium": [
{
"value": "Oil on canvas"
}
],
"dimensions": [
{
"value": {
"height": "68 cm",
"width": "64 cm"
}
}
],
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Henri Matisse\",\"groupId\":-1}],\"year\":{\"value\":\"1923\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Odalisque_with_Raised_Arms\"}],\"medium\":[{\"value\":\"Oil on canvas\"}],\"dimensions\":[{\"value\":{\"height\":\"68 cm\",\"width\":\"64 cm\"}}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"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",
"type": "artwork",
"url": "odalisque-with-raised-arms",
"images": [
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{
"_id": "5c2c5d02b8b23b00053010cf",
"metadata": {
"artist": [
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"value": "Henri Matisse",
"groupId": "5c2c5b90b8b23b00053010cc"
}
],
"year": {
"value": "1912"
},
"url": [
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"value": "https://en.wikipedia.org/wiki/Window_at_Tangier"
}
],
"dimensions": [
{
"value": {
"height": "115 cm",
"width": "80 cm"
}
}
],
"medium": [
{
"value": "Oil on canvas"
}
],
"exhibition": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Henri Matisse\",\"groupId\":\"5c2c5b90b8b23b00053010cc\"}],\"year\":{\"value\":\"1912\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Window_at_Tangier\"}],\"dimensions\":[{\"value\":{\"height\":\"115 cm\",\"width\":\"80 cm\"}}],\"medium\":[{\"value\":\"Oil on canvas\"}],\"exhibition\":[{\"value\":\"Challenge: Public Domain 2019\",\"groupId\":\"5c1d205447e64d0005c6597f\"}]}",
"title": "Window at Tangier",
"wikiBody": "An artwork entering public domain on Jan 1, 2019.",
"type": "artwork",
"url": "window-at-tangier",
"images": [
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],
"owner": null,
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},
{
"_id": "5c2c5f5bb8b23b00053010d7",
"metadata": {
"artist": [
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"value": "Mikhail Nesterov",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"url": [
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"value": "https://en.wikipedia.org/wiki/File:Mikhail_Nesterov_055.jpg"
}
],
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
],
"timestamp": 1546411867727
},
"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": [
"MikhailNesterov055jpg-1546411866975.jpg"
],
"owner": null,
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},
{
"_id": "5c2c6032b8b23b00053010db",
"metadata": {
"artist": [
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"value": "William Orpen",
"groupId": -1
}
],
"year": {
"value": "1923"
},
"exhibition": [
{
"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
],
"timestamp": 1546412082350
},
"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": {
"artist": [
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"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": [
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"value": "Paris"
}
],
"gallery": [
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"value": "Musée Picasso",
"groupId": "5c2cd59fe9b14f00058b6d50"
}
],
"medium": [
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"value": "Oil on canvas"
}
],
"exhibition": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
]
},
"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",
"url": "the-pipes-of-pan",
"images": [
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],
"owner": null,
"ownerUserId": null,
"wikiVersion": 1,
"assets": []
},
{
"_id": "5c2cd76be9b14f00058b6d54",
"metadata": {
"artist": [
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"value": "Pablo Picasso",
"groupId": "5c2cd634e9b14f00058b6d52"
}
],
"year": {
"value": "1923"
},
"exhibition": [
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"value": "Challenge: Public Domain 2019",
"groupId": "5c1d205447e64d0005c6597f"
}
],
"timestamp": 1546442603248
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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",
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"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.",
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"title": "Sheffield from Wincobank Wood",
"wikiBody": "An artwork that entered the public domain on Jan 1, 2019.\r\n\r\n",
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"title": "The Recording Angel",
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"wikiBody": "This is the first version of the Bicycle Wheel which was destroyed. There is no known photograph of this work. \r\n\r\n\r\n#### Talk\r\n\r\n- It is possible there is a photo of this work and if you have, please share! (@rejon)",
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"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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"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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"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.",
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"title": "Ornery",
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"title": "River Flow",
"wikiBody": "An artwork at Sheung Shui MTR Station.",
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"title": "Fabricatorz Stickers",
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"title": "Hawthorne Tree",
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"title": "Rejon Avatar",
"wikiBody": "This is the original rejon avatar designed not by Jon Phillips, but Nicu Bucelei.",
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],
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"metadataString": "{\"artist\":[{\"value\":\"Matt Hope\"}],\"year\":{\"value\":\"2019\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Horn_Massive\"}],\"fabricator\":[{\"value\":\"Matt Hope\"}],\"genre\":[{\"value\":\"Sculpture\"}],\"series\":[{\"value\":\"Soundsystem\"}],\"location\":[{\"value\":\"Unknown\"}],\"editions\":{\"value\":\"Unique\"}}",
"title": "Horn Massive",
"wikiBody": "This is one of the most well known Matt Hope Soundsystems that played at Coachella and Burningman.\n\n### Talk\n\n- When was Coachella showing?\n- When was Burning man showing?\n\n### Found Sources\n\n- https://blog.wfmu.org/freeform/2006/08/big_sound.html\n- https://alchetron.com/Matt-Hope\n- http://www.itishifi.com/2013/11/speaker-of-unusual-size-hornmassive-by.html\n- https://en.wikipedia.org/wiki/Matt_Hope\n\n\n### From this link\n\n- https://web.archive.org/web/20120806224804/http://matthope.org/sculpture/hornmassive/\n\n\nHornmassive is a 2-ton (4,500lbs), 3.5 x 3.1 x 4 M mobile 2000-watt steel and aluminium horn sound system. It is powered by a commercial 12 inch speaker driver and it functions as a mobile audio input station that one can use to project “content” a distance of 1 km.\nHornmassive is the ultimate monophonic sound projector and it is intended to catalyze social activities in multiple settings. Hornmassive has just been completely refurbished, now better than new.\nDate of design/manufacture: 2002-2004\nManufacturer: In house \nDesign tools: AutoCAD, Bass box pro, Horn calc, Rhino 3D, 3D studio max \nEngineers: Jiddu \nMaterials: Steel, aluminium, rubber, electronics, components \nFeatures: Line inputs, castering, brakes, leveling, lifting eyes, storage \nWeight: 2 tons \nDimensions: 3.5 x 3.1 x 4 M \nStatus: Refurbished \nProduction time: 2 years\n\n\n### From this site\n\n\n\nSculptor Matt Hope spent six months designing and 14 months building Hornmassive and it is impressive. I do not tire of looking at it. This is a giant mobile mono system. WOW! I'd love to hear this one.\n\n",
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"value": "https://openclipart.org/detail/310373/rejons-head-low-poly"
}
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"timestamp": 1560315946622
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"metadataString": "{\"artist\":[{\"value\":\"GDJ\",\"groupId\":-1}],\"year\":{\"value\":\"2018\"},\"url\":[{\"value\":\"https://openclipart.org/detail/310373/rejons-head-low-poly\"}]}",
"title": "Rejon's Head Low Poly",
"wikiBody": "GDJ's low poly version of the original Nicubunu created REJON avatar.",
"type": "artwork",
"url": "rejon-s-head-low-poly",
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"year": {
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}
],
"timestamp": 1560316067052
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"metadataString": "{\"artist\":[{\"value\":\"GDJ\",\"groupId\":-1}],\"year\":{\"value\":\"2018\"},\"url\":[{\"value\":\"https://openclipart.org/detail/310375/rejons-head-low-poly-ii-surreal\"}]}",
"title": "Rejon's Head Low Poly II Surreal",
"wikiBody": "GDJ's more abstract version of the original image.",
"type": "artwork",
"url": "rejon-s-head-low-poly-ii-surreal",
"images": [
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"metadata": {
"artist": [
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"value": "Neil Stuber"
}
],
"year": {
"value": "2004"
},
"workReferenced": [
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"value": "Horn Massive"
}
],
"timestamp": 1560319681212
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"metadataString": "{\"artist\":[{\"value\":\"Neil Stuber\"}],\"year\":{\"value\":\"2004\"},\"workReferenced\":[{\"value\":\"Horn Massive\"}]}",
"title": "Horn Massive Flier",
"wikiBody": "Flier designed for the debut of Matt Hope's HORNMASSIVE Soundsystem, by Neil Stuber. \n\n### Talk\n\n- All the fields need filling out. Needs more data.",
"type": "artwork",
"url": "horn-massive-flier",
"images": [
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],
"owner": null,
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"metadata": {
"artist": [
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"value": "Matt Hope"
}
],
"location": [
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"value": "Beijing"
},
{
"value": "Caochangdi"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Matt Hope\"}],\"location\":[{\"value\":\"Beijing\"},{\"value\":\"Caochangdi\"}]}",
"title": "The Laoban Weak Soundsystem",
"wikiBody": "### Experience\n\n- \"The Weak Soundsystem was designed for one of the Beijing Design Weeks, but canno remember it\" said Jon Phillips\n\n### Sources\n\n#### https://alchetron.com/Matt-Hope\n\n- has photos and some text (@rain)",
"type": "artwork",
"url": "the-laoban-weak-soundsystem",
"images": [
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"_id": "5d00a5962163fc0005862b39",
"metadata": {
"artist": [
{
"value": "Matt Hope"
}
],
"year": {
"value": "2012"
},
"url": [
{
"value": "https://www.youtube.com/watch?v=UCJQ3NsDUYc"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Matt Hope\"}],\"year\":{\"value\":\"2012\"},\"url\":[{\"value\":\"https://www.youtube.com/watch?v=UCJQ3NsDUYc\"}]}",
"title": "Breathing Bike",
"wikiBody": "### Sources\n\n#### From https://alchetron.com/Matt-Hope\n\n\"Breath\" is bike built by Hope that combines various found objects, including an electromechanical filtration system, that filters air while pedalling. Although technically operable, it is more of an artistic and theoretical response, rather than practical solution, to Beijing's pollution problem. \"Breath\" was exhibited in 2012 at Get It Louder, a contemporary art biennial in China. It is regularly mentioned in International news in connection with China's Pollution Crisis.\n\n### Talk\n\n- The press list is very long, needs to be input. @rain",
"type": "artwork",
"url": "breathing-bike",
"images": [
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"wikiVersion": 3,
"assets": [],
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{
"_id": "5d0255c82163fc0005862b4d",
"metadata": {
"artist": [
{
"value": "Matt Hope"
}
],
"year": {
"value": "2019"
},
"medium": [
{
"value": "Ink on paper"
}
],
"dimensions": [
{
"value": {
"height": "90 cm",
"width": "60 cm"
}
}
],
"url": [
{
"value": "https://www.instagram.com/p/BymNAcFFb-S/"
}
],
"timestamp": 1560434120866
},
"metadataString": "{\"artist\":[{\"value\":\"Matt Hope\"}],\"year\":{\"value\":\"2019\"},\"medium\":[{\"value\":\"Ink on paper\"}],\"dimensions\":[{\"value\":{\"height\":\"90 cm\",\"width\":\"60 cm\"}}],\"url\":[{\"value\":\"https://www.instagram.com/p/BymNAcFFb-S/\"}]}",
"title": "Time jam",
"wikiBody": "New piece by Matt Hope.",
"type": "artwork",
"url": "time-jam",
"images": [
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"width": "114 cm"
}
}
],
"timestamp": 1560434212395
},
"metadataString": "{\"artist\":[{\"value\":\"Matt Hope\"}],\"year\":{\"value\":\"2019\"},\"dimensions\":[{\"value\":{\"height\":\"155 cm\",\"width\":\"114 cm\"}}]}",
"title": "think one thing do another",
"wikiBody": "",
"type": "artwork",
"url": "think-one-thing-do-another",
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"metadata": {
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"groupId": -1
}
],
"url": [
{
"value": "https://pxlpeeps.com"
}
],
"commissionedBy": [
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"value": "Jon Phillips"
}
],
"gallery": [
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"value": "PXLPEEPS"
}
]
},
"metadataString": "{\"artist\":[{\"value\":\"Brad Phillips\",\"groupId\":-1}],\"url\":[{\"value\":\"https://pxlpeeps.com\"}],\"commissionedBy\":[{\"value\":\"Jon Phillips\"}],\"gallery\":[{\"value\":\"PXLPEEPS\"}]}",
"title": "REJON Pxlpeeps",
"wikiBody": "Brad designed as one of the first Pxlpeeps.",
"type": "artwork",
"url": "rejon-pxlpeeps",
"images": [
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{
"_id": "5d0268532163fc0005862b55",
"metadata": {
"artist": [
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"value": "Neil Stuber"
},
{
"value": "Jon Phillips"
}
],
"year": {
"value": "2003"
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"url": [
{
"value": "https://openclipart.org/detail/194049/fabricatorz-symbol-red"
}
],
"timestamp": 1560438867825
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"metadataString": "{\"artist\":[{\"value\":\"Neil Stuber\"},{\"value\":\"Jon Phillips\"}],\"year\":{\"value\":\"2003\"},\"url\":[{\"value\":\"https://openclipart.org/detail/194049/fabricatorz-symbol-red\"}]}",
"title": "Fabricatorz Symbol",
"wikiBody": "Original created by Neil Stuber and rotated 90 degrees, simplifed by Jon Phillips.",
"type": "artwork",
"url": "fabricatorz-symbol",
"images": [
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{
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"metadata": {
"artist": [
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"value": "Bao Ho",
"groupId": -1
}
],
"year": {
"value": "2019"
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"dimensions": [
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"height": "12 in",
"width": "16 in"
}
}
],
"medium": [
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}
],
"gallery": [
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],
"timestamp": 1561001954783
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"metadataString": "{\"artist\":[{\"value\":\"Bao Ho\",\"groupId\":-1}],\"year\":{\"value\":\"2019\"},\"dimensions\":[{\"value\":{\"height\":\"12 in\",\"width\":\"16 in\"}}],\"medium\":[{\"value\":\"Ink on canvas\"}],\"gallery\":[{\"value\":\"Oui.Gallery\"}]}",
"title": "Snake I",
"wikiBody": "First traditional Chinese ink drawing artist Bao Ho made.",
"type": "artwork",
"url": "snake-i",
"images": [
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],
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"groupId": -1
}
],
"year": {
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},
"gallery": [
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"groupId": -1
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],
"medium": [
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}
],
"dimensions": [
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"width": "145 cm"
}
}
],
"exhibition": [
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"value": "Artbasel Hong Kong 2018",
"groupId": -1
}
],
"genre": [
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],
"url": [
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"value": "https://www.artbasel.com/catalog/artwork/66832/Lu-Xinjian-Reflections-Cathédrale-Notre-Dame-de-Paris-No-3"
}
],
"timestamp": 1561821277385
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"metadataString": "{\"artist\":[{\"value\":\"Lu Xinjian\",\"groupId\":-1}],\"year\":{\"value\":\"2018\"},\"gallery\":[{\"value\":\"de Sarthe Gallery\",\"groupId\":-1}],\"medium\":[{\"value\":\"Acrylic on canvas-covered plywood\"}],\"dimensions\":[{\"value\":{\"height\":\"200 cm\",\"width\":\"145 cm\"}}],\"exhibition\":[{\"value\":\"Artbasel Hong Kong 2018\",\"groupId\":-1}],\"genre\":[{\"value\":\"Painting\"}],\"url\":[{\"value\":\"https://www.artbasel.com/catalog/artwork/66832/Lu-Xinjian-Reflections-Cathédrale-Notre-Dame-de-Paris-No-3\"}]}",
"title": "Reflections-Cathédrale Notre Dame de Paris No. 3",
"wikiBody": "Before the large fire of the Notre Dame Cathedral, Lu Xinjian painted this work.\r\n\r\n",
"type": "artwork",
"url": "reflections-cath-drale-notre-dame-de-paris-no-3",
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"groupId": -1
}
],
"year": {
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},
"url": [
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"value": "https://www.designboom.com/art/lu-xinjian-invisible-poem-paintings/"
}
],
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"height": "150 cm",
"width": "150 cm"
}
}
],
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],
"timestamp": 1561865478674
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"metadataString": "{\"artist\":[{\"value\":\"Lu Xinjian\",\"groupId\":-1}],\"year\":{\"value\":\"2012\"},\"url\":[{\"value\":\"https://www.designboom.com/art/lu-xinjian-invisible-poem-paintings/\"}],\"dimensions\":[{\"value\":{\"height\":\"150 cm\",\"width\":\"150 cm\"}}],\"medium\":[{\"value\":\"acrylic on canvas\"}]}",
"title": "du fu: jue ju",
