nofomoartworld - Tumblr blog

[nofomoartworld]

Importance of form and survey design to gain an accurate picture

Lena Groeger, writing for Source, shifts attention upstream from analysis to the design of forms in the data collection process.

Whether you’re filling out a form or building it yourself, you should be aware that decisions about how to design a form have all kinds of hidden consequences. How you ask a question, the order of questions, the wording and format of the questions, even whether a question is included at all—all affect the final result. Let’s take a look at how.

Census surveys, election ballots, and racial profiling. Oh my.

Tags: forms, Lena Groeger

from FlowingData http://ift.tt/2ArfG62 via IFTTT

[nofomoartworld]

Britain’s most iconic postmodern buildings are a riot of colour and anti-function

Postmodernist architecture will always be a divisive genre, which is precisely what makes those who love it, love it more. Beginning in the late 1970s as a reaction to modernist principles of form follows function, postmodernism in buildings manifested as a riot of tropical colours and the fusing of contemporary and classical decoration. Geraint Franklin and Elain Harwood, authors of new book Post-modern Buildings in Britain, call the eclectic results, at their best “individual and adventurous”.

Read more

from It's Nice That http://ift.tt/2zw3inX via IFTTT

[nofomoartworld]

Ewen Spencer’s new editorial for Arena Homme + is a “semi autobiographical” voyage through time

Newcastle-born photographer Ewen Spencer needs very little by way of introduction. With a career that started at The Face and Sleazenation, Ewen has transported subculture from sticky walled basement clubs across the UK into the grasp of the wider world via editorials spanning books, magazine pages and films, and shaped the face of British subcultures for the last 20 years in the process.

Read more

from It's Nice That http://ift.tt/2zzkyHa via IFTTT

[nofomoartworld]

Mr Bingo on crowdsourcing then drawing 24 dancing, naked models for his 2017 advent calendar

Christmas is upon us. The John Lewis advert is here and artist Mr Bingo has created his second advent calendar. Far removed from the images of candles, wreaths, shepherds and stables, his calendar is a scratch off celebration of bodies, dancing and music. Available now from his online shop, the process saw the artist crowdsource his models online and spend an intense period photographing, and then drawing, each participant.

Read more

from It's Nice That http://ift.tt/2AvKzHf via IFTTT

[nofomoartworld]

Friday Mixtape: Protomartyr's Joe Casey on his striking and poignant DIY artwork

This week’s Friday Mixtape is curated by Protomartyr’s vocalist, Joe Casey. Over the course of their four album releases, the Detroit natives have gathered a cult following, which has also given Joe the opportunity to create all the album artwork and flyers too.

Read more

from It's Nice That http://ift.tt/2iKuPbB via IFTTT

[nofomoartworld]

Jamie Wolfe’s waxy characters star in an animated teaser for King Krule

Jamie Wolfe has directed an “animated response to a slice of a song” from King Krule AKA Archy Marshall. The track Vidual is from King Krule’s new album The OOZ and Jamie collaborated with the artist to create the extended teaser.

Read more

from It's Nice That http://ift.tt/2hoZMVX via IFTTT

[nofomoartworld]

iGNANT.com: Loop By Snarkitecture

The latest collaboration between Brooklyn-based design duo Snarkitecture and fashion brand COS is an installation piece that hangs suspended from the ceiling of the Gana Art Gallery in Seoul, South Korea. Titled Loop, this intricate lilac marble run twists through an all white space.

Read more

from iGNANT.com http://ift.tt/2iLWbOa via IFTTT

[nofomoartworld]

Michel Gondry’s John Lewis Christmas advert – Moz the Monster – is unveiled

Christmas is definitely upon us. Where once the Coca-Cola advert was once the sign that festivities were imminent, the cultural signifier, in the UK, at least, is the now annual John Lewis advert. Airing tonight at 9.30pm, Moz the Monster is directed by Michel Gondry and was created by agency adam&eveDDB.

