#gallerygo

[wildheart-gourmet]

Week 12 Update

This week, Wildheart Gourmet officially launched on Steam & Itch!

It is officially available to play for free on Windows, Mac & Linux.

The installation in Mana also went well, and everything is ready for the exhibition opening on the 24th.

Progress photos from installation.

The final setup, ready to go with the playable demo version of the game and fun extra merch for the gallerygoers!

[technologykiduniyawithkk]

#google #gallerygo #kkdamor #technologykiduniyawithkk #googlephotos #androidapp (at Udaipur - The City of Lakes) https://www.instagram.com/p/B1jGwztA9h-/?igshid=jirukjzkt1ag

[privatshop]

Google, Gallery Go isimli yeni fotoğraf uygulamasını yayınladı

Her ne kadar son zamanlarda oldukça üst seviye akıllı telefon modelleri piyasaya çıksa da arama devi Google, eski ve giriş seviyesi akıllı telefon modellerine de oldukça önem veriyor. Şirket, Gallery Go isimli yeni bir fotoğraf uygulamasını kullanıma sundu. Bu uygulama, daha çok düşük seviyedeki akıllı telefonlar için tasarlandı. Telefonlarda 10 megabaytın altında bir yer kaplayan uygulama şimdiden 100 bin indirme sayısını geride bıraktı.

Düşük sistem gücüne ihtiyaç duyduğu için telefonun batarya ömrünü de olumsuz yönde etkilemeyen Gallery Go, fotoğraflarınızı “İnsanlar, Selfie’ler, Doğa, Hayvanlar, Dokümanlar, Videolar ve Filmler” gruplarına göre otomatik olarak organize ediyor. Fotoğraflar üzerinde hızlı bir şekilde iyileştirme yapabilen