"wikiBody": "From invisible poem series",
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],
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"url": [
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"value": "https://www.instagram.com/p/3utos1JpLp/?igshid=1v6mofy1c2h48"
}
],
"gallery": [
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]
},
"metadataString": "{\"artist\":[{\"value\":\"Brad Phillips\",\"groupId\":-1}],\"year\":{\"value\":\"2015\"},\"url\":[{\"value\":\"https://www.instagram.com/p/3utos1JpLp/?igshid=1v6mofy1c2h48\"}],\"gallery\":[{\"value\":\"PXLPEEPS\"}]}",
"title": "PXLPEEPS",
"wikiBody": "Original artwork by pianoBrad aka instamegabreezy aka Brad Phillips",
"type": "artwork",
"url": "pxlpeeps",
"images": [
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{
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}
],
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}
],
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],
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}
}
],
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"groupId": "5d39623433e7410005a3de03"
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"title": "Big Suit",
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"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",
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"title": "Untitled Commission",
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"title": "High Heels",
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"title": "Heiß",
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"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",
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"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",
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"title": "Circular glass top",
"wikiBody": "From auction:\n\nLot 260: BOB CASSILLY, AMERICAN (B.1949) Circular glass top\n\nEstimate: $800 - $1,000",
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"title": "Finding Art",
"wikiBody": "Iphone Photo at Metropolitan Museum of Art\n\nwhat artwork is this? @rain",
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"title": "Attitüde Leben",
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"wikiBody": "Created from uploader",
"title": "#NEWPALMYRA Column 3D model",
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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",
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"url": "apotheosis-of-st-louis",
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"wikiBody": "Film by RIP!",
"title": "Art Hill Late July",
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"title": "Eye Sketch",
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"wikiBody": "A public graphic of remembrance of George Floyd. Artist is unknown.",
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"title": "RIP Big Floyd",
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"wikiBody": "A 3d printed version of the Temple of Bel ",
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"wikiBody": "Phil is a patron of Openclipart and contributor. He is always supporting the project. I wanted to support Phil. Drawn over the top of a provided selfie from Phil Shapiro, I did my best to bring forward Phil's likeness. \n\nI drew this on an iPad Pro 12.9\" with Apple Pencil using the Open Source Software Brushes. Then converted to vector graphics using Inkscape on an MacBook Pro 16\".",
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"wikiBody": "The official instagram of https://www.instagram.com/aktstudiostl/ has full pictures. There is no official name, so its fabricated name from hashtags.\n\n@rejon: Found these rocks in a conversation on twitter and did a deep dive to find them, photograph, and scan them. Think its interesting to see how tax dollars go to work, decision making process is made and then executed. \n\n@rejon: There is a bug on artifaq blocking creating experiences right now so I'm flowing in the files I gathered in studying these precast bollards.\n\n@rejon: There are two sites I found, one at Froebel Elementary and the other in the Grove at Chroma. The Froebel site was a bit intense with traffic and people. The Chroma site was site of trendy nice new area of housing and restaurants. \n\n- Site 1: https://goo.gl/maps/t8fmu9iVLRZCxXd4A\n- Site 2: https://g.page/chromastl\n\n@rejon: I took 3d scan of the 2nd site of one of the rocks, two times. Attached are scan 5 and 6. Use freely.",
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"wikiBody": "I drew this from the original photograph from the whitehouse. I'm attaching the original and the sketch. The SVG lives at Openclipart. The video of me making it is on twitter, both linked below.",
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"title": "Joe Biden",
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"wikiBody": "Photos from a trip in 2008. We use to visit Palmyra for two days. You can see almost all the site. From the citadel to the main site. Crédit photos : Nicolas Asselin, PHD Student. You can also follow our YouTube channel for Middle East videos https://www.youtube.com/channel/UCS4wkl_fJIryhK85aeTlGww, our Twitter @AutourduM or www.instagram.com/autourdumonde2020/ for more pictures.",
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"wikiBody": "'Drifting box' is a 40cm glass water proof cubic sculpture. It is deployed into the sea off the coast of Shenzhen, China where it will float uncontrollably, pushed by the wind and tide. Within the glass box is a solar powered tracking device which allows its position to be followed back to the shore by a computer. Once the project is deployed, I will be permanently disconnected from the artwork. Its final location and fate will be unknown.",
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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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"title": "No 7, LaLa Moon Hidden Airwaves, 3-5-2018",
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"value": "1996 Kissy Cube"
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"value": "2010 to '11 Hyper Cube"
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"metadataString": "{\"artist\":[{\"value\":\"AtchaJohn\"}],\"year\":{\"value\":1995},\"series\":[{\"value\":\"1995 Time Moment Cube\"},{\"value\":\"1995 Phonetic Cube\"},{\"value\":\"1996 Kissy Cube\"},{\"value\":\"2010 to '11 Hyper Cube\"}],\"timestamp\":1622253873695}",
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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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"value": "18-4-2016 Rorschach Echo Sound Image "
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"value": "18-4-2016 Cube #1 "
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"value": "18-4-2016 #8 pulling off Blue-Tack"
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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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"email": "AtchaJohn@ProtonMail.com",
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"iat": 1622235960,
"exp": 1623531960
},
"wikiVersion": 4,
"assets": []
},
{
"_id": "61245e4a4d78af0011e74a6d",
"type": "artwork",
"metadata": {
"artist": [
{
"value": "Kehinde Wiley"
}
],
"year": {
"value": 2018
},
"timestamp": 1629773386729
},
"metadataString": "{\"artist\":[{\"value\":\"Kehinde Wiley\"}],\"year\":{\"value\":2018}}",
"ownerUserId": 126,
"wikiBody": "- NOTE: Need to pull more info from the placard for this work.",
"images": [
"2397064973804292900961992495480584487085437njpg-1629773380886.jpg",
"2402897048450809461415766400828928893859602njpg-1629773382495.jpg"
],
"title": "Charles I (B)",
"url": "charles-i-b",
"owner": {
"_id": 126,
"username": "rain",
"url": "https://oui.gallery",
"email": "rain@oui.gallery",
"iat": 1629773031,
"exp": 1631069031
},
"wikiVersion": 0
},
{
"_id": "61526df04d78af0011e74a71",
"type": "artwork",
"metadata": {
"artist": [
{
"value": "Jon Phillips"
}
],
"year": {
"value": 2021
},
"timestamp": 1632792327624
},
"metadataString": "{\"artist\":[{\"value\":\"Jon Phillips\"}],\"year\":{\"value\":2021},\"timestamp\":1632792327624}",
"ownerUserId": 23,
"wikiBody": "A fun photo I made for social media.",
"images": [
"newpalmyraphotossqjpg-1632792039277.jpg"
],
"title": "New Palmyra Le Fleur",
"url": "new-palmyra-photo-call",
"owner": {
"_id": 23,
"username": "newpalmyra",
"url": "https://newpalmyra.org",
"email": "info@newpalmyra.org",
"iat": 1631820445,
"exp": 1633116445
},
"wikiVersion": 1,
"assets": []
},
{
"_id": "6185116d4d78af0011e74a77",
"type": "artwork",
"metadata": {
"artist": [
{
"value": "pjArtbasel"
}
],
"year": {
"value": 2021
},
"timestamp": 1636111511697
},
"metadataString": "{\"artist\":[{\"value\":\"pjArtbasel\"}],\"year\":{\"value\":2021},\"timestamp\":1636111511697}",
"ownerUserId": 146,
"wikiBody": "PJenni lichtkugel 4 Editions by pjArtbasel\n\n#PhotoArt by #pjArtbasel\n\nCamera, long exposures, digitally processed, Adobe Photoshop\n\nConceptual #Art #conceptualart \n\n\n > MAIN ARTWORK :\n\nhttps://async.art/art/master/0xb6dae651468e9593e4581705a09c10a76ac1e0c8-3111\n\nBALL OF LIGHT by pjArtbasel 2021 Day/Night Timezone (GMT-06:00) Central America; Day is shown from 6am to 7pm and Night is shown from 7pm to 6am. Dimensions 3840x2160px HQ JPG\n\nhttps://async.art/u/pjartbasel/collection >>>\n",
"images": [
"pjArtbaselartifaq13Kjpg-1636111183497.jpg",
"pjArtbaselartifaq14Kjpg-1636111181092.jpg",
"pjArtbaselartifaq15Kjpg-1636111183500.jpg"
],
"title": "lichtkugel 4 Editions by pjArtbasel",
"url": "lichtkugel-4-editions-by-pjartbasel",
"owner": {
"_id": 146,
"username": "pjArtbasel",
"email": "patrick.jenni@gmx.ch",
"url": "https://linktr.ee/pjArtbasel",
"website": null,
"iat": 1636107620,
"exp": 1637403620
},
"wikiVersion": 3,
"assets": []
},
{
"_id": "618513084d78af0011e74a7c",
"type": "artwork",
"metadata": {
"artist": [
{
"value": "pjArtbasel"
}
],
"year": {
"value": 2021
},
"timestamp": 1636111112100
},
"metadataString": "{\"artist\":[{\"value\":\"pjArtbasel\"}],\"year\":{\"value\":2021}}",
"ownerUserId": 146,
"wikiBody": "PJenni lichtkugel 5 Editions by pjArtbasel\n\n#PhotoArt by #pjArtbasel Camera, long exposures, digitally processed, Adobe Photoshop\n\nConceptual #Art #conceptualart \n\n\n > MAIN ARTWORK :\n\nhttps://async.art/art/master/0xb6dae651468e9593e4581705a09c10a76ac1e0c8-3111\n\nBALL OF LIGHT by pjArtbasel 2021 Day/Night Timezone (GMT-06:00) Central America; Day is shown from 6am to 7pm and Night is shown from 7pm to 6am. Dimensions 3840x2160px HQ JPG\n\nhttps://async.art/u/pjartbasel/collection >>>",
"images": [
"pjArtbaselartifaq10jpg-1636111064567.jpg",
"pjArtbaselartifaq11jpg-1636111066715.jpg",
"pjArtbaselartifaq12jpg-1636111066717.jpg"
],
"title": "lichtkugel 5 Editions by pjArtbasel",
"url": "lichtkugel-5-editions-by-pjartbasel",
"owner": {
"_id": 146,
"username": "pjArtbasel",
"email": "patrick.jenni@gmx.ch",
"url": "https://linktr.ee/pjArtbasel",
"website": null,
"iat": 1636107620,
"exp": 1637403620
},
"wikiVersion": 0
},
{
"_id": "618515034d78af0011e74a87",
"type": "artwork",
"metadata": {
"artist": [
{
"value": "pjArtbasel"
}
],
"year": {
"value": 2021
},
"timestamp": 1636111619555
},
"metadataString": "{\"artist\":[{\"value\":\"pjArtbasel\"}],\"year\":{\"value\":2021}}",
"ownerUserId": 146,
"wikiBody": "LICHTKUGEL @ Asyncart\n\n#PhotoArt by #pjArtbasel\n\nCamera, long exposures, digitally processed, Adobe Photoshop\n\nConceptual #Art #conceptualart\n#ProgrammableArt\n#dynamicNFT\n\n\n > MAIN ARTWORK :\n\nhttps://async.art/art/master/0xb6dae651468e9593e4581705a09c10a76ac1e0c8-3111\n\nBALL OF LIGHT by pjArtbasel 2021 Day/Night Timezone (GMT-06:00) Central America; Day is shown from 6am to 7pm and Night is shown from 7pm to 6am. Dimensions 3840x2160px HQ JPG\n\nhttps://async.art/u/pjartbasel/collection >>>\n",
"images": [
"pjArtbaselartifaq07AAjpg-1636111562349.jpg",
"pjArtbaselartifaq08AAjpg-1636111560183.jpg",
"pjArtbaselartifaq09AAjpg-1636111562353.jpg"
],
"title": "LICHTKUGEL @ Asyncart",
"url": "lichtkugel-asyncart",
"owner": {
"_id": 146,
"username": "pjArtbasel",
"email": "patrick.jenni@gmx.ch",
"url": "https://linktr.ee/pjArtbasel",
"website": null,
"iat": 1636107620,
"exp": 1637403620
},
"wikiVersion": 0
},
{
"_id": "6185166f4d78af0011e74a8c",
"type": "artwork",
"metadata": {
"artist": [
{
"value": "pjArtbasel"
}
],
"year": {
"value": 2021
},
"timestamp": 1636111983335
},
"metadataString": "{\"artist\":[{\"value\":\"pjArtbasel\"}],\"year\":{\"value\":2021}}",
"ownerUserId": 146,
"wikiBody": "Cosmos #GanArt by #pjArtbasel\n\n#generator #generated #GANimages #Cosmos #GANart #create #images with #AI\nphotoedit #artcollector #artcollectors #artgallery #artgalleries #kunst #buyart #artbuyers\n\nhttps://opensea.io/assets/matic/0x2953399124f0cbb46d2cbacd8a89cf0599974963/49055084245140846115146484340614924089936921853461051911139052558626230108259",
"images": [
"pjArtbaselartifaq04jpg-1636111937456.jpg",
"pjArtbaselartifaq05jpg-1636111939429.jpg",
"pjArtbaselartifaq06jpg-1636111939426.jpg"
],
"title": "GANart #pictures-of-inner-self",
"url": "ganart-pictures-of-inner-self",
"owner": {
"_id": 146,
"username": "pjArtbasel",
"email": "patrick.jenni@gmx.ch",
"url": "https://linktr.ee/pjArtbasel",
"website": null,
"iat": 1636107620,
"exp": 1637403620
},
"wikiVersion": 0
},
{
"_id": "6185174c4d78af0011e74a91",
"type": "artwork",
"metadata": {
"artist": [
{
"value": "pjArtbasel"
}
],
"year": {
"value": 2021
},
"timestamp": 1636112204548
},
"metadataString": "{\"artist\":[{\"value\":\"pjArtbasel\"}],\"year\":{\"value\":2021}}",
"ownerUserId": 146,
"wikiBody": "#ToTheMoon by #pjArtbasel\n\nTo the Moon 1920 x 1080 px, Adobe Photoshop, generative async-Layers\n\nthis piece is composed of 47 images \ncollectors will also receive unlockable content: original Dimensions: 4K 3840x2160px HQ JPG\n\n\nhttps://async-explorer.herokuapp.com/test/canvasID=6141ecaa9faa3700166d38bf?combo=13,12,11 \n\n> Use the Randomize button, and you'll find all sorts of image mix by the Layer; some do work excellent, some are a bit dark or strange… it is async.art\n\ngenerative Layer 1: 17 images \ngenerative Layer 2: 19 images \nLayer 3: 31 images, no tranparency\n\nhttps://async.art/art/master/0xb6dae651468e9593e4581705a09c10a76ac1e0c8-3554\n\n———\n\nMoon landing July 21 1969 ",
"images": [
"pjArtbaselartifaq01Mjpg-1636112154595.jpg",
"pjArtbaselartifaq02Mjpg-1636112154599.jpg",
"pjArtbaselartifaq03Mjpg-1636112152043.jpg"
],
"title": "#ToTheMoon @ Asyncart",
"url": "tothemoon-asyncart",
"owner": {
"_id": 146,
"username": "pjArtbasel",
"email": "patrick.jenni@gmx.ch",
"url": "https://linktr.ee/pjArtbasel",
"website": null,
"iat": 1636107620,
"exp": 1637403620
},
"wikiVersion": 0
},
{
"_id": "620ff3ab7ea6580012e59f64",
"type": "artwork",
"metadata": {
"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": [],
"timestamp": 1645212587045
},
"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\":[]}",
"ownerUserId": 1,
"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.",
"images": [
"21neeskybernetics64jpg-1645212512818.jpg",
"nees23eckejpg-1645212513180.jpg"
],
"title": "23-Ecke (Polygon of 23 vertices)",
"url": "23-ecke-polygon-of-23-vertices",
"owner": {
"_id": 1,
"username": "rejon",
"url": "http://rejon.org",
"email": "jon@rejon.org",
"isAdmin": true,
"follows": [
22,
41,
111,
110
],
"iat": 1645197268,
"exp": 1646493268
},
"wikiVersion": 0
},
{
"_id": "620ff4597ea6580012e59f69",
"type": "artwork",
"metadata": {
"artist": [
{
"value": "Georg Nees"
}
],
"year": {
"value": 1965
},
"url": [
{
"value": "http://dada.compart-bremen.de/item/artwork/435"
}
],
"exhibition": [
{
"value": "Computergrafik"
}
],
"timestamp": 1645212761465
},
"metadataString": "{\"artist\":[{\"value\":\"Georg Nees\"}],\"year\":{\"value\":1965},\"url\":[{\"value\":\"http://dada.compart-bremen.de/item/artwork/435\"}],\"exhibition\":[{\"value\":\"Computergrafik\"}]}",
"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",
"images": [
"10Nees8ecke2kx2kjpg-1645212706433.jpg"
],
"title": "8-ecke",
"url": "8-ecke",
"owner": {
"_id": 1,
"username": "rejon",
"url": "http://rejon.org",
"email": "jon@rejon.org",
"isAdmin": true,
"follows": [
22,
41,
111,
110
],
"iat": 1645197268,
"exp": 1646493268
},
"wikiVersion": 0
},
{
"_id": "620ff4a27ea6580012e59f6e",
"type": "artwork",
"metadata": {
"artist": [
{
"value": "Georg Nees"
}
],
"year": {
"value": 1965
},
"url": [
{
"value": "http://dada.compart-bremen.de/item/artwork/440"
}
],
"exhibition": [
{
"value": "Computergrafik"
}
],
"timestamp": 1645212834892
},
"metadataString": "{\"artist\":[{\"value\":\"Georg Nees\"}],\"year\":{\"value\":1965},\"url\":[{\"value\":\"http://dada.compart-bremen.de/item/artwork/440\"}],\"exhibition\":[{\"value\":\"Computergrafik\"}]}",
"ownerUserId": 1,
"wikiBody": "#### NOTES\n\n- Not much info on this piece...need to find more...",
"images": [
"13NeesAndreaskreuz2kx2kjpg-1645212826227.jpg"
],
"title": "Andreaskreuz",
"url": "andreaskreuz",
"owner": {
"_id": 1,
"username": "rejon",
"url": "http://rejon.org",
"email": "jon@rejon.org",
"isAdmin": true,
"follows": [
22,
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],
"iat": 1645197268,
"exp": 1646493268
},
"wikiVersion": 0
},
{
"_id": "620ff4da7ea6580012e59f73",
"type": "artwork",
"metadata": {
"artist": [
{
"value": "Georg Nees"
}
],
"year": {
"value": 1965
},
"url": [
{
"value": "http://dada.compart-bremen.de/item/artwork/441"
}
],
"exhibition": [
{
"value": "Computergrafik"
}
],
"timestamp": 1645212890507
},
"metadataString": "{\"artist\":[{\"value\":\"Georg Nees\"}],\"year\":{\"value\":1965},\"url\":[{\"value\":\"http://dada.compart-bremen.de/item/artwork/441\"}],\"exhibition\":[{\"value\":\"Computergrafik\"}]}",
"ownerUserId": 1,
"wikiBody": "#### NOTES\n\n- Not much info on this piece, needs to find more",
"images": [
"14NeesGardinen2kx2kjpg-1645212888747.jpg"
],
"title": "Gardinen",
"url": "gardinen",
"owner": {
"_id": 1,
"username": "rejon",