Read more

from It's Nice That http://ift.tt/2yNjh29 via IFTTT

[nofomoartworld]

Artist Spotlight: Toyin Ojih Odutola

Drawings by Nigeria-born, New York-based artist Toyin Ojih Odutola. See more images below or on display at the Whitney Museum of American Art until February 25, 2018.  

from BOOOOOOOM! – CREATE * INSPIRE * COMMUNITY * ART * DESIGN * MUSIC * FILM * PHOTO * PROJECTS http://ift.tt/2hhxysD via IFTTT

[nofomoartworld]

Electronic Brand Alphabet by Designer Vinicius Araújo

An ingenious project by graphic designer Vinicius Araújo from Rio de Janeiro, Brazil. “36days Electronics” involves a complete set of Helvetica letterforms based on new and retro electronic brands like Ultimate Ears (U), Apple (A) and Nintendo (N). See the full alphabet, plus a bonus set of numbers, below!

  from BOOOOOOOM! – CREATE * INSPIRE * COMMUNITY * ART * DESIGN * MUSIC * FILM * PHOTO * PROJECTS http://ift.tt/2zwS5BI via IFTTT

[nofomoartworld]

Editor Pick: Kristy Blackwell

Really enjoy this series of oil paintings and drawings by Toronto-based artist Kristy Blackwell. An exploration of grief, anxiety and loneliness, Blackwell’s figures are depicted with wisps of  gold leaf to represent the hidden beauty and strength in such emotional vulnerability. Discovered via our new Submissions platforms and selected as an Editor Pick. Consider submitting here if you have a project you’d like to share. See more images of Blackwell’s work below.  

from BOOOOOOOM! – CREATE * INSPIRE * COMMUNITY * ART * DESIGN * MUSIC * FILM * PHOTO * PROJECTS http://ift.tt/2zv53C1 via IFTTT

[nofomoartworld]

How has Instagram enabled female artists globally to thrive?

Katy Hessel is the woman behind @thegreatwomenartists Instagram account which chronicles the stories of female artists across the world through time. As she prepares to take the account IRL with a new free exhibition at Mother London on November 16, Katy asks how Instagram has contributed to the successful careers of female artists across the world as fourth wave feminism continues to boom.

Read more

from It's Nice That http://ift.tt/2jfO80i via IFTTT

[nofomoartworld]

How Nicolas Polli fabricated an entire space exploration program

“The International Exploration for the Mars Surrounding (IEMS) is a united program responsible for the civilian space program as well as aeronautics research for the surface of Ferox. Between 1976 and 2010, scientists around Europe worked for IEMS in order to determine the presence of water on Ferox. After their third failure the mission disappeared,” reads the blurb of Ferox, The Forgotten Files: A Journey to the Hidden Moon of Mars 1976–2010.

Read more

from It's Nice That http://ift.tt/2ho7akx via IFTTT

[nofomoartworld]

Hyperallergic: Reaching for Transcendence with Voice and Light

Rashaad Newsome, “Running” (2017) Park Avenue Armory (all photos by Da Ping Luo and ©Da Ping Luo)

The email I received promised a performance of “vocal runs” at the Park Avenue Armory that would evoke “an abstract portrait of soul,” but what Rashaad Newsome was trying to do with his piece “Running,” I think, was nudge the audience towards transcendence. You might not know what vocal runs are. I didn’t. I did some research and found I had been hearing them most of my adult life — when I listened to R&B and gospel music. It’s described as an athletic vocal embellishment of a melody, rhythm or chord. Contemporary singers often use this vocal ornamentation to show off their skills, to prove their talent. (You can hear an exquisitely lovely example on Stevie Wonder’s “Don’t You Worry ’bout A Thing.”) Significantly, his rendition shows that this mode of singing is not just about demonstrating virtuosity. It’s about leaving the structure of the song behind to venture out, searching for something with rigor and sometimes desperation — out loud.

I start off in the dark with the piece, wearing a blindfold as required and being led to my seat by an usher who placed my hands on her shoulders and told me to follow her. I sit. Eventually, the talking voices quiet and I’m told I can remove the blindfold. It’s almost jet black. A red light appears high above a man dressed in a dark robe like a choir singer. He starts singing, he runs up and around a scale in slow meandering fashion, crooning, aching, sometimes yelling. Over the next hour red, green and yellow lights wink on and off over the three vocalists (Kyron El, Aaron Marcellus, and Devin Michael). They seek something that might be in the room, in or around themselves, maybe in us in the audience. They search with some feeling of celebration and some anguish. I don’t know what they are looking for, but I can’t help but hold onto them as I also navigate the dark.