"url": "http://rejon.org",
"email": "jon@rejon.org",
"isAdmin": true,
"follows": [
22,
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"iat": 1645197268,
"exp": 1646493268
},
"wikiVersion": 0
},
{
"_id": "620ff5937ea6580012e59f78",
"type": "artwork",
"metadata": {
"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"
}
],
"timestamp": 1645213075313
},
"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\"}]}",
"ownerUserId": 1,
"wikiBody": "#### NOTES\n- Need to find more info on this piece",
"images": [
"12aNeesIrrweg2kx2kjpg-1645213070261.jpg"
],
"title": "achsenparalleler irrweg (1)",
"url": "achsenparalleler-irrweg-1",
"owner": {
"_id": 1,
"username": "rejon",
"url": "http://rejon.org",
"email": "jon@rejon.org",
"isAdmin": true,
"follows": [
22,
41,
111,
110
],
"iat": 1645197268,
"exp": 1646493268
},
"wikiVersion": 0
},
{
"_id": "620ff62c7ea6580012e59f7d",
"type": "artwork",
"metadata": {
"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"
}
],
"timestamp": 1645213228444
},
"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",
"images": [
"12NeesIrrweg2kx2kjpg-1645213227261.jpg"
],
"title": "achsenparalleler irrweg (2)",
"url": "achsenparalleler-irrweg-2",
"owner": {
"_id": 1,
"username": "rejon",
"url": "http://rejon.org",
"email": "jon@rejon.org",
"isAdmin": true,
"follows": [
22,
41,
111,
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],
"iat": 1645197268,
"exp": 1646493268
},
"wikiVersion": 0
},
{
"_id": "620ffb5f7ea6580012e59f83",
"type": "artwork",
"metadata": {
"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": [],
"timestamp": 1645214559639
},
"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": [
"ScreenShot20220218at15907PMpng-1645214362874.png"
],
"title": "Slashes 425",
"url": "slashes-425",
"owner": {
"_id": 1,
"username": "rejon",
"url": "http://rejon.org",
"email": "jon@rejon.org",
"isAdmin": true,
"follows": [
22,
41,
111,
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],
"iat": 1645197268,
"exp": 1646493268
},
"wikiVersion": 0
},
{
"_id": "621591517ea6580012e59f88",
"type": "artwork",
"metadata": {
"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"
},
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Artistic Intelligence, Galerie Crone Wien, AUT\nRehearsals from the Korean Avant-Garde Performance Archive, Korean Cultural Centre, London, UK\nDas Haus, St. Pantaleon, Cologne, DE, 2017\nDIALOGUES, Sleek Magazine x VDA, Berlin, DE\nUp and Down, KINDL, Berlin, DE, 2017\nHours and Hours of Inactivity, NBK, Berlin, DE\n \n2016 \n11th Shanghai Biennale-Future Base, Why not Ask Again, Power Station of Art, Shanghai, China\nCTRL+ALT, Smithsonian APA, New York, USA\nNERIRI KIRURU HARARA, SeMA Biennale Mediacity Seoul, South Korea\nThe Tale That All But Shapes Itself, Greene Naftali Gallery, New York, USA\nPoint to Line, Jewelvary Art and Boutique, Shanghai, China\nFrom Minimalism into Algorithm, The Kitchen, New York, USA\nBusy Day with Mader, From Minimalism into Algorithm, The Kitchen, New York, USA\n \n2015\nGame of Skill 2.0, Greater New York, MoMA PS1, New York, USA\n99 Objects series with Taeyoon Choi, Whitney Museum, New York, USA\nSilence with Chelsea Knight, Fall to Earth Series, New Museum, New York, USA\n \n2014\nLove Songs with Mader, Instituto Tomie Ohtake, São Paulo, Brazil\nRASTER RASTER, Aran Cravey Gallery, Los Angeles, USA\nBooster: Kunst Sound Maschine, MARTa Herford, Herford, Germany\nA real line ran near an ear with Grabelsky+Schiffeleer, SoEx, CA, USA\n \n2013\nSoundings: A Contemporary Score, Museum of Modern Art, New York, USA\nSeeing Voice, Recess+Center for Experimental Lectures, New York, USA\n \n2012\nGesture Sign Art, Berlin Kunstraum Kreuzberg, Berlin, Germany\nWhat Can A Body Do?, Cantor Fitzgerald Gallery, Haverford, USA\n \n2011\nChorus Project, The Terrible Twos: Recess Benefit 2011, New York, USA\nSigns as Sounds, workshop, Recess with The Public School, New York, USA\n \n \nDISCOGRAPHY/ SCORING\n2015 \nFingertap Quartet, gallery@calit2, University of California, San Diego, USA\n \n2014\nFingertip Quartet, LEAP, Berlin, Germany\nBusy Day with Thomas Mader, webSYNadio, France\n \n2013\nRecording Contract with Thomas Benno Mader, BOMB Magazine\nAudio Score, commissioned by Alison O’Daniel\nWhen Not Concentrated with Thomas Benno Mader, MoMA Multimedia \nPanning to Fanning with Wolfgang Muller, Squoodge Records\nPaper Mario with Xiu Xiu, my vocals\n \n2012\nCover Art, Buke and Gase’s Misshaping Introduction, Digital EP\n \n \nSCREENINGS\n2018\nClassified Digits with Thomas Mader, Communing with Others, Images Festival, Toronto, Canada \nClassified Digits with Thomas Mader, Its origins are indeterminate programme, Whitechapel Gallery, London, UK\n \n \nFELLOWSHIPS/GRANTS/RESIDENCES\n2016\nSeMA Hana Media Art Award, SeMA Biennale Mediacity Seoul, South Korea\nWork Stipend for the Visual Arts, Senate Chancellery, Berlin, Germany\n \n2015 \nMIT Media Lab Director's Fellows, Cambridge, USA\nArtist Residency, Arnolfini Centre for Contemporary Arts, Bristol, UK\nArtist Residency, Visual Arts Center, University of Texas, Austin, USA\nTED Senior Fellowship, TED.com, Vancouver, Canada\n \n2014\nWIP Residency, Artisphere, Arlington, USA\nArtist Residency, Southern Exposure, San Francisco, USA\n \n2013\nTED Fellowship, TED.com, Long Beach, USA\n \n2012\nWollita Award, Berlin, Germany\nMellon Tri\u001f-College Creative Residency, Haverford College, Haverford, USA\nNewhouse Award, Wynn Newhouse Foundation, New York, USA\n \n2011\nSession Residency, Recess Activities, Inc., New York, USA\n \n2009\nYouth Insights Artist \u001fin \u001fResidence, Whitney Museum of American Art, New York, USA\nEmergency Grant, Foundation for Contemporary Arts, New York, USA\nDevelopment/Swing Space Grant, Lower Manhattan Cultural Council, New York, USA\nEducational Scholarship, Harvestworks Digital Media Arts Center, New York, USA\n \n2008\nArtist\u001f-Teacher Summer Residency Award, Cooper Union School of Art, New York, USA"
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"wikiBody": " \n\n_Image of artist taken from [still of interview from Moving Images youtube channel](https://www.youtube.com/watch?v=5eLPjfvuDWg)_\n\n_Info from [zachblas.info](http://zachblas.info)_\n\nZach Blas is an artist, filmmaker, and writer whose practice spans technical investigation, theoretical research, conceptualism, performance, and science fiction. He is a Lecturer in the Department of Visual Cultures at Goldsmiths, University of London.\n\nBlas has exhibited, lectured, and held screenings internationally, recently at the 2018 Gwangju Biennale; the 68th Berlin International Film Festival; 6th Guangzhou Triennial; Abierto x Obras, Matadero Madrid; 2018 Creative Time Summit; MAXXI, Rome; Los Angeles County Museum of Art; Art in General, New York; Gasworks, London; Institute of Modern Art, Brisbane; Van Abbemuseum, Eindhoven; Institute of Contemporary Arts Singapore; e-flux, New York; Whitechapel Gallery, London; ZKM Center for Art and Media, Karlsruhe; and Museo Universitario Arte Contemporáneo, Mexico City. His practice has been supported by a Creative Capital award in Emerging Fields, the Arts Council England, and Edith-Russ-Haus für Medienkunst. Blas is a 2018-20 Arts and Humanities Research Council Leadership Fellow.\n\nRecent works have addressed biometric capture, time travel, policing as mysticism, the crystals balls of Silicon Valley, and dildos. SANCTUM (2018) is a sex dungeon-cum-detention center that reimagines security and surveillance through BDSM. An immersive film installation, Contra-Internet: Jubilee 2033 (2018) follows author Ayn Rand on an acid trip, in which she bares witness to a dystopian future of the internet. im here to learn so :)))))) (2017), a four-channel video installation and collaboration with Jemima Wyman, resurrects Microsoft AI Tay to consider the gendered politics of pattern recognition and machine learning. Facial Weaponization Suite (2011-14) consists of amorphous masks that demand opacity against facial recognition systems.\n\nBlas’s writings can be found in You Are Here: Art After the Internet (Cornerhouse Books); Documentary Across Disciplines (The MIT Press and Haus der Kulturen der Welt); Queer: Documents of Contemporary Art (The MIT Press and Whitechapel Gallery); e-flux journal; and various exhibition catalogues. He is currently writing the book Informatic Opacity: The Art of Defacement in Biometric Times, a theoretical study that considers biometric facial recognition as an emerging form of global governance alongside aesthetico-political refusals of recognition, such as masked protest.\n\nHis work has been written about and featured in Artforum, Frieze, ArtReview, Art Monthly, Mousse Magazine, The Guardian, and The New York Times.",
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"title": "Rick Silva",
"wikiBody": "Rick Silva(1977, São Paulo, Brazil) is an artist whose recent videos, websites and images explore notions of landscape and wilderness in the 21st century. He received an MFA from The University of Colorado in 2007, and has since shown extensively nationally and internationally, with recent solo exhibitions at TRANSFER Gallery in New York, Wil Aballe Art Projects in Vancouver, New Shelter Plan in Copenhagen, and Ditch Projects in Oregon. His projects are included in multiple permanent collections such as The Whitney Museum of American Art and the Borusan Contemporary Collection. \n\n",
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"title": "Alex McLeod",
"wikiBody": "Artist making 3d renderings.\n\nFrom website:\n\nMcLeod (1984) is an artist concerned with simulation and the transition of matter.\n\nCV:\n\nBorn 1984, Canada\n\n\nEducation\n\nYeates School of Graduate Studies, Ryerson University, Master of Digital Media 2016\nOntario College of Art and Design, Bachelor of Fine Arts 2007\n\n\nIntegrated Art\n\nGREEN HILLS DISCOVERY, The Bentway, Toronto, 2018\nPATHWAYS - CAMH, Toronto, 2018\nSECRET PARK GATE - Metrolinx, Davenport Diamond, Toronto, 2018\nAQUATICA - Dream, 150 York Street, Toronto, 2018\nPASSAGE - TD Bank, 394 Bay Street, Toronto, 2017\nANCIENT HILLS - Drake Hotel Inc, Drake Commissary, Toronto 2017\nUNTITLED - TD Bank, TD Tech Hub, Waterloo, 2015\n\n\nScreening\n\nREADY TO DIE - TRANSFER DOWNLOAD, NADA, New York, 2018 - Thoma Foundation, Santa Fe, 2018-19\nReality Bytes - RedLine, Denver 2018\nELEVATION - DESIRE LINES, Nuit Blanche, Toronto 2017\nSISYPHUS - In/Future Cinesphere, Toronto 2016\nCONVERGENT EVOLUTION - The Banff Centre, Banff 2016\nOtherworld - Tauranga Art Gallery, Tauranga New Zealand, 2016\nFINAL FANTASY - Nuit Blanche, Drake Hotel, Toronto 2015\nPenetrating Surfaces - The Austrian Film Museum, Vienna 2014\nPostcards from the Future - Nuit Blanche, Drake Hotel, Toronto 2013\nFrozen Cascades - Leap, Berlin 2011\nArtpad SF - Phoenix Hotel, San Francisco 2011\nROJO nova - Museum of Images and Sound, Sao Paulo. Full Pull, Sweden 2010\n\n\nSolo\n\nGLAMOUR MODELING - Postmasters, New York 2018\nPHANTASMAGORIA - Art Gallery of Surrey UrbanScreen, Surrey 2018\nHISTORY OF THE WORLD - Galerie Division, Montréal 2017\nSPOTLIGHT - Harbourfront Centre, Toronto 2016\nHONEYMOON - Division Gallery, Toronto 2015\nMYTH - Galerie Trois Points, Montréal 2014\nFan Fiction (w/ Brendan Tang) - Gallery Jones, Vancouver 2014\nOUTWORLD - Angell gallery, Toronto 2013\nThe Future is Already Here (w/ Brendan Tang) - Art Gallery of Surrey, Surrey 2013\nLegendes Oubliees - Galerie Trois Points, Montréal 2012\nDistant Secrets - Angell Gallery, Toronto 2011\nImperial Lands - ROJO artspace, Barcelona 2010\nSpectral - Angell Gallery, Toronto 2010\nEstates of the Splendorous & Secret - Anno Domini, San Jose 2010\n\n\nGroup \n\nMulti Layered Surfaces - Prince Takamado Gallery, Denchu Hirakushi House, Nihonbashi Institute of Contemporary Art, Tokyo 2018\nLacroix Digital Oasis - Ancienne École des Beaux-Arts, Montreal 2018\nSimulation(s) - Mécènes du Sud, Montpellier 2017\n12 Trees - Gardiner Museum, Toronto 2017\nFelled Trees - Canada House, London 2017\nWays of Something - The Whitney Museum of American Art, New York. The Photographers' Gallery, London 2016\nthe real-fake.org.02 - Bronx Art Space, New York 2016\nLovechild - Red Deer Museum, Red Deer 2014\nUnbound - Arvada Center, Arvada 2014\nGlam North - Doris Mccarthy Gallery, UTSC, Toronto 2014\nCuriosity - MASS MOCA, Massachusetts 2013\nLive-Love-laugh: Field Trip Project - Roppongi Art Night, Grand Hyatt Tokyo, Tokyo 2013\nSummer Spirit - Art Gallery of Calgary, Calgary 2013\nMirage - Plus Gallery, Denver 2013\nField Trip Project - Hiyori Art Center, Joshibi Art Museum, Enokojima Art Center, Japan 2012\nTree Project - McMichael Collection, Kleinburg 2012\nBrave new worlds - Museum London, London 2012\nNew Landscape - The Art Gallery of Guelph, Guelph 2011\nReal Fake - California State University, Sacramento / William Paterson University, New Jersey 2011\nAnother Universe - University of Waikato, Hamilton New Zealand, 2011\nEmpire of Dreams - Museum of Contemporary Canadian Art, Toronto 2010\nSix Degrees of Separation - Claire Oliver, New York 2010\n\nFair booths\n\nExpo Chicago, Division Gallery, 2018\nDallas Art Fair, Division Gallery, 2017/8\nNADA New York, Transfer Gallery, 2018\nZⓈONAMACO, Division Gallery, 2018\nArt Toronto, Division Gallery, 2014/8\n\nCollections & Commissions\n\nThe Whitney Museum of American Art, Global Affairs Canada, Museum of Contemporary Canadian Art, Surrey Art Gallery, Fidelity International, Capital One, Royal Bank of Canada, TD Bank, BMO Financial Group, Fairmont Hotels and Resorts, Four Seasons Hotels and Resorts,\n\n\nLectures\n\nThe Art Institute of Chicago 2018\nNihonbashi Institute of Contemporary Arts 2018\nOntario College of Art and Design 2017\nGeorge Brown College 2017\nRyerson University 2017\nUniversity of Toronto 2015\nFITC, Toronto 2014\nDesign Exchange 2014\nUniversity of Denver 2013\nArt Gallery of Surrey 2013\nHiyori Art Center 2013\nDigifest 2012\nUniversity of Waikato, Waikato Museum 2011\nPratt Institute 2011\nWilliam Patterson University 2011\nMuseum of Contemporary Canadian Art 2010\n\n\nBibliography\n\nWith integrated artwork, Alex McLeod polishes Metrolinx’s Davenport Diamond, Chris Hampton, The Globe and Mail, March 29, 2018\nNew York's March fairs aim to seize market moment, Gabriella Angeletisarah P. Hanson James H. Miller Ivy Olesen, The Art Newspaper, March 2018\nInterior Design, Volume 88 Number 10 August 2017 \nDreamlands: Immersive Cinema and Art, 1905-2016, Whitney Museum of American Art, Chrissie Iles, Yale University Press, 2016\nResearch Methods for Digitising and Curating Data in the Digital Humanities, Matt Hayler, Gabriele Griffin, Edinburgh University Press, 2016\nCollins Leah, Alex McLeod's wild fantasy landscapes, CBC, October 16 2015\nCorsano Otino, All That Is Solid, MOMUS, October 7 2015\nBeckett Mufson, If 'Skyrim' Were a Fine Art, It Might Look Like This, The Creators Project, September 2 2015\nMurray Whyte, At the galleries: Alex McLeod,... Toronto Star, August 26 2015\nMallika Rao, The Kids are ALL-CAPS, The Huffington Post, April 8 2015\nBeckett Mufson, Snow Falls Like Gems, The Creators Project, March 4 2015\nJessica N. Bloom, Alex McLeod Digital, Studio Beat, November 23 2014\nEric Clement, Alex McLeod et Vicky Sabourin: La Presse, September 13 2014\nKevin Holmes, Explore Psychedelic 3D Chambers, The Creators Project, August 20 2014\nYannick LeJacq, Psychedelic Art , kotaku, August 20 2014\nMarina Galperina, ARTIST'S NOTEBOOK: ALEX MCLEOD, Animal New York, May 27 2014\nLeigh Silver, The Funniest Artists to Follow on Twitter, Complex Magazine July 23 2013\nRea McNamara, An Artist Through the Mirror: Five \"Selfies\", ArtInfo, April 26 2013\nJared Leto, Alex McLeod’s Digital Landscapes, Notes from the Outernet, April 23 2013\nPriscilla Frank, Uber Art-Savvy Tweeters to Follow in 2013, The Huffington Post, December 28 2012\nPaddy Johnson, The 10 Best Exhibitions of 2012, The L magazine, December 17 2012\nWhitney Kimball, This Weeks Must See Art Events, Art F city, November 14 2012\nSky Gooden, Alex McLeod Talks \"Stoner Art\" on the Eve of Montreal Solo Show, Artinfo, May 26 2012\nSomewhere Over The Rainbows, idn, 2012\nHybrid Spaces From Another Universe, Art News New Zealand, 2011\nKevin Holmes, A Tech Q&A With Alex McLeod, The Creators Project, October 19 2011\nHyperrealistic 3d Lansdscapes, Computer Arts, October 2011\nKevin Holmes, Step Into A Kitsch Animated Wonderland, The Creators Project, September 20 2011\nCliff Kuang, Gorgeous Dioramas You Can Control With Your Mind, Fast Company, September 15 2011\nLeah Sandals, Breathing New Life, National Post, May 21 2011\nRM Vaughan, The Familiar Transformed Into The Mysterious, The Globe & Mail, May 6 2011\nCanadian Press, TTC to Display Artists Work On Screens, CBC, April 25 2011\nAlex McLeod's Dark and Whimsical Worlds, The Huffington Post, February 28 2011\nTen Artists First Time Buyers Should Invest In Now, Toronto Life, 2010\nDavid Liss, Empire Of Dreams, Canadian Art, 2010\nQBN, Alex McLeod, 2010\nPeep Show: New Artists Exposed!, Canadian Art, August 27 2009\nMichael De Feo and Alex McLeod from the Streets to Self-Portraiture, Canadian Art, August 20 2009\nMurray Whyte, Manufactured Landscapes and Dark Transparency, Toronto Star, August 13 2009\n3D Work of Alex McLeod, Kanye West blog, May 22 2009\n\n### Gossip\n\n- need to structurw bio sections\n",
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"title": "Banksy",
"wikiBody": "Banksy is famous.\r\n\r\n### Gossip\r\n\r\n- Gather banksy details and post here @rejon",
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"title": "Kelani Nichole",
"wikiBody": "### She Bad",
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"wikiBody": "Molly O'Donnell's work address the topics of gender, sexuality, and identity in context of modern internet culture.",
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"title": "Robert Beatty",
"wikiBody": "![Robert Beatty](https://files.cargocollective.com/158872/three-legged-race-promo-2014-1.jpg \"Robert Beatty\")\nRobert Beatty is an artist and musician based in Lexington, Kentucky, USA. He has performed as Three Legged Race, Hair Police, and Resonant Hole.",
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"title": "Alan Warburton",
"wikiBody": "Alan Warburton is a queer British artist whose technologically articulate practice has involved the production of short films, prints, sculptures, 3D models, AR and VR experiences. Central to his work is a critically literate understanding of the commercial computer generated (CG) image, which he explores through focussed software ‘studies’ and video essays, the latest of which (“Goodbye Uncanny Valley”) gained him a global reputation as an artist at the forefront of debates around media, film and technology. Alan studied Critical Fine Art Practice at Brighton University from 2002 – 2005, then Digital VFX at Escape Studios in 2007. He is currently undertaking a practice-based New Media MA at London South Bank University and part of their Centre for the Study of the Networked Image. He is also an artist-in-residence at London’s Somerset House Studios.",
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"title": "Alan Butler",
"wikiBody": "Alan Butler‘s work explores material and philosophical ideas about the functions of imagery and meaning in technologically mediated realities. Works are realized through arrangements of visuals, fetishistic, historical, intellectual property, and their communicative modes that make up their whole. The subject often ties together the cultural dogma that underpins visual languages, with algorithmic modes of being in western capitalist societies. He received his MFA from LaSalle College of the Arts, Singapore (2009) and BA in Fine Art from the National College of Art and Design, Dublin (2004). Alan Butler’s work is in the collections of IMMA – the Irish Museum of Modern Art, The Office of Public Works, Ireland, and Trinity College Dublin. He is represented by Green On Red Gallery, Ireland.",
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"title": "Tarik Barri",
"wikiBody": "Tarik barri is a media artist focusing on large scale live video.\n\n### Talk\n\n- Need to break down http://tarikbarri.nl/ (@rejon)",
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"title": "Emerson Barrett",
"wikiBody": "\nEmerson Barrett was born in Las Vegas, Nevada. He is the drummer of a band called Palaye Royale which consists of himself and his two brothers, Remington Leith and Sebastian Danzig. \nEmerson's art is featured within the band's promotional material as well as their lyric book for their albums. He has also been featured in a few exhibits; most notably within the Pacific Design Center in Las Angeles, California. as well as a display at new york fashion week amongst the likes of Banksy. \n\nBarrett's style varies from 18th-century pirate ships to Victorian style castles. he even dabbles in paradoxes.\n",
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"title": "Judy Chicago",
"wikiBody": "An artist with a show at ICA Miami currently.\r\n\r\n### Gossip\r\n\r\n- break down wikipedia entry https://en.wikipedia.org/wiki/Judy_Chicago",
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"title": "Buckminster Fuller",
"wikiBody": "#### Gossip\r\n\r\n- An interview with Buckminster Fuller's only surviving child needs to be added as a reference/citation\r\n - https://www.bfi.org/dymaxion-forum/2018/11/he-was-always-step-ahead-buckminster-fullers-lingering-influence-st-louis",
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"title": "Eleonora Brizi",
"wikiBody": "Eleonora Brizi is an Italian Sinologist, graduated in Chinese language and culture, specializing in Chinese contemporary art. She currently lives and works in New York. She recently curated a show on Rare Pepe Art focusing on blockchain art.",
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"title": "Snow Yunxue Fu",
"wikiBody": "From https://snowyunxuefu.com/\n\nSnow Yunxue Fu’s artwork approaches the subject of the Sublime using topographical computer rendered animation installations. She examines and interprets the world around her through digital reality, where she draws a parallel to the realms of the physical, the virtual, the metaphysical, and multi-dimensionality.\n\nFu's work carries an appreciation for the multicultural history of landscape painting as she expands it into a contemporary context: her CGI animations and VR experiences are inspired by both the allegorical, romantic paintings of Caspar David Friedrich and the traditional Chinese landscape paintings that blur individual and linear perspectives in voluminous “virtual” space. Extending out from the pictorial, Fu’s installation work engages in a metaphoric relationship with physical perception, by which the sublime is framed and the viewer is invited to enter into a liminal interior within a digitally constructed realm.\n\n#### Talk\n\n- Full CV: https://img-cache.oppcdn.com/fixed/31465/assets/Z6jHKbl_2g1wohVC.pdf",
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"title": "Ernest Trova",
"wikiBody": "Ernest Tino Trova was a self-trained American surrealist and pop art painter and sculptor. Best known for his signature image and figure series, The Falling Man, Trova considered his entire output a single \"work in progress.\" Trova used classic American comic character toys in some of his pieces because he admired their surrealism. Many of Trova's sculptures are cast in unusual white bronze. He began as a painter, progressing through three-dimensional constructions to his mature medium, sculpture. Trova's gift of forty of his works led to the opening of St. Louis County, Missouri's Laumeier Sculpture Park.",
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"title": "Sea Hyun Lee",
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"title": "Kim Keun-Tai",
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"wikiBody": "Kenny Scharf (born 1958) is an American painter who lives in Los Angeles, California. He was born in Los Angeles and moved to Manhattan, New York City to receive his B.F.A. in 1980 with a major in painting at the School of Visual Arts . He is known for his participation in the interdisciplinary East Village art scene during the 1980s alongside Jean-Michel Basquiat and Keith Haring. His do-it-yourself practice spanned painting, sculpture, fashion, video, performance art, and street art. Growing up in post-World War II Southern California, Scharf was fascinated by television and the futuristic promise of modern design. His works often consist of pop culture icons, such as the Flintstones and the Jetsons, or caricatures of middle-class Americans in an apocalyptic science fiction setting.\nSource: Wikipedia\n\nMy ambition as a professional artist is to maintain the course that I set 30 years ago by establishing my work in the fields of painting, sculpture, and performance. Every project I undertake is building on my past experiences. My original approach is unchanged; it is a personal challenge to produce the best work possible every time. One very important and guiding principle to my work is to reach out beyond the elitist boundaries of fine art and connect to popular culture through my art. My personal ambition has always been to live the example.\nSource: Artist CV\n\nA PARTIAL CHRONOLOGY :\n\n2018\nKenny Scharf : ” Super Pop Universe ” Lotte Museum of Art Korea\nKenny Scharf : “ Inner and Outer Space ” Leila Heller Gallery Dubai\nKenny Scharf : “ Scharftopia ” The Far Out World of Kenny Scharf Gustavus College, MN.\nKenny Scharf : ” Kenny Scharf ” David Klien Gallery Detroit, MI.\n\nGroup Exhibitions:\n“ Warhol & Friends New York in the 80’s” Palazzo Albergati Bologna Italy” Dancing Goddesses ” Dio Horia Gallery Panahra Square, Mykonos Greece.\n” Beyond The Streets ” Curated by Roger Gastman Los Angeles, Ca.\n“ Under One Roof ” Urban Nation Museum for Urban Contemporary Art Berlin.\n“ Donald Baechler, Ross Bleckner, Enoc Perez & Kenny Scharf Inaugural Show Alloche Benais Athens\n\nSpecial Projects:\n” La Villa UGC ” Cannes\n” Peanuts Murals ” NYC\n” MOCAD ” Museum of Contemporary Art Detroit : Woodward Ave, Detroit\n Copenhagen Denmark : Freetown Christiania Graffiti Mural Public Artworks \n\n2017\nKenny Scharf : “ Blox and Bax ” Honor Fraser Gallery Los Angeles CA.\nKenny Scharf : “ Inner and Outer Space ” Jeffrey Deitch New York NY.\n\nGroup Exhibitions:\n” Bombay Beach Biennale “ Curated by Lily Johnson White Salton Sea, CA.\n” Animal Farm ” Curated by Sadie Laska Brant Foundation Greenwich, CT.\n” Fast Forward ” Painting from the 1980’s. Whitney Museum of American Art NY NY.\n” Club 57 ” Film, Performance, and Art in the East Village, 1978-1983 The Museum of Modern Art NYC. \n\nSpecial Projects:\nFrieze Fair New York: Spotlight Kenny Scharf NYC. \nInternational Church of Cannabis Denver Co. \n\n2016\nKenny Scharf : ” Kenny Scharf ” Nassau County Museum of Art Roslyn Harbor , NY.\n\nGroup Exhibitions:\n“ Around the World in 86 Days ” Ludwig Forum Aachen , Aachen Germany\n“ A Selection of Works of the 80’s ” Vito Schnabel Gallery St. Moritz\n“ Cosmic Connections ” David Totah Gallery , NYC\n“ Piston Head 2 Artist Engage the Automobile ” Venus Over Los Angeles Los Angeles CA.\n“ Masters: Urban & Street Art ” Galerie Laurent Strouk Paris\n“ The Neon Wilderness Voices from Los Angeles ” The Conversation Berlin\n“ Muse ” Galerie Hideout , Paris\n“ AftermodernisM ” Neumann Wolfson Art , Watermilll NY.\n“ DESIRE ” Curated by Diana Widmaier Picasso Gagosian & Deitch Art Basel Miami Beach FL.\n\nSpecial Projects:\nHammer Projects Lobby Mural Hammer Museum Los Angeles , CA.\n\n2015\nKenny Scharf : ” Born Again ” Honor Fraser Gallery Los Angeles , CA.\nKenny Scharf : ” SCHOW ” Frederic Snitzer Gallery Miami , FL.\n\nGroup Exhibitions:\n“ She Sells Seashells by the Seashore ” Eric Firestone Gallery East Hampton , NY.\n\nSpecial Projects:\nInstallation The Rose Bar Gramercy Park Hotel, New York , NY.\n“ Cosmic Cavern ” # 33 Portland Art Museum Portland , OR.\nHammer Projects Lobby Mural Hammer Museum Los Angeles , CA.\n” MALAGA ” Permanent Mural Spain\n\n2014\nKenny Scharf : ” Pace Face ” By Pace Prints NYC\nKenny Scharf : ” Kenny Scharf ” Colette , Paris\n\nGroup Exhibitions:\n” Urban Theater ” : New York Art in the 1980’s The Modern Art Museum of Ft.Worth TX.\n” Fun and Games ” : Montalvo Art Center Saratoga, CA.\n” Saying Yes to Everything ” : Honor Fraser Gallery Curated by Corrina Peipon Los Angeles CA.\n“ LOISADA ” : NY’s Lower East Side in the 80’s Addison Gallery Andover, MA.\n” Appropriate Disruption ” : Jacob Lewis Gallery NYC\n\nSpecial Projects:\n” COSMIGOGO ” : Textile design for Louis Vuitton\n\n2013\nKenny Scharf: ” Kolors ” Paul Kasmin Gallery, NY. NY.\nKenny Scharf: ” Amerikulture ” Eric Firestone Gallery, East Hampton, NY.\nKenny Scharf: ” Pop Renaissance ” Honor Fraser Gallery, Los Angeles. CA.\n\nGroup Exhibitions:\n” AREA THE EXHIBITION ” Curated by Jeffrey Deitch, Serge Becker, Eric Goode, Jennifer Goode & Glenn O’Brien. The Hole NYC.\n” Artist Engage The Automobile ” : Pistonhead – Art Basel Miami Beach, Fl.\n” Calligraffiti ” Leila Heller Gallery NY. NY.\n” Futures Project” Center for the Living Arts Mobile, Al.\n” Contemporary Magic ” : A Tarot Deck Art Project ” The Dali Museum, St. Petersburg, Fl.\n” Virginia MOCA ” : Virginia Beach , VA.\n\nSpecial Projects:\n” Tonywood ” The Wynwood Walls Memorial Garden, Miami , FL.\n Mandarin Oriental Hotel Whitewall Suite 5000 NY, NY.\n” Back To Supersonica ” Spray Painted 1960’s Lockeed Jetstar. Pima Air Museum, AZ.\n Installation of “Squirtz” and “Red Scary Guy” at the Standard Hotel at the Highline NY.\n” MOBLOBZ ” Monumental Mural on the Historic Center for the Living Arts Mobile , Al.\n Mural installation: Kings County Children’s Hospital Brooklyn, NY.\n Mural: Davis Bros. Tires. Los Angeles, CA.\n\n2012\n Kenny Scharf ” Hodgepodge ” The Honor Fraser Gallery Los Angeles , CA.\n\nGroup Exhibitions:\n” Thank You Andy Warhol ” Benrimon Contemporary, NY. NY.\n” Times Square Show Revisited ” Leubsdorf Gallery Hunter College NY. NY.\n” Portrait of a Generation ” The Hole Gallery NY. NY.\n” All For You ” Eric Firestone Gallery East Hampton, NY.\n\nSpecial Projects:\n Kiehl’s label for children’s charity\n“Jello Bacchanalia ” Art Rio, Rio De Janeiro, Brazil.\n Cedars Sinai Chunk Pack, Cedars Sinai Children’s Wing, Los Angeles, CA.\n Mural: Salem, Mass.\n Wynwood Walls, Miami, FL.\n Mural: Careyes, Mexico.\n\n2011\n” Naturafutura ” Paul Kasmin Gallery NY. NY.\n\nGroup Exhibitions:\n” The Artist Museum ” MOCA Los Angeles , CA.\n” Art In The Streets ” MOCA Los Angeles , CA.\n” New York Minute ” Garage Center for Contemporary Culture, Moscow.\n” Facemaker ” Curated by Kathy Grayson Royal-T, Culver City, CA.\n” Unfinished Paintings ” Contemporary Exhibitions Los Angeles , CA.\n” Nose Job ” Eric Firestone Gallery, East Hampton, NY.\n” East Village West ” Royal T Lounge Los Angeles, CA.\n” From Here to Eternity ” Curated by Kenton Parker, Scion Installation Space, Culver City, CA.\n\nSpecial Projects:\n” East Village West ” Curated with Ann Magnuson, Royal T Lounge Los Angeles , CA.\n Miami Marlins Arena Mural Miami , FL.\n WeHo Walls: MOCA Public Library Mural West Hollywood , CA.\n Mural Arts Big Picture Project, Philadelphia , PA.\n Brooklyn Children’s Hospital Mural, Brooklyn , NY.\n\n2010\nGroup Exhibitions:\n” Pause ” Cosmopolitan Hotel, Las Vegas NV.\n” Art Shack ” Laguna Art Museum, Laguna Beach CA.\n” Mutant Pop ” Loyal Gallery, Malmo Sweden\n\nSpecial Projects:\nBowery Wall Mural\n\n2009\nKenny Scharf “Barberadise” Honor Fraser Gallery, Los Angeles, CA.\n\nGroup Exhibitions:\n” Wynwood Walls ” Outdoor Mural Project produced by Deitch Projects, Art Basel Miami\n” Primary Flight ” Site – specific Street Level Mural, Art Basel Miami FL.\n” Loveable Like Orphan Kitties and Bastard Children ” Green Gallery, Milwaukee WI\n” Just What Are They Saying ” Jonathan Ferrara Gallery, New Orleans LA.\n” Nude Show ” Paul Kasmin Gallery New York, NY.\n\nSpecial Projects:\n” Stages Touring Exhibit ” Galerie Emmanuel Perrotin, Paris, France.\n Custom bike designed for Lance Armstrong and ridden in the Tour de France\n\n2008\nKenny Scharf: ” Superdeluxa ” Waddington Gallery, London, UK.\nKenny Scharf : ” 80’s Back ” Seomi & Tuus, Seoul, Korea.\n\nGroup Exhibitions:\n” Four Friends ” Tony Shafrazi Gallery, New York, NY.\n” Totally Rad ” Paul Kasmin Gallery, New York, NY.\n” American Standard ” Design District, Miami Beach, FL.\n” Juxtapose School ” Laguna Art Museum, Laguna Beach CA.\n” Zero Carat ” Jewelry Friedman Benda Gallery, New York, NY.\n\n2007\n Kenny Scharf: ” NEW! ” Paul Kasmin Gallery New York, NY.\n\nGroup Exhibitions:\n” Four Friends ” Tony Shafrazi Gallery New York, NY.\n” Art Parade ” King of Parade Jeffrey Deitch New York, NY.\n” Big Secret Cache” Angstrom Gallery Los Angeles, CA.\n\n2006\n Kenny Scharf “Astro Cumulo Nibus Uber Express ” Raleigh Hotel, Art Basel, Miami Beach, FL.\n\nGroup Exhibitions:\n” Surrealism Then and Now ” Paul Kasmin Gallery, New York NY.\n” Juxtapose Anniversary ” Copro Nason, Culver City CA.\n\n2005\n Kenny Scharf: ” Superpop ” Paul Kasmin Gallery, New York, NY.\n Kenny Scharf: ” Outer Limits ” Patrick Painter Gallery, Santa Monica, CA.\n\nGroup Exhibitions:\n Enjoy By: Bill Farroux, Venice, CA.\n\n2004\n Kenny Scharf: ” Groovenian Drawings ” Kantor Gallery, Los Angeles, CA.\n Kenny Scharf: ” Schablobz ” Kenny Schachter/Rove New York, NY.\n Kenny Scharf: ” California Grown ” Pasadena Museum of California Art, Los Angeles, CA.\n Kenny Scharf: ” Face Value ” Kevin Bruk Gallery, Miami Beach, FL.\n\nGroup Exhibitions:\n” East Village USA ” New Museum of Contemporary Art, New York, NY.\n” Beginning Here: 101 Ways ” Visual Arts Gallery, New York, NY.\n” 100 Artists See Satan ” Grand Central Art Center, Santa Ana, CA.\n\nSpecial Events:\n Americans for the Arts Awards Installation, Cipriani’s, New York, NY.\n\n2003\n Kenny Scharf: “Nightlight” Patrick Painter Gallery, Santa Monica, CA.\n Kenny Scharf: “Paintings 1990-1997” Cotthem Gallery, Brussels, Belgium.\n\nGroup Exhibitions:\n“Quest” Vincent Van Gogh Museum, Amsterdam The Netherlands\n“Splat, Boom, Pow” Contemporary Arts Museum, Houston, TX.\n“Portraits” Heidi Lee Fine Art, New York, NY.\n“Faces and Figures” The Art Museum at Florida International University, Miami, FL.\n“Beauty Stripped Bare / LA Black & White” BGH Gallery, Santa Monica, CA.\n\n2002\nKenny Scharf: “Muted” Chac Mool Gallery, Los Angeles, CA.\n\nGroup Exhibitions:\n“Made in the USA 1970-2000” Ludwig Galerie, Oberhausen, Germany\n“Pulcherrimae Strade” Installation, Pordenone, Italy.\n“Juxtapose Anniversary Show” Track 16 Gallery, Santa Monica, CA.\n\nSpecial Events:\n” The Groovenians ” Animated Special aired on Cartoon Network\n\n2001\nKenny Scharf: “Car Nation” UC Fullerton at Grand Central Art Center, Santa Ana, CA.\nKenny Scharf: “Portraits” Tony Schafrazi Gallery, New York, NY.\nKenny Scharf: “Hollywood Stars” Los Angeles Contemporary Exhibitions, Los Angeles, CA.\n\nGroup Exhibitions:\n“Seeing” Interactive Exhibition LACMA LAB, Los Angeles, CA.\n“Animations” P.S.1 Contemporary Art Center, Long Island City, NY.\n\nSpecial Projects:\nPermanent Installation of Four, 30′ totems, “Tikitotemoniki”, Pearl Arts District, Portland, OR.\n\n2000\nKenny Scharf: Gagosian Gallery, Beverly Hills, CA.\nKenny Scharf: “Small Paintings & Bronzes” Tony Shafrazi Gallery, New York, NY.\nKenny Scharf: “Closet #18” permanent exhibit Young at Art Children’s Museum, Davie, FL.\n\n1999\n“Heads, Small Paintings and Closet #16” Galerie Hans Mayer, Berlin, Germany.\nKenny Scharf: “New Sculpture” PICA-Portland Institute for Contemporary Art, Portland, OR.\n“Heads and Small Paintings” Galerie Hans Mayer, Dusseldorf, Germany.\n\n1998\n“Kenny Scharf” Galerie Ramis Barquet, Monterrey, Mexico\n“Kenny Scharf” McIntosh Gallery, Atlanta, GA.\n“Kenny Scharf” Kantor Gallery, Los Angeles, CA.\n“Kenny Scharf” Tony Shafrazi Gallery, New York, NY.