Rashaad Newsome, “Running” (2017) Park Avenue Armory (all photos by Da Ping Luo and ©Da Ping Luo)

You might not know what transcendence is. I thought I did. My tendency is to imagine a state of psychically taking leave of my physical body as a kind of motion upwards, towards what might be a heaven. But this experience was more like sinking beneath successive swells of sound until I was interred underneath them, to discover I wasn’t going to drown but could breathe more deeply down there.

Rashaad Newsome‘s premiere of Running, part of the Artists Studio program, took place at the Park Avenue Armory (643 Park Avenue, Upper East Side, Manhattan) on November 7.

The post Reaching for Transcendence with Voice and Light appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2zvLis5 via IFTTT

[nofomoartworld]

Hyperallergic: The Famously Photo-Wary Barnes Foundation Makes Its Art More Accessible Online

Pierre-Auguste Renoir, “Grape Gatherers (Vendangeuses)” (c. 1888–1889) (Public Domain image)

In addition to its rich holdings of Rembrandts, Matisses, and Picassos, the Barnes Foundation in Philadelphia is famous for its blanket no-photo policy, which represents one of the strictest in the museum world. A new collections website launched this week, though, makes images of artworks publicly available and more accessible than ever. The museum has uploaded photographs of about two-thirds of its over-3000 collection objects to an interactive database, of which 1,429 are in the public domain and available for unrestricted use.

Marsden Hartley, “Flowerpiece” (1916) (Public Domain image)

This is an especially significant move for the Barnes, whose sensitive policies regarding photographic reproduction of its artworks extends to its beginnings. The Barnes has always approved of black-and-white images, but, as archivist Barbara Beaucar put it, Dr. Albert C. Barnes had a “great bugaboo … with color reproduction” and “felt that the methods of reproduction of color photographs were not advanced enough.” According to Beaucar, sanctioned color photographs taken by painter Angelo Pinto in 1941 were published the following year in the Saturday Evening Post and came out terribly.

Today, the Barnes’s photo policy is largely in place because of its galleries’ tight spaces, as Deputy Director of Audience Engagement Shelley Bernstein explains in a post on Medium. Bernstein led the development of the new collection database, which was funded by the Knight Foundation.

The Barnes had already placed its collection, in color, online in 2012, but that website did not promote the sharing and downloading of images. Aside from making available high-resolution, zoomable images of public domain works (along with their color bars, for good measure), this new website encourages users to explore the collection based on visual elements, such as color, space, light, and line. After you select an image, you can search for visually related artworks by sliding along a spectrum from “More similar” to “more surprising.” The clusters that appear were developed with the help of machine learning and computer vision, which analyzed the collection images. This approach through visual properties and the visual relationship between artworks draws on Albert C. Barnes’ belief in arranging collections in “ensembles,” or special wall groupings that crossed cultures, mediums, and artistic movements.

  Lenna Glackens, “Woman and Dog Under Tree” (1922) (Public Domain image)

“Dr. Albert C. Barnes used his collection to teach students how to understand and appreciate art without an art historical background,” Bernstein said in a press release. “By grouping works together according to their formal elements, rather than historical connections, he emphasized the universal nature of human expression, making them more accessible no matter one’s level of familiarity with the arts.”

The launch of the new website only establishes the roots of the museum’s commitment to open access in a digital age. Images are currently accompanied by basic details you would find on a wall label, but over time, the Barnes will add more contextual information to each artwork, including provenance. Significantly, the website will also feature image descriptions specifically for the blind or for individuals who are visually impaired, which remains a lacking feature from many online museum collections.

Unidentified artist, “Bird Facing Left on Flowering Twig” (1882) (Public Domain image)

Paul Cézanne, “Bathers at Rest (Baigneurs au repos)” (1876–1877) (Public Domain image)

Henri Rousseau, “The Rabbit’s Meal (Le Repas du lapin)” (1908) (Public Domain image)

The post The Famously Photo-Wary Barnes Foundation Makes Its Art More Accessible Online appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2m9zj0e via IFTTT

[nofomoartworld]

Hyperallergic: How Do We Define Culture? A Study Tries to Find Out

(all images courtesy Culture Track 2017)

If you’re reading Hyperallergic, you’re already well aware of the importance of culture to society, but what exactly is culture? How do we define it now? And is that definition different from what people would have thought as little as 10 years ago? These are some of the key questions for Culture Track — a survey of Americans’ views and habits in the realm of cultural activities — which made public its 2017 findings in October.