\n\nSpecial Projects:\nComissioned by MOCA San Diego to paint mural “Ultrazoomazipamapopdeluxa” in entrance lobby\nDesigns line of Manikins for Pucci International\n\n1997\nKenny Scharf: “Pop Surrealist” Salvador Dali Museum, St. Petersburg, FL.\nKenny Scharf: “When Worlds Collide”, curated by Barry Blinderman, Univercity Galleries, Illinoise State\nKenny Scharf: “Kenny Scharf ” Tony Shafrazi Gallery, New York, NY.\nKenny Scharf: “Ultraelektrik” Paintings, Sculpture & Customized Appliances, Sony Building, New York NY\n\nGroup Exhibitions:\nIn Your Face Haring, Basquiat & Scharf Leo Malca Fine Art, New York.\nArt and Provocation: Images from Rebels Boulder Museum of Contemporary Art, Boulder, Co.\n\n1996\nKenny Scharf: New Work , Tony Shafrazi Gallery NY.\nKenny Scharf : El Mundo de Kenny Scharf Museo de art Contemporaneo de Monterrey, Mexico.\nKenny Scharf: Heads Center for the Fine Arts, Miami.\nKenny Scharf: Galerie 56 Budapest, Hungary.\n\nGroup Exhibitions:\nNew Figuration Tucson Museum of Art, Tucson, Az.\nHot Off the Press: New Editions Pace Prints, NY\n\n1995\nKenny Scharf: Early Paintings 1975-78 Yoshi Gallery NY. NY.\nKenny Scharf: Galerie Cotthem-Hedwig Van Impe, Knokke Belgium\nKenny Scharf: Tony Shafrazi Gallery NY. NY.\nKenny Scharf: Scharf-O-Rama 1978-1995 Museum of Art, Ft.Lauderdale Fl.\n\nGroup Exhibitions:\nAltered and Irrational: Selections from the Permanent Collection, Whitney Museum, NY.\nArt, Design and Barbie Liberty Street Gallery, NY.\nRecent Acquisitions Bass Museum of Art, Miami Fl.\nArt + Architecture,MIAMI, Center for Contemporary Art , Miami.\nA New York Time:Selected Drawings from the Eighties Bruce Museum , Greenwich, CT.\n\n1994\nKenny Scharf: Wildlife Tony Shafrazi Gallery NY. NY.\n\n1993\nKenny Scharf: Works on Paper , Galerie Burkhard R Eikelmann , Dusseldorf.\nKenny Scharf: Closet #11, Caf√ © Click, Dusseldorf\nKenny Scharf: Closet # 10 World Gallery Miami, Fl.\n\nGroup Exhibitions:\nAbout Nature Cleveland Center for Contemporary Artr, Cleveland, OH.\nArt and Environment National Arts Club, NYC.\nExtravagant: The Economy of Elegance Tony Shafrazi Gallery NY, Russisches Kulturzentrum, Berlin.\n1982-83: Ten Years After Tony Shafrazi Gallery, NY.\n\n1992\nKenny Scharf: Edward Totah Gallery\nKenny Scharf: Galeria Rocca 6, Torino, Italy.\nKenny Scharf: Galeria Seno, Milan.\n\nGroup Exhibitions:\n1492 Museo de Arte Contemporaneo de Monterrey, Mexico.\nVariations Gitanes Grande Halle de la Villette, Paris.\nObjets Trouves Galerie de Jour, Agnes B. Paris.\nBalade de l’Amour Halle de l’Uniondes arts Decoratifs, Palais de Louvre, Paris.\n\n1991\nKenny Scharf : Tony Shafrazi Gallery NY.\nKenny Scharf: Studio Trisorio, Naples, Italy.\nKenny Scharf: AC&T Corporation, Tokyo.\nKenny Scharf: Galerie Hans Mayer, Dusseldorf\nKenny Scharf: Akira Ikeda Gallery, Tokyo\n\nGroup Exhibitions:\nAmerican Art of the ’80’s Palazzo delle Albere, Trento, Italy.\nCloset #9 Queens Museum of Art, Flushing NY.\nJust What is it That Makes Todays Home So Different,So Appealing Hyde Collection, NY.\nThe 1980’s: A Selected View from the Permanent Collection, Whitney Museum, NY.\n\n1990\nKenny Scharf: Galerie Beaubourg, Paris.\n\nGroup Exhibitions:\nThe Last Decade: American Artists of the ’80’s Tony Shafrazi Gallery, NY.\n\n1989\nKenny Scharf: Michael Kohn Gallery, Los Angeles.\n\nGroup Exhibitions:\nDon’t Bungle the Jungle Tony Shafrazi Gallery, NY.\nThe Studio American Collection Witkacy Theater , Zakopane Poland\n\n1988\nKenny Scharf: Akira Ikeda Gallery, Tokyo.\n\nGroup Exhibitions:\nFigure a Subject: Revival of Figuration Since 1975 Whitney Museum, NY.\nThe Weisman Collection California State University, Fullerton Ca. (Traveling Show)\n\n1987\nKenny Scharf: Tony Shafrazi Gallery, NY.\n\nGroup Exhibitions:\nComic Iconoclasm Institute of Contemporary Art, London.\n\n1986\nKenny Scharf : Akira Ikeda Gallery, Tokyo.\n\nGroup Exhibitions:\nAn American Renaissance: Painting and Sculpture from 1940 to Present Museum of Art, Ft.Lauderdale.\nHomage to Nicolas A. Moufarrage Gabrielle Bryers Gallery, NY.\nPicture From the Inner Mind The PalladiumNY,Solway Gallery Cincinatti,Cohn Gallery Rio de Janeiro, Brazil.\n\n1985\nKenny Scharf : Tony Shafrazi Gallery, NY.\nKenny Scharf: Galerie Bruno Bischofberger, Zurich.\n\nGroup Exhibitions:\nBiennial 1984 Whitney Museum of Contemporary Art, NY.\nDrawings Leo Castelli Graphics, NY\nEight Artists/Eight Years/SVA School of Visual Arts, NY.\nEast Village Artists Holly Solomon Gallery NY.\nInvestigations Institute of Contemporary Art ,University of Pennsylvania,Philadelphia.\nSights For Small Eyes Heckscher Museum, Long Island, NY.\nVernacular Abstraction, Wacoal Art Center, Tokyo.\nArt in Action Sogetsu Museum ,Tokyo.\nOut of the Ooo Cloud Edith C Blum Art Institute,Bard College Annandale on Hudson NY.\n\n1984\nKenny Scharf: Tony Shafrazi Gallery, NY.\nKenny Scharf: Gagosian Gallery, Los Angeles.\n\nGroup Exhibitions:\nVia New York Montreal Museum of Contemporary Art, Montreal\nThe Innovative Landscape Holly Solomon Gallery, NY.\nNew Hand-Painted Dreams: Contemporary Surrealism Barbara Gladstone Gallery, NY.\nArte di Frontiera Galerie d’Arte Moderna Bologna, Italy\nAperto 84 Venice Bienale Venice , Italy.\nThe Human Condition Museum of Modern Art, San Francisco.\nContemporary Perspectives 1984 Bucknell University, Lewisburg, Pennsylvania.\nNew Idioms Robert Fraser Gallery, London.\nNew Attitudes: Paris/New York Pittsburg Center for the Arts\n\n1983\nKenny Scharf: Tony Shafrazi Gallery, NY.\nKenny Scharf: American Graffiti Gallery, Amsterdam.\n\nGroup Exhibitions:\nChampions Tony Shafrazi Gallery NY, Fay Gold Gallery Atlanta\nSurrealist Show Robert Miller Gallery NY.\nMorton G. Neuman Family Collection Kalamazoo Institute of Art, Kalamazoo, Michigan.\nThe Comic Art Show Whitney Museum of American Art NY.\nBack to the U.S.A. Kuntsmuseum Luzern,Luzern Switzerland.\nTendencias en Nueva York Palacio de Cristal, Madrid.\nClocktower Open Studio Show P.S.1 Contemporary Art Center, NY.\nBienalle de Sao Paulo, Sao Paulo, Brazil.\nReferences Palais de Beaux-Arts, Charleroi, Belgium\n\n1982\nKenny Scharf: Fun Gallery, NY.\n\nGroup Exhibitions:\nInstallation Project Room P.S.1 Contemporary Art Center, Long Island City, NY.\n\n1981\nKenny Scharf : National Studio Artists P.S.1 Contemporary Art Center\nKenny Scharf : Customized Appliances Club 57, NY.\nKenny Scharf : The Jetsons Fun Gallery, NY.\n\nGroup Exhibitions:\nOpen Studio Show P.S.1 Contemporary Art Center, Long Island City, NY.\nThe Times Square Show Times Square , New York City\nNew York, New Wave P.S.1 Contemporary Art Center, Long Island City\nDrawing Show Mudd Club, NY.\nBeyond Words Mudd Club , NY.\n\n1979\nKenny Scharf : Celebration of the Space Age Club 57, NY.\n\nEXHIBITION CATALOGS\nKenny Scharf: Born Again Honor Fraser Gallery Los Angeles 2015\nKenny Scharf: Kolors Paul Kasmin Gallery New York 2013\nKenny Scharf: Hodgepodge Honor Fraser Gallery Los Angeles 2012\nKenny Scharf: NEW! New Paintings and Carzy Roy Al Paul Kasmin Gallery New York 2007\nKenny Scharf: Superpop. Paul Kasmin Gallery New York 2005\nKenny Scharf: Groovenian Drawings. Foreward by Robert Williams Kantor Gallery Los Angeles 2004\nMade in the USA, 1970-2001 Keith Haring, Robert Longo, Kenny Scharf, Bill Beckley Oberhausen Ger. Ludwig Galerie\nThe Universals. Pucci International New York 1998\nKenny Scharf: Essay by Carter Radcliff and Robert Farris Thompson Interview by Dennis Hopper\nTony Shafrazi Gallery New York 1998\nKenny Scharf: Essay by Barry Blinderman, Gregory Bowen, Bill McBride, Ann Magnuson and Robert Farris Thompson,\nNormal Illinois University Galleries 1998\nIn Your Face: Malca Fine Art New York 1997\nKenny Scharf: Pop Surrealist Salvador Dali Museum St. Petersburgh Florida 1997\nPop Art. By Jan de James. London. Phaidon 1996\nEl Mundo de Kenny Scharf: Museo de Arte Contemporaneo de Monterrey Monterrey Mexico 1996\nKenny Scharf: Essay by Louis Grachos. Center for the Fine Arts Miami 1996\nKenny Scharf: Essays by Brooke Adams, Laurence Parmer Museum of Art Fort Lauderdale Florida 1995\nKenny Scharf: Essay by Brooke Adams, Edward Totah Gallery London 1992\nKenny Scharf: Galerie Beauborg Paris 1990\nThe Last Decade: American Artists of the 80’s. Tony Shafrazi Gallery New York 1990\nPhamakon 90 Mukuhari Messe Contemporary Art Exhibition Tokyo 1990\nKenny Scharf: Jungle Book Kyoto Shoin International Company Art Random Kyoto 1989\nKenny Scharf: Three Portfolios AC & T Corp. Tokyo 1989\nAn American Renaissance: Painting and Sculpture from 1940 to the Present\nFort Lauderdale Florida Museum of Art 1986\nVernacular Abstraction Wacoal Art Center Tokyo 1985\nFiguration Libre: France – USA. Paris: Musee d’ art Moderne de la Ville de Paris 1984\nNew Attitudes: Paris / New York. Pittsburgh Center for the Arts Pittsburgh Pennsylvania 1984\nVia New York. Montreal: Musee d ‘Art Contemporain 1984\nReference. Brussels: Palais de Beaux Arrts de Charleroi 1983\nBack to the USA : Kuntsmuseum Luzern Luzern Switzerland 1983\nKenny Scharf. Tony Shafrazi Gallery New York 1983\nMorton G Neuman Family Collection: Kalamazoo Institute of Art Kalamazoo Michigan 1983\nChampions: Tony Shafrazi Gallery New York 1983\n\nPUBLIC COLLECTIONS\nTHE BASS MUSEUM OF ART, MIAMI BEACH\nBRANT FOUNDATION, GREENWICH, CONN.\nTHE DANNHEISER FOUNDATION, NEW YORK CITY\nTHE BROAD FOUNDATION, LOS ANGELES\nGRONIGER MUSEUM, GRONIGER, HOLLAND\nTHE JEWISH MUSEUM, NEW YORK CITY\nLUDWIG MUSEUM, COLOGNE, GERMANY\nMIAMI ART MUSEUM, MIAMI, FLORIDA\nMUSEO D ARTE CONTEMPORANEO DE MONTERREY, MONTERREY MEXICO\nMUSEU DE ARTE MODERNA, RIO DE JANEIRO, BRAZIL\nMUSEUM OF CONTEMPORARY ART, LOS ANGELES\nMUSEUM OF CONTEMPORARY ART, SAN DIEGO\nMUSEUM OF MODERN ART NEW YORK\nNEW ENGLAND CENTER FOR CONTEMPORARY ART, BROOKLYN, CONNECTICUT\nPASADENA MUSEUM OF CALIFORNIA ART\nPATERSON MUSEUM, PATERSON, NEW JERSEY\nPATRICK LANNAN FOUNDATION, LOS ANGELES\nPEARL ARTS FOUNDATION PORTLAND, OREGON\nSAN FRANCISCO MUSEUM OF MODERN ART\nSOGETSU MUSEUM, TOKYO\nSTEDELIJK MUSEUM AMSTERDAM, HOLLAND\nWHITNEY MUSEUM OF AMERICAN ART NEW YORK",
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"title": "Jon Rafman",
"wikiBody": "Jon Rafman lives and works in Montreal. Recent solo exhibitions include the Palais de Tokyo, Paris, and The Nine Eyes of Google Street View, Saatchi Gallery, London. His work has been featured in group exhibitions, including What Is a Photograph? at the International Center of Photography, New York, and Free at the New Museum, New York.",
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"title": "Zach Lieberman",
"wikiBody": "Zach Lieberman is an artist using technology in a playful way to break down the fragile boundary between the visible and the invisible.\n\nAugmenting the body’s ability to communicate has always been at the core of Lieberman’s work. Working with collaborator Golan Levin, he created installations—”Remark” and “Hidden Worlds”—that presented interpretations of what the voice might look like if we could see our own speech. Similarly, the concert performance “Messa Di Voce” (Italian for “placing the voice”) illustrated the abstract songs and shouts of two vocalists by interactive visualization software. Lieberman’s installation “Drawn,” in which painted forms appear to come to life, recently won awards in the Ars Electronica and CYNETart competitions.\n\nLieberman has held residencies at Ars Electronica Futurelab, Eyebeam, Dance Theater Workshop, and the Hangar Center for the Arts in Barcelona.\n\nMost recently, he helped create visuals for the facade of the new Ars Electronica Museum, wrote software for an augmented reality magic trick, and helped develop an open source eye tracker to help a paralyzed graffiti artist draw again. In addition to making artistic projects, Lieberman is co-creator of openFrameworks, an open source C++ toolkit for creative coding. He teaches at Parsons School of Design.",
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"title": "Anne Horel",
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"wikiBody": "Eva Papamargariti grew up in Greece where she graduated from the Department of Architecture, University of Thessaly with a Diploma in Architecture (2012). She holds a Master Degree on Visual Communication Design from Royal College of Art, London. Her practice focuses on time-based media (video, gif animations) but also printed material and sculptural installations that explore the relationship between digital space and (im)material reality.\n\nShe is interested in the creation of 2d/3d rendered spaces and scenarios which provoke narrations based on the obscure simultaneous situations happening in a quotidian frequency on the verge of digital and physical environments blurring the boundaries between these ‘ecosystems’. Her work delves into issues and themes related to simultaneity, the merging and dissolving of our surroundings with the virtual in addition to the constant diffusion of fabricated synthetic images that define and fragment our identity and everyday experience. Furthermore, processes that are established through online presence, as well as the traces that our operations inscribe to the objects and habitat where we find ourselves situated into, through our continuous interaction with devices and machinic artifacts.\n\nAs one of a generation that approaches in new terms the relations of soft/hard and surface/depth, introduced by semantics and sociology in the previous century, partly upon the advent of plastic (its derivation from oil, its uses and its metaphysical interpretation), Papamargariti starts from the emblematic texts of Roland Barthes about the “magic substance” with its “alchemic properties.” Her research centers on the concept of the amorphous as a way of resisting formulation and identification and the way in which plastic comes from nature and returns to it as non-biodegradable waste, having absorbed like a vampire elements of life and time in the course of its transformations and wanderings, in a process of biophagy and tempophagy.\n\nThe last years she has collaborated with different design groups and brands like NIKE, Kenzo, MTV, Diesel and she has exhibited her work in cities like, New York, Los Angeles, Paris, London, Berlin, Seattle, Amsterdam, Lima, Toronto, Montreal, Athens, Edinburgh among others; more specifically in institutions museums and festivals such as the New Museum (New York), Whitney Museum of American Art (New York), Tate Britain (London), Museum of Moving Image (New York), MoMA PS1 (New York), Museum of Contemporary Art, Montreal and Transmediale Festival, Berlin and also on the Internet ( Panther Modern, Parallelograms, ANIGIF, 15Folds, Channel Normal, The Wrong – Digital Art Biennale, Eternal Internet Brotherhood, Cloaque.org)",
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"title": "LaTurbo Avedon",
"wikiBody": "LaTurbo Avedon is an avatar and artist originating in virtual space. Their work emphasizes the practice of nonphysical identity and authorship. Many of the works can be described as research into dimensions, deconstructions, and the explosion of forms, exploring topics of virtual authorship and the physicality of the Internet.\n\nThey curate and design Panther Modern, a a file-based exhibition space that encourages artists to create site-specific installations for the internet.\n\nLaTurbo’s process of character creation continues through gaming, performance and exhibitions. ",
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"title": "Vince Mckelvie",
"wikiBody": "Net artist and programmer Vince McKelvie turns complex digital processes into fun and accessible tools, often putting the creativity in the hands of the user to generate highly shareable and naturally viral content.\n\nHe creates experimental computer generated animation and publishes his works as animated GIF loops, hardware accelerated interactive animation, and rendered real-time interactive animation, all presented within a web browser. He creates undulating, reflective objects that are almost hypnotic. His paint-with-emojis site emoji.ink enabled artists such as Yung Jake to create the celebrity portraits which later inspired a Pepsi ad, and the duo’s rap video e.m-bed.de/d showed at Sundance’s New Frontier Exhibition in 2013. Björk, Skrillex, Adult Swim and others have since commissioned Vince to invent new work.",
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"title": "David Hanes",
"wikiBody": "David Hanes is a visual artist and curator whose post-digital practice explores the space bridging lived experience and art that exists online and in mediated society. His work describes a personal relationship to a visual culture that is immersed in media hybridity and is linked to the illuminated screen.",
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"title": "Kelly Akashi",
"wikiBody": "In sculptures and installations that emphasize the reciprocity of touch, Kelly Akashi forges experimental, dynamic objects, recalling states of organic transformation, growth, and decay. The Los Angeles artist initially studied photography, and her interest in the photographic process of transformation through time and space moved her to explore candle making, sculpture, and glassmaking. Akashi’s sculptural universe exists in a perpetual state of metamorphosis, which is illuminated by the self-consuming flames of dripping wax candles and ephemeral light filtering through blown glass objects. Unidentifiable and inexplicably appealing, the deceptively nuanced sculptural bodies call out to be touched and are often held in delicately cast bronze hands.",
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"title": "Clement Valla",
"wikiBody": "Clement Valla is a New York based artist whose work considers the way computer vision systems apprehend the world, and the way in which automated image production entangles people and things in increasingly complex ways.\n\nHe has had recent solo exhibitions at XPO Gallery in Paris and Transfer Gallery in Brooklyn. His work was included in the “Paddles On!” auction at Phillips, organized by Lindsay Howard. His work has also been exhibited at The Indianapolis Museum of Art, Indianapolis; Museum of the Moving Image, New York; Thommassen Galleri, Gothenburg; Bitforms Gallery, New York; Mulherin + Pollard Projects, New York; DAAP Galleries, University of Cincinnati; 319 Scholes, New York; and the Villa Terrace Decorative Arts Museum, Milwaukee.\nHis work has been cited in The Guardian, Wall Street Journal, TIME Magazine, El Pais, Huffington Post, Rhizome, Domus, Wired, The Brooklyn Rail, Liberation, and on BBC television. Valla received a BA in Architecture from Columbia University and an MFA from the Rhode Island School of Design in Digital+Media. He is currently an assistant professor at RISD.",
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"title": "Chloe Simmons",
"wikiBody": "CV from https://chloealexsimmons96.myportfolio.com/cv-1\n\n#### Talk\n\n- added cv\n- add rest if artwork from site",
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"title": "Matt Kayhoe Brett",
"wikiBody": "An artist making digitally influenced sculptures.",
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"title": "Julien Ceccaldi",
"wikiBody": "Discussion:\nIn 2014, Julien made the comic I Am My Goals for the cover of Artforum. It's rare (if not a first?) for a designer with no gallery representation to get on the cover. Any insight into how this happened? \n@tymathews",
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"title": "Jim McKelvey",
"wikiBody": "Jim McKelvey is an American entrepreneur, businessperson and philanthropist.\n\nHe is well known for his glassblowing, and of course, entrepreneurship.",
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"title": "Olia Lialina",
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"title": "Faith Holland",
"wikiBody": "FAITH HOLLAND is a NYC-based artist and curator whose multimedia practice focuses on intimacy, gender, and sexuality as it relates to technology. She received her BA in Media Studies at Vassar College and her MFA in Photography, Video, and Related Media at the School of Visual Arts.\n\nHer work has been exhibited at venues such as The Whitney Museum of American Art (New York), Elga Wimmer Gallery (New York), Axiom Gallery (Boston), the Phillips Collection (Washington, D.C.), Human Resources (Los Angeles), DAM Gallery (Berlin), and File Festival (São Paulo). She was a 2014 New York Foundation of the Arts Fellowship Finalist in Digital/Electronic Art. In 2016, she was an artist-in-residence at Jamaica Center for Arts and Learning and Harvestworks and one of five finalists for the inaugural Post-Photography Prototyping Prize given by Fotomuseum Winterthur. Her work has been written about in Artforum, The Sunday Times UK, Rhizome, Hyperallergic, Elephant, Fast Company, Ha’aretz, i-D Magazine, ArtSlant, The Creator’s Project, Art F City, and Dazed Digital.\n\nFor more information: http://www.faithholland.com",
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"wikiBody": "From website:\r\n\r\nZACHARY BUCHNER (Canadian, b. 1979) is an artist and educator living and working in Oak Park IL. Buchner received his MFA from Northwestern University in 2005 where he currently teaches Painting and Sculpture in the Art Theory and Practice Department. Zachary is the director of PRACTISE, an artist centered exhibition space, and is represented by Andrew Rafacz Gallery in Chicago IL.",
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"title": "Lorna Mills",
"wikiBody": "Canadian artist, Lorna Mills has actively exhibited her work in both solo and group exhibitions since the early 1990’s, both in Canada and Internationally. Her practice has included obsessive Ilfochrome printing, obsessive painting, obsessive super 8 film & video, and obsessive on-line animated GIFs incorporated into restrained off-line installation work.",
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"metadataString": "{\"nationality\":[{\"value\":\"Japanese\"}],\"birthday\":{\"value\":\"1981\"},\"exhibitions\":[{\"value\":\"Arts Crafting Towards the Future\",\"groupId\":-1},{\"value\":\"Paul Clay\",\"groupId\":-1}],\"education\":[{\"value\":\"Kyoto Saga Art College\"}],\"bornIn\":{\"value\":\"Hiroshima, Japan\"},\"livesIn\":[{\"value\":\"Toki City, Gifu\"}]}",
"title": "Takuro Kuwata",
"wikiBody": "Takuro Kuwata makes 'dysfunctional' yet oddly elegant clay objects. Leaving much to chance, the surfaces are thickly glazed to literally explode when baked in the kiln. Kuwata's goal is to “create joyful and fun works, by making the most use of the characteristics of the materials”. By exploring, yet breaking the rules of ceramics, Kuwata has become one of the most intriguing young artists transforming the media today.",
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"metadataString": "{\"nationality\":[{\"value\":\"France\"}],\"birthday\":{\"value\":\"1895\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Marguerite_Huré\"}],\"deathDate\":{\"value\":\"1967\"}}",
"title": "Marguerite Huré",
"wikiBody": "From Wikipedia:\r\n\r\nMarguerite Huré (1895–1967) was a French stained glass artist who introduced abstraction into French religious glassmaking.",
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"title": "Ernst Ludwig Kirchner",
"wikiBody": "From Wikipedia:\r\n\r\nErnst Ludwig Kirchner (6 May 1880 – 15 June 1938) was a German expressionist painter and printmaker and one of the founders of the artists group Die Brücke or \"The Bridge\", a key group leading to the foundation of Expressionism in 20th-century art. He volunteered for army service in the First World War, but soon suffered a breakdown and was discharged. In 1933, his work was branded as \"degenerate\" by the Nazis and in 1937, over 600 of his works were sold or destroyed. In 1938, he committed suicide by gunshot.",
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"metadataString": "{\"nationality\":[{\"value\":\"Ireland\"}],\"birthday\":{\"value\":\"20 March 1856\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/John_Lavery\"}],\"deathDate\":{\"value\":\"10 January 1941\"}}",
"title": "Sir John Lavery",
"wikiBody": "From Wikipedia:\r\n\r\nSir John Lavery RA (20 March 1856 – 10 January 1941) was an Irish painter best known for his portraits and wartime depictions.\r\n\r\n",
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"metadataString": "{\"nationality\":[{\"value\":\"Australia\"}],\"birthday\":{\"value\":\"12 June 1863\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Bertram_Mackennal\"}],\"deathDate\":{\"value\":\"10 October 1931\"}}",
"title": "Bertram Mackennal",
"wikiBody": "From Wikipedia:\r\n\r\nSir Edgar Bertram Mackennal KCVO RA (12 June 1863 – 10 October 1931), usually known as Bertram Mackennal, was an Australian sculptor and medallist, most famous for designing the coinage and stamps bearing the likeness of George V. He signed his work \"BM\".\r\n\r\n",
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"metadataString": "{\"nationality\":[{\"value\":\"France\"}],\"birthday\":{\"value\":\"31 December 1869\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Henri_Matisse\"}],\"deathDate\":{\"value\":\"3 November 1954\"}}",
"title": "Henri Matisse",
"wikiBody": "From Wikipedia:\r\n\r\nHenri Émile Benoît Matisse (French: [ɑ̃ʁi emil bənwɑ matis]; 31 December 1869 – 3 November 1954) was a French artist, known for both his use of colour and his fluid and original draughtsmanship.",
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"metadataString": "{\"nationality\":[{\"value\":\"Russia\"}],\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Mikhail_Nesterov\"}]}",
"title": "Mikhail Nesterov",
"wikiBody": "From Wikipedia: \r\n\r\nMikhail Vasilyevich Nesterov (Russian: Михаи́л Васи́льевич Не́стеров; 31 May [O.S. 19 May] 1862, Ufa – 18 October 1942, Moscow) was a Russian and Soviet painter; associated with the Peredvizhniki and Mir Iskusstva. He was one of the first exponents of Symbolist art in Russia.",
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"metadataString": "{\"nationality\":[{\"value\":\"Britain\"}],\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/William_Orpen\"}]}",
"title": "William Orpen",
"wikiBody": "From Wikipedia:\r\n\r\nMajor Sir William Newenham Montague Orpen, KBE, RA, RHA (27 November 1878 – 29 September 1931), was an Irish artist who worked mainly in London. Orpen was a fine draughtsman and a popular, commercially successful, painter of portraits for the well-to-do in Edwardian society, though many of his most striking paintings are self-portraits.",
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"birthday": {
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"deathDate": {
"value": "8 April 1973"
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"url": [
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"deathLocation": {
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"timestamp": 1546442292872
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"metadataString": "{\"nationality\":[{\"value\":\"Spain\"}],\"birthday\":{\"value\":\"25 October 1881\"},\"bornIn\":{\"value\":\"Spain\"},\"deathDate\":{\"value\":\"8 April 1973\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Pablo_Picasso\"}],\"deathLocation\":{\"value\":\"France\"}}",
"title": "Pablo Picasso",
"wikiBody": "From Wikipedia:\r\n\r\nPablo Ruiz Picasso (/pɪˈkɑːsoʊ, -ˈkæsoʊ/;[2] Spanish: [ˈpaβlo piˈkaso]; 25 October 1881 – 8 April 1973) was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France.",
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"birthday": {
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"deathDate": {
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"metadataString": "{\"nationality\":[{\"value\":\"USA\"}],\"birthday\":{\"value\":\"August 27, 1890\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Man_Ray\"}],\"deathDate\":{\"value\":\"November 18, 1976\"}}",
"title": "Man Ray",
"wikiBody": "From Wikipedia:\r\n\r\nMan Ray (born Emmanuel Radnitzky; August 27, 1890 – November 18, 1976) was an American visual artist who spent most of his career in Paris. He was a significant contributor to the Dada and Surrealist movements, although his ties to each were informal. ",
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"metadata": {
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"birthday": {
"value": "24 June 1888"
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"url": [
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"value": "https://en.wikipedia.org/wiki/Gerrit_Rietveld"
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"deathDate": {
"value": "25 June 1964"
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"timestamp": 1546443377238
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"metadataString": "{\"nationality\":[{\"value\":\"Dutch\"}],\"birthday\":{\"value\":\"24 June 1888\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Gerrit_Rietveld\"}],\"deathDate\":{\"value\":\"25 June 1964\"}}",
"title": "Gerrit Rietveld",
"wikiBody": "From Wikipedia:\r\n\r\nGerrit Thomas Rietveld (Dutch pronunciation: [ˈɣɛrɪt ˈtoːmɑs ˈritfɛlt]; 24 June 1888 – 25 June 1964) was a Dutch furniture designer and architect. ",
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"birthday": {
"value": "April 29, 1860"
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"metadataString": "{\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Lorado_Taft\"}],\"nationality\":[{\"value\":\"USA\"}],\"birthday\":{\"value\":\"April 29, 1860\"},\"deathDate\":{\"value\":\"October 30, 1936\"},\"bornIn\":{\"value\":\"Elmwood, Illinois, USA\"},\"deathLocation\":{\"value\":\"Chicago, Illinois, USA\"}}",
"title": "Lorado Taft",
"wikiBody": "From Wikipedia:\r\n\r\nLorado Zadok Taft (April 29, 1860 – October 30, 1936) was an American sculptor, writer and educator. Taft was born in Elmwood, Illinois, in 1860 and died in his home studio in Chicago in 1936",
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"metadataString": "{\"url\":[{\"value\":\"https://www.instagram.com/oliverlaric/\"},{\"value\":\"http://oliverlaric.com\"}],\"livesIn\":[{\"value\":\"Berlin, Germany\"}]}",
"title": "Oliver Laric",
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"_id": "5c2d2e32e9b14f00058b6d89",
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"title": "Aapo Nikkanen",
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"value": "https://en.wikipedia.org/wiki/Marcel_Duchamp"
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"timestamp": 1546497254314
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"metadataString": "{\"nationality\":[{\"value\":\"France\"}],\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Marcel_Duchamp\"}]}",
"title": "Marcel Duchamp",
"wikiBody": "From Wikipedia:\r\n\r\nHenri-Robert-Marcel Duchamp (/duːˈʃɑːn/;[1] French: [maʁsɛl dyʃɑ̃]; 28 July 1887 – 2 October 1968) was a French-American painter, sculptor, chess player, and writer whose work is associated with Cubism, Dada, and conceptual art.",
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"metadata": {
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"value": "Hong Kong"
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"timestamp": 1546566377171
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"metadataString": "{\"nationality\":[{\"value\":\"Hong Kong\"}]}",
"title": "Jenny Hui",
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"metadataString": "{\"nationality\":[{\"value\":\"Japan\"}],\"livesIn\":[{\"value\":\"Berkeley, CA, USA\"}],\"representedBy\":[{\"value\":\"CULT Aimee Friberg Exhibitions\",\"groupId\":\"5bf31f6902dd540005bf82c0\"}],\"url\":[{\"value\":\"https://cultexhibitions.com/exhibition/masako-miki-shapeshifters/\"}]}",
"title": "Masako Miki",
"wikiBody": "From Show Promotion:\r\n\r\nOriginally from Osaka, Japan, Masako Miki has made the San Francisco Bay Area her home for 20 years. She has exhibited throughout the Bay Area at venues including Headlands Center for the Arts, Berkeley Art Museum and Pacific Film Archive, Kala Art Institute, and The Lab. She was a resident artist at The Wassaic Project (Wassaic, NY), Vermont Studio Center (Johnson, VT), Project 387 (Gualala, CA), Kamiyama Artists in Residency (Tokushima, Japan), Facebook Artist in Residence (Menlo Park, CA) and the de Young Museum with an accompanying solo exhibition in 2016. She received the 2018 Inga Maren Otto Fellowship from the Watermill Center in New York and 2017 Artist Fellow Award from Kala Art Institute in Berkeley. Her works are in the collections of the Berkeley Art Museum and Pacific Film Archive, Facebook, The Byrd Hoffman Watermill Foundation, New York and many notable private collections. Miki received her MFA from San Jose State University and has been on the adjunct faculty at University of California Berkeley, Davis, and Mills College. Miki is represented by CULT Aimee Friberg Exhibitions in San Francisco and lives in Berkeley, CA.\r\n\r\n\r\n#### Talk\r\n\r\n- Break down the bio into fields (@rejon)",
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"birthday": {
"value": "November 2, 1938"
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"url": [
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"value": "https://en.wikipedia.org/wiki/Richard_Serra"
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"metadataString": "{\"nationality\":[{\"value\":\"USA\"}],\"birthday\":{\"value\":\"November 2, 1938\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Richard_Serra\"}]}",
"title": "Richard Serra",
"wikiBody": "From Wikipedia:\r\n\r\nRichard Serra (born November 2, 1938) is an American minimalist sculptor and video artist known for working with large-scale assemblies of sheet metal. Serra was involved in the Process Art Movement. He lives and works in Tribeca, New York, and on Cape Breton Island in Nova Scotia.",
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"title": "Tom Huck",
"wikiBody": "From Wikipedia:\r\n\r\nTom Huck (born 1971) is an American printmaker best known for his large-scale satirical woodcuts. He lives and works in St. Louis, Missouri, where he runs his own press, Evil Prints. He is a regular contributor to BLAB! of Fantagraphics Books. His work is influenced by Albrecht Dürer, José Guadalupe Posada, R. Crumb, and Honoré Daumier. Huck’s illustrations have appeared in publications such as The Village Voice, The Riverfront Times, and the Minneapolis City Pages.",
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"metadataString": "{\"nationality\":[{\"value\":\"USA\"}],\"teaching\":[{\"value\":\"Washington University\"}]}",
"title": "Jamie Adams",
"wikiBody": "Biography from Washington University:\n\nJamie Adams works in a variety of media including painting, drawing, and photography. His figurative work functions as personal memoir and addresses social themes of identity, memory, and desire. Characters in his work probe contemporary notions of identity, proposing the self as imaginary, constructed through language, or from images elsewhere. He draws on the cinematic culture of the 1950s and '60s, using montage and celebrity personae to insinuate conditions of disturbance, flux, transience, or a state of becoming.\n\nHis work is in the collections of the Museu Brasileiro da Escultura, Museum of Modern Art Library, MOMA Wales, Los Angeles County Museum of Art Research Library, Woodmere Art Museum, the Daum Museum of Contemporary Art, and Crystal Bridges Museum of American Art. His work has been cited in Art in America, Bulletin du Musée Ingres, and the book Fragonard: Regards Croisés. He is represented by Jonathan LeVine Gallery, David Klein Gallery, Zolla/Lieberman Gallery, Philip Slein Gallery, Sirona Fine Art, and Lamensch Douglas Fine Art.\n\nAdams graduated with honors from Carnegie Mellon University with his BFA in 1983, and he earned his MFA from the Pennsylvania Academy of the Fine Arts in 2000.\n\n#### Talk\n\n- More sources: http://samfoxschool.wustl.edu/portfolios/faculty/jamie_adams",