Culture Track 2017 fielded their answers from 4,035 people, trying to represent the diversity of US census demographics in terms of age, gender, race, ethnicity, geography, education, and so forth. It asked questions not just about the definitions of culture, but also about how often people seek out cultural activities, the reasons they do (or don’t), and how technology helps (or hinders) their experience.

The data is available to the public for free on Culture Track’s website, in both raw and variously analyzed forms. Before delving into our perceptions of culture, the study offers fascinating tidbits, including activities people like to do in their free time (50% of respondents answered cooking and/or socializing with family at home, with 19% saying they make art). Among those who participated in the study, only 44% said they’re employed full-time, 75% live in either a city or suburb, and 37% reside in the South. I was surprised to learn that a full 43% of Americans are millennials (20 to 35 years old), perhaps cementing the importance of the technology questions.

In terms of how people define “culture,” it seems it’s no longer limited to museums, theater, and music. Culture Track found that 62% of respondents think of street festivals as a cultural activity, while less than 50% answered the same of opera and ballet. Culture Track calls this new melding of “low” and “high” culture a “paradigm shift” in how we think of culture at large. When these results are broken down by generation, it becomes clear that young people are leading the way in this expanded view of culture.

For art museums specifically, when asked why people go to them, the three top answers were “learning something new,” “experiencing new things,” and “interest in the content.” The fourth most common answer, “having fun,” topped the charts for a majority of the other categories, including dance and opera. When asked what was considered to be a “barrier to participation,” most people who like to attend cultural activities cited inconvenience, whereas those who don’t generally attend such events said “it’s not for someone like me” — an answer particularly prevalent in the art museum category.

As for how cultural institutions benefit society at large, Culture Track found that most people think the community-building aspect is most important. Art museums specifically were seen as venues for education and preservation of history and heritage.

The question of technology varied widely by category (particularly by generation), but in museums, it seems people are more or less evenly split between either wanting more digital technology and preferring none at all.

Reading through the data and charts, Culture Track provides us with something much more profound than just definitions of culture or practical information for cultural organizations. Perhaps the most salient, however unsurprising, takeaway is how younger generations have a broader view of culture, while their older counterparts retain the traditional definition of culture as roughly equivalent to the high arts.

Culture Track 2017 provides all of its raw and charted data for free on its website.

The post How Do We Define Culture? A Study Tries to Find Out appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2zp8tXn via IFTTT

[nofomoartworld]

Hyperallergic: Registration is Open for the 106th CAA Annual Conference in Los Angeles

Faith Ringgold at the 2017 CAA Annual Conference in New York (photo by Ben Fractenberg)

Change has been in constant conversation in planning the 106th Annual Conference in Los Angeles, February 21-24, 2018. In our meetings with LA-based civic and cultural organizations, the idea of change came up over and over again.

From the new museums opening downtown, housing astonishing collections, to the protests in Boyle Heights over gentrification, LA is undergoing a metamorphosis. The parallels to CAA, which is undergoing its own transformation, were hard to ignore.

Registration for the 106th Annual Conference is open now.

For registration rates, hotel rates, and deadlines visit the registration page.

The early registration deadline is December 15, 2017.

The 2018 Annual Conference will include over 300 themed sessions, is packed with more professional-development workshops than ever, and offers a long list of LA-museums and cultural institutions our attendees can visit for free with their conference badges. We’ve also arranged special events like a reception at The Getty, guided tours of Jasper Johns: Something Resembling Truth at The Broad, and breakfast at LACMA, to name a few.

We are thrilled to welcome Charles Gaines and Wu Hung as our Keynote Speaker and Distinguished Scholar for 2018.

Our Distinguished Artist Interviews for 2018 will feature Catherine Opie interviewed by Helen Molesworth, and one other artist interview to be announced in December 2017.

We look forward to seeing you in LA!

The post Registration is Open for the 106th CAA Annual Conference in Los Angeles appeared first on Hyperallergic.

from Hyperallergic http://ift.tt/2hhr78J via IFTTT