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"title": "Wassily Kandinsky",
"wikiBody": "Began painting studies at the age of 30. Said to have painted the first abstract art - \"Untitled\", painted in 1913.",
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"metadataString": "{\"nationality\":[{\"value\":\"American\"}],\"birthday\":{\"value\":\"November 9, 1949\"},\"bornIn\":{\"value\":\"Webster Groves, Missouri, USA\"},\"deathLocation\":{\"value\":\"Cementland, Missouri, USA\"},\"deathDate\":{\"value\":\"September 26, 2011\"},\"education\":[{\"value\":\"Fontbonne University\"}],\"gender\":[{\"value\":\"Male\"}],\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Bob_Cassilly\"}]}",
"title": "Bob Cassilly",
"wikiBody": "American sculptor, entrepreneur, and creative director based in St. Louis, Missouri. In 1997, Cassilly founded the idiosyncratic City Museum, which draws over 700,000 visitors a year and is one of the city's leading attractions.\n\nOn September 26, 2011, Cassilly died at Cementland. A police investigation found that he died of injuries after the bulldozer he was driving flipped down a hill. In October 2016, however, medical expert Dr. Arthur Combs concluded that Cassilly had been beaten to death, and the bulldozer accident staged.\n\nSee Wikipedia entry for most up-to-date listing: https://en.wikipedia.org/wiki/Bob_Cassilly\n\n## TODO\n\n- [ ] break down the artworks here: https://en.wikipedia.org/wiki/Bob_Cassilly",
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"title": "Louisa Chambers",
"wikiBody": "Louisa Chambers has been developing a series of works that incorporates a simple folded form (wrapping, found or architectural paper). The folded shapes are transfigured at speed, manipulated into temporary objects (three dimensional) and recorded from observation into a flat two-dimensional space (painting). Beginning as inanimate objects and through the process of painting; they are transformed into anthropomorphic beings situated in imagined domestic settings or behind patterned backdrops. Geometric patterns and coloured shapes are suspended behind the objects, or begin to merge - suggesting other spaces, windows, and portals beyond. The scenes and shapes that feature in the work tilt back and forth between abstraction and figuration. The transient quality of medium mirrors that of the temporal nature of the folded paper shapes that are recorded in the paintings. The forms can be simply squashed down and reconstructed again. These works are part of an on-going research into depiction and visual perception on two and three-dimensional surface.",
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"metadataString": "{\"nationality\":[{\"value\":\"USA\"}]}",
"title": "Jane Metcalfe",
"wikiBody": "Co-founder of Wired Magazine, Tcho Chocolate and many more projects.",
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{
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"birthday": {
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}
]
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"metadataString": "{\"nationality\":[{\"value\":\"Dutch\"}],\"birthday\":{\"value\":\"1898\"},\"deathDate\":{\"value\":\"1972\"},\"url\":[{\"value\":\"https://www.nga.gov/collection/artist-info.2492.html\"}]}",
"title": "M.C. Escher",
"wikiBody": "Well known artist who made illusions.",
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"metadataString": "{\"nationality\":[{\"value\":\"Swiss\"}],\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Uli_Sigg\"}]}",
"title": "Uli Sigg",
"wikiBody": "From Wikipedia:\r\n\r\nUli Sigg (born 1946) is a Swiss businessman, diplomat and art collector. He served as the Swiss Ambassador to China, North Korea and Mongolia from 1995 to 1998. He serves as the vice chairman of Ringier, the largest media company in Switzerland. He made a large donation of contemporary Chinese art to the Hong Kong-based M+ museum in 2012.",
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"birthday": {
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"url": [
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"value": "https://en.wikipedia.org/wiki/Frieder_Nake"
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"timestamp": 1546921759174
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"metadataString": "{\"nationality\":[{\"value\":\"Germany\"}],\"birthday\":{\"value\":\"December 16, 1938\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Frieder_Nake\"}],\"education\":[{\"value\":\"University of Stuttgart\"}]}",
"title": "Frieder Nake",
"wikiBody": "From Wikipedia:\r\n\r\nFrieder Nake (born December 16, 1938 in Stuttgart, Germany) is a mathematician, computer scientist, and pioneer of computer art. He is best known internationally for his contributions to the earliest manifestations of computer art, a field of computing that made its first public appearances with three small exhibitions in 1965.",
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"title": "Alicia Ross",
"wikiBody": "Alicia Ross's work explores various aspects of female identity using photography, fiber, video, and installation. Most recently noted for her large-scale embroidery work, Ross’s work embodies a unique hybridization between hand and machine. Her work blurs lines between the sacred and profane—as subject matter is appropriated from online sources, removed from their original context, and translated into stitch. Through manipulation and remediation, Ross forces the viewer to ascribe their own moral virtue to the figures. Ross's work evokes dialog regarding the female form and the social construction of gender roles within the context of the male gaze.\n—\nBorn in Medina, Ohio, USA in 1981, Alicia Ross received a BA with a double major in studio and art education from Baldwin-Wallace College (2003) and an MFA in photography/imaging arts from Rochester Institute of Technology (2007). Ross has served as adjunct and full-time faculty at several universities in Ohio, Texas and New York, teaching art, photography, video, web & graphic design. Presently, Ross is a Lecturer at Rochester Institute of Technology, Rochester, New York, within the program of New Media, School of Design, College of Art and Design.\n\nRoss's work has been featured in the Huffington Post, the Guardian (UK & US), the Village Voice, New York Magazine, Flash Art Magazine (International Edition), and Flavorpill, among others. Her work continues to appear in museum shows, gallery exhibitions and art fairs across the US and beyond.",
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{
"value": "http://rhizome.org/editorial/2014/sep/10/andrea-crespo/"
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{
"value": "https://artforum.com/inprint/issue=201602&id=57482§ion=new-york"
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{
"value": "https://andreacrespo.com/"
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"metadataString": "{\"nationality\":[{\"value\":\"American\"}],\"birthday\":{\"value\":\"1993\"},\"bornIn\":{\"value\":\"Miami, Florida, USA\"},\"education\":[{\"value\":\"Pratt Institute\"}],\"livesIn\":[{\"value\":\"New York, USA\"}],\"url\":[{\"value\":\"https://www.swissinstitute.net/exhibition/one-for-all-andrea-crespo-virocrypsis/\"},{\"value\":\"http://rhizome.org/editorial/2014/sep/10/andrea-crespo/\"},{\"value\":\"https://artforum.com/inprint/issue=201602&id=57482§ion=new-york\"},{\"value\":\"https://andreacrespo.com/\"}]}",
"title": "Andrea Crespo",
"wikiBody": "Andrea Crespo earned their BFA from Pratt Institute in 2015. Their solo exhibition, Andrea Crespo: virocrypsis, at the Swiss Institute of Contemporary Art was featured in the February 2016 issue of Artforum.",
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"metadata": {
"nationality": [
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"value": "Venezuela"
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"value": "USA"
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],
"url": [
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"value": "http://dwightportocarrero.com"
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{
"value": "https://www.instagram.com/_portocarrero_/"
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"bornIn": {
"value": "Venezuela"
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"timestamp": 1547008995051
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"metadataString": "{\"nationality\":[{\"value\":\"Venezuela\"},{\"value\":\"USA\"}],\"url\":[{\"value\":\"http://dwightportocarrero.com\"},{\"value\":\"https://www.instagram.com/_portocarrero_/\"}],\"bornIn\":{\"value\":\"Venezuela\"}}",
"title": "Dwight Portocarrero",
"wikiBody": "From IG:\r\n\r\nVenezuelan transplant lives/work in NYC/Vzla",
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"metadataString": "{\"nationality\":[{\"value\":\"USA\"}]}",
"title": "Bill Smith",
"wikiBody": "Bill Smith is an artist.",
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"title": "Yolocone",
"wikiBody": "A graffiti writer and artist from Chicago.\n\n#### Talk\n\n- Yolo is graffiti name. Yolocone is artist name. (From private conversation on IG between yolocone and kidproto) @rejon",
"type": "person",
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"metadataString": "{\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Jacek_Tylicki\"}]}",
"title": "Jacek Tylicki",
"wikiBody": "From Wikipedia:\r\n\r\nJacek Tylicki (born 1951 in Sopot, Poland) is a Polish artist who settled in New York City in 1982. Tylicki works in the field of land art, installation art, and site-specific art. His conceptual projects often raise social and environmental issues.",
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"url": [
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"value": "http://www.laumeiersculpturepark.org/tony-tasset-2007/"
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"value": "https://en.wikipedia.org/wiki/Tony_Tasset"
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"birthday": {
"value": "1960"
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"metadataString": "{\"nationality\":[{\"value\":\"USA\"}],\"bornIn\":{\"value\":\"Cincinnati, Ohio, USA\"},\"url\":[{\"value\":\"http://www.laumeiersculpturepark.org/tony-tasset-2007/\"},{\"value\":\"https://en.wikipedia.org/wiki/Tony_Tasset\"}],\"birthday\":{\"value\":\"1960\"}}",
"title": "Tony Tassett",
"wikiBody": "Biography from Laumeier Sculpture Park website (needs structuring):\n\nTony Tasset was born in Cincinnati, Ohio, in 1960. He received his B.F.A. at the Art Academy of Cincinnati in 1983 and his M.F.A. at The School of the Art Institute of Chicago in 1985. Tasset works with video, photography, bronze, wax, fiberglass, film and even taxidermy. His work employs wisdom and wit and continuously contends with the trappings of Modernism, Postmodern theory, pop culture and the universal human emotions associated with love, loss, frailty and beauty. Tasset's work is in the permanent collections of prestigious museums including the Art Institute of Chicago and the Museum of Contemporary Art, Chicago; the Museum of Contemporary Art, Los Angeles; and the Museum Für Moderne Kunst, Frankfurt, among others. He has been featured in numerous solo and group exhibitions around the world, including Canada, Ecuador, Germany, Italy and the United Kingdom. Laumeier presented a solo Tasset exhibition in 2007 entitled Tony Tasset: All Things Must Pass.\n",
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],
"birthday": {
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"timestamp": 1547078630366
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"metadataString": "{\"nationality\":[{\"value\":\"Russia\"}],\"birthday\":{\"value\":\"1912\"}}",
"title": "Alexander Liberman",
"wikiBody": "From Wikipedia:\r\n\r\nAlexander Liberman was born in 1912 in Kiev, Russia (now the Ukraine). He studied at the École des Beaux Arts in Paris in the early 1930's. Liberman came to New York in 1941 and joined Vogue. He went on to become the Editorial Director of Condé Nast Publications in 1962. By the mid-1950's, Liberman was exhibiting his own paintings and photographs in galleries and museums around New York. In 1959, he learned to weld steel and quickly began making monumental sculpture. Liberman's highly recognizable steel sculptures are assembled from industrial objects often painted in bright, uniform colors. One of his first public commissions was from the architect Philip Johnson for a pavilion at the 1963 World's Fair. Liberman's sculptures and paintings are included in the collections of the Metropolitan Museum and the Museum of Modern Art, New York; the Corcoran Gallery of Art and the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Solomon R. Guggenheim Museum; New York, and the Tate Modern, London.",
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"url": [
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}
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},
"metadataString": "{\"nationality\":[{\"value\":\"USA\"}],\"url\":[{\"value\":\"http://www.sarahpaulsen.com\"}]}",
"title": "Sarah Paulsen",
"wikiBody": "From IG profile:\n\nI am an artist and animator from St. Louis, MO. My artworks range from social justice animations to paintings about identity, place, and community.\n\nFrom Website:\n\nSarah Paulsen is an artist, filmmaker, and community organizer. With art projects ranging from experimental animations, social justice documentaries and portrait painting to parades and happenings, she has been inspired by the communities she has encountered. A Spanish speaker, her trips around the world, to places like Spain, Mexico, and South America have informed her work with a love for storytelling, folk art, pageantry, and community ritual.\n\n\n#### Talk\n\n- need to structure bio and add more data and artworks (@rejon)\n- Page and desire to create comes from https://www.instagram.com/p/BsY3KB0jfDj/ (@rejon)",
"type": "person",
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],
"birthday": {
"value": "1929"
},
"bornIn": {
"value": "Detroit, Michigan, USA"
},
"timestamp": 1547096776725
},
"metadataString": "{\"nationality\":[{\"value\":\"USA\"}],\"birthday\":{\"value\":\"1929\"},\"bornIn\":{\"value\":\"Detroit, Michigan, USA\"}}",
"title": "Jackie Ferrara",
"wikiBody": "From Laumeier Park Bio:\r\n\r\nSculptor and public artist Jackie Ferrara was born in Detroit in 1929. She has explored relationships between sculpture and architecture in her wood constructions, which have evolved from indoor pieces to increasingly large-scale outdoor works. Ferrara incorporates concrete and natural elements like rock, wood, water, trees and grass in the construction of courtyards, terraces, walkways and other structures emphasizing geometric design. Her public architectural and landscape works can be seen throughout the United States and the United Kingdom. Ferrara is represented in the collections of the Los Angeles County Museum of Art; the Museum of Modern Art, New York; the Louisiana Museum, Humlebæk, Denmark; the MIT List Visual Arts Center, Cambridge, Massachusetts; and the Walker Art Center, Minneapolis.\r\n\r\n\r\n#### Talk\r\n\r\n- need to break down bio (@rejon)",
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}
],
"nickname": [
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"value": "Mr. Barlo"
}
],
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"value": "Hong Kong"
}
],
"timestamp": 1547243333956
},
"metadataString": "{\"nationality\":[{\"value\":\"Italy\"}],\"nickname\":[{\"value\":\"Mr. Barlo\"}],\"livesIn\":[{\"value\":\"Hong Kong\"}]}",
"title": "Gianluca Crudele",
"wikiBody": "Gianluca Crudele is \"Mr. Barlo\" a street and graffiti artist expanding into contemporary art with his first show in spring 2019 in Hong Kong.",
"type": "person",
"url": "gianluca-crudele",
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"url": [
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"value": "http://merferd.com"
}
]
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"metadataString": "{\"nationality\":[{\"value\":\"USA\"}],\"url\":[{\"value\":\"http://merferd.com\"}]}",
"title": "Wendell Phillips Berwick",
"wikiBody": "Saint Louis based Street artist",
"type": "person",
"url": "wendell-phillips-berwick",
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"_id": "5c3c1686df70c400057a4dca",
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],
"birthday": {
"value": "1 May 1928"
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"url": [
{
"value": "https://en.wikipedia.org/wiki/AARON"
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{
"value": "http://aaronshome.com/aaron/biography/index.html"
}
],
"deathDate": {
"value": "27 April 2016"
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"position": [
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"value": "Founding Director, CRCA, UCSD"
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]
},
"metadataString": "{\"nationality\":[{\"value\":\"Britain\"}],\"birthday\":{\"value\":\"1 May 1928\"},\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/AARON\"},{\"value\":\"http://aaronshome.com/aaron/biography/index.html\"}],\"deathDate\":{\"value\":\"27 April 2016\"},\"position\":[{\"value\":\"Founding Director, CRCA, UCSD\"}]}",
"title": "Harold Cohen",
"wikiBody": "Bio from Wikipedia:\r\n\r\nHarold Cohen (1 May 1928 – 27 April 2016) was a British-born artist who was noted as the creator of AARON, a computer program designed to produce art autonomously. His work in the intersection of computer artificial intelligence and art attracted a great deal of attention, leading to exhibitions at many museums, including the Tate Gallery in London, and acquisitions by many others.",
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"url": [
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"value": "Alive Magazine, \"Five Local Artists Who Celebrate the Human Form\". January 2019."
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"value": "Friend of the Artist, Volume 7. October 2018."
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"exhibitions": [
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"metadataString": "{\"education\":[{\"value\":\"Kansas City Art Institute, 2015\"}],\"livesIn\":[{\"value\":\"Saint Louis, Missouri, USA\"}],\"url\":[{\"value\":\"https://www.instagram.com/lumpyplop/\"},{\"value\":\"https://www.emilyelhoffer.com\"}],\"publication\":[{\"value\":\"Alive Magazine, \\\"Five Local Artists Who Celebrate the Human Form\\\". January 2019.\"},{\"value\":\"Friend of the Artist, Volume 7. October 2018.\"}],\"exhibitions\":[{\"value\":\"In the Flesh\"}]}",
"title": "Emily Elhoffer",
"wikiBody": "Bio from personal website:\r\n\r\nAfter graduating from Kansas City Art Institute in 2015, Emily Elhoffer is an early career artist that has been working in St. Louis, MO. She studied with an emphasis in sculpture, and uses a variety of mediums to illustrate her ideas. Process driven and lengthy, her practice utilizes forms that evoke and abstract the body, inside and out. Flesh and skin are a common theme throughout her work. Emily has shown in St. Louis and Kansas City in a handful of group exhibitions, has hosted panels on artmaking, and juried artist submissions for public art. Currently Emily is working in St. Louis to build a fabrication facility for fellow artists and craftspeople.",
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},
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{
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"value": "Nick Schleicher"
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"value": "Nick Schleicher @ Space"
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],
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"title": "Nick Schleicher",
"wikiBody": "Bio and CV from website to break down onto this person page:\n\nNick Schleicher (b 1988) received a BFA from The School of the Art Institute of Chicago in 2011 where he focused on painting and sculpture. His work ranges from color field abstractions focused on the process of painting as informed by astronomical imagery to sculptural forms inspired by domestic display.\n\nCV for breaking down:\n\nSELECT SOLO EXHIBITIONS\n2017\nPLAQUE at G-CADD, .skin, Granite City, IL\nGrease 3, 6 paintings 9 sculptures, Saint Louis, MO\n \n2015\nHoffman LaChance Contemporary, Synthesizer, Saint Louis, MO\nThe Millitzer Gallery, Vibration Process, Saint Louis, MO\n \n2014 \nThird Degree, Clean Lines, Saint Louis, MO\n \n2013 \nFifty 09 Gallery, Nick Schleicher, Saint Louis, MO\nSPACE, Nick Schleicher, Saint Louis, MO\n\nSELECT GROUP EXHIBITIONS\n2018\nBeverly (redux), G-CASH, Saint Louis, MO\nGallery of Contemporary Art at Forest Park Community College, SSSS*, Saint Louis, MO\nNail Salon, Group Pop-up Exhibition, Saint Louis, MO\nSHOW SHOW SHOW SHOW, Group Pop-up Exhibition, Saint Louis, MO\nDonald D. Shook Gallery at Saint Charles Community College, Abstract Rhythms, Saint Charles, MO\nThe Luminary, Lot 49, Saint Louis, MO\n\n2017\nThe Luminary, Lot 49, Saint Louis, MO\nGrease 3, ACLU Art Auction, Saint Louis, MO\n \n2016\nThe Luminary, Lot 49, Saint Louis, MO\n \n2015\nContemporary Art Museum Saint Louis, Art:314, Saint Louis, MO\nResearch House for Asian Art, Analog RAM, The Return of Active Memory, Chicago, IL\nArt Saint Louis, Painting: Deconstructed and Reconsidered, Saint Louis, MO\n \n2014\nJulius Caesar, Whitney Houston Biennial 2, Chicago, IL\nArt Saint Louis, Honor Awards 2014, Saint Louis, MO\n \n2013 \nArt Saint Louis, Misperception, Saint Louis, MO\nArt Saint Louis, Art Saint Louis XXVIII: The Exhibition, Saint Louis, MO\n \n2012 \nThe InterContinental Chicago O’Hare, Chicago: A Resource of Young Artists, Chicago, IL\nFour Seasons Hotel Chicago, 19th Annual Nippon Steel Presidential Awards Exhibition, Chicago, IL\nArt Café Hemingway, Landscapes, Kauai, HI\nBrick Gallery, Piece of Cake, Chicago, IL\n \n2011 \n1035 Gallery, Surface Fiction, Chicago, IL\nSullivan Galleries, Fall 2011 Undergraduate Exhibition, Chicago, IL\nWashington University in Saint Louis, Breaking Through, Saint Louis, MO\n \n2010 \nCat Cave, Thanks for Being Here, Chicago, IL\n \n2009 \n162 Gallery, New Blood, Chicago, IL\nThe Riverside Gallery, Mad House, Saint Louis, MO\nThe Gallery at Marbles, Father & Son, Saint Louis, MO\n \nCURATORIAL EXPERIENCE\n2018\nSHOW SHOW SHOW SHOW, A group pop-up exhibition featuring Shawn Burkard, Vaughn Davis, Conor Murphy and Nick Schleicher, May 19th 2018, Saint Louis, MO. Organized by Nick Schleicher\nSSSS*, A group exhibition featuring Shawn Burkard, Vaughn Davis, Conor Murphy and Nick Schleicher, October 8-November 1st 2018, Saint Louis, MO. Organized by Nick Schleicher\n\nPROFESSIONAL EXPERIENCE\n 2016-Present\nExhibitions Manager; World Chess Hall of Fame, Saint Louis, MO\n \n2012-2016\nPreparator; World Chess Hall of Fame, Saint Louis, MO\n \n2012\nStudio Assistant; Alicia LaChance, Saint Louis, MO\n \n2011\nStudio Assistant; Philip Hanson, Chicago, IL\n\nPUBLICATIONS & AWARDS\n2018\nA Unique, Artist-Centric Show And Auction At The Luminary: Lot 49, 2018 Interview with ALIVE Magazine\n\n2017\n6 paintings 9 sculptures REVIEW by Martin Lang\nAltered Perceptions interview with Silver Space STL \n \n2015\nExist Magazine: Artist Discussion with Nick Schleicher\nThe Millitzer Gallery: Vibration Process\n \n2013 \nAward of Excellence in Art Saint Louis’ Misperception\n \n2012\nInternational Contemporary Artist Vol. IV, ICA Publishing, 2012. p 232. Print\nPromotional Flyer for Spring 2012 Undergraduate Exhibition, SAIC, Chicago, IL\nUtrecht Art Supplies, 2012 Resource Guide, January 2012, p. 14. Print.\nUtrecht Art Supplies Honorable Mention Award\n \n2011\n19th Annual Nippon Steel Presidential Award\n \n2009 \nMerit Scholarship from The School of the Art Institute of Chicago\n\n\n\n#### Talk\n\n- finish adding cv as structured data ~~~~",
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"title": "Yo-Yo Lin",
"wikiBody": "Yo-Yo Lin is a media artist who creates audiovisual installation experiences and explores the possibilities of the animated medium in the context of emerging technologies. She uses intelligent projection/ lighting, digital and hand-drawn media, interactive objects, and lush sound design to create meditative 'memoryscapes'. Her work often evaluates human perception and connection as a vehicle for self-knowledge. A first generation immigrant from Taiwanese parents, Yo-Yo often draws from childhood memories borrows iconography from her Tao Buddhist religion.\n\nShe has shown new media works at international multimedia art galleries (Human Resources, Lincoln Center, La Corte Contemporanea), music festivals (Coachella, Panorama, Steez Day), film festivals (New York Film Festival, SXSW, LA Pacific Asian Film Festival), and public art venues. Her work has been featured in the HuffingtonPost, Indiewire, and Surface Magazine. ",
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"title": "Robbie Barrat",
"wikiBody": "Robbie Barrat is Stanford researcher and recent high school graduate responsible for a whole set of AI art innovations, and his statement is emblematic of the way in which the artist has harnessed AI into his work, using his extensive computing knowledge to create projects like AI-generated nudes, and a Balenciaga bot.",
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"metadataString": "{\"nationality\":[{\"value\":\"Denmark\"}],\"url\":[{\"value\":\"https://instagram.com/storm_ha\"}]}",
"title": "STORM",
"wikiBody": "A street artist working in hk.",
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"title": "Sterling Crispin",
"wikiBody": "Sterling Crispin is an artist and technologist whose work explores the relationships between spirituality, human consciousness, and impermanence as they relate to the exponential growth of computing technology and our networked global culture. He received his Master of Fine Arts and Master of Science in Multimedia Engineering from the University of California Santa Barbara. Crispin was an invited speaker at the first annual Drones and Aerial Robotics Conference as coauthor of OpenDroneControl, an open source software platform for developing interactive artworks and research projects with aerial robotics. He is also the creator of the Cyber Paint app.",
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"title": "Ann Johnson",
"wikiBody": "Ann Johnson is a St. Louis based artist using technology to create luminous sculptures with analog circuitry and electronics. Fascinated by the intersection of art and technology, she is constanty studying. Currently, she is practically studying electrical engineering at UMSL-Washington University joint engineering program, in order to be able to create more emerging technology artworks and innovations. She is a member of Qi Hardware and her path towards the New Bay Area and Shenzhen, is unstoppable.",
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"title": "Matt Ruzicka",
"wikiBody": "Matt Ruzicka is an artist and developer. From St. Louis, he received his BA in philosophy from NYC. He lives and works in St. Louis.",
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"title": "Justin Enoch",
"wikiBody": "Justin Enoch is a designer and musician whose work is influenced by Eastern European musicology and experimental music history. Born in Romania, they grew up in Hungary before his family relocated to Saint Louis. They create audio and video algorithmically with Max/MSP. In 2016, they founded and still operates the Chicago-based Radio Benska which celebrates the “vibrant contemporary Central and Eastern European cultural history.” They lives and works in Saint Louis.",
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"title": "Riona Oshima",
"wikiBody": "Riona Oshima is an artist and DJ. They are based in St. Louis.",
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"metadataString": "{\"nationality\":[{\"value\":\"Japan\"}],\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Takashi_Murakami\"}]}",
"title": "Takashi Murakami",
"wikiBody": "One of the top artist working and living today.",
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"title": "Brad Phillips",
"wikiBody": "Brad Phillips is an artist, developer and musician born in Illinois who lives and works in Nashville.",
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"metadataString": "{\"nationality\":[{\"value\":\"German\"}],\"url\":[{\"value\":\"https://fynn.design\"}],\"livesIn\":[{\"value\":\"Munich\"}]}",
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"title": "Bob Cassily DUPLICATE",
"wikiBody": "#REDIRECT [[Bob Cassilly]]",
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"metadataString": "{\"nationality\":[{\"value\":\"German\"}],\"birthday\":{\"value\":\"1842\"},\"url\":[{\"value\":\"https://racstl.org/public-art/christopher-columbus/\"}]}",
"title": "FERDINAND VON MILLER II",
"wikiBody": "From https://racstl.org/public-art/christopher-columbus/ to gather data:\r\n\r\nBorn in Munich, Germany in 1842, Ferdinand von Miller II was the son of the founder of the Royal Bronze Foundry, where many of America’s major nineteenth century monuments were cast. While managing his inherited business, he also worked as a sculptor in stone and bronze. From 1900 to 1918 he was the Director of the Munich Academy. His statue Christopher Columbus was the last of three figures that Henry Shaw commissioned from von Miller for Tower Grove Park, and it was the first Columbus statue to be erected in the United States. The benefactor and the sculptor were both detail-oriented men and argued over whether Columbus would have worn a beard. Shaw insisted that the statue have one, even though the sculptor’s research indicated that Genoese sailors of that time were beardless. In the end both men got their way. Columbus is depicted with a full beard, but near his foot is an inscription added by the artist (in German): “It is not my fault that the head of Columbus is not true, but the wish of the client.”\r\n",
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"title": "Jonathan Keats",
"wikiBody": "Jonathan Keats is an American Artist.\n\nPhoto by Christopher Adams in 2012, Hong Kong.",
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"metadataString": "{\"nationality\":[{\"value\":\"Belgium\"}],\"url\":[{\"value\":\"https://en.wikipedia.org/wiki/Fabien_Fryns\"}]}",
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"wikiBody": "Fabien Fryns is a Belgian art dealer and collector, residing in Beijing since 2004. He has worked in the art world since 1986, specializing in contemporary Chinese art since 2000.",
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{
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"title": "Graffiti",
"wikiBody": "From the Graffiti Wikipedia entry:\r\n\r\nGraffiti (both singular and plural; the singular graffito is very rare in English except in archeology) is writing or drawings made on a wall or other surface, usually without permission and within public view.\r\n\r\n- https://en.wikipedia.org/wiki/Graffiti",
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{
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"title": "Sculpture",
"wikiBody": "From Wikipedia https://en.wikipedia.org/wiki/Sculpture\r\n\r\nSculpture is the branch of the visual arts that operates in three dimensions. ",
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"title": "Painting",
"wikiBody": "From Wikipedia article [Painting](https://en.wikipedia.org/wiki/Painting)\r\n\r\nPainting is the practice of applying paint, pigment, color or other medium[1] to a solid surface (support base). The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used. The final work is also called a painting.",
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"title": "Design",
"wikiBody": "From [Wikipedia](https://en.wikipedia.org/wiki/Design)\r\n\r\nDesign (as a verb: to design) is the intentional creation of a plan or specification for the construction of an object or system or for the implementation of an activity or process.",
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"title": "Print",
"wikiBody": "Prints of all types.",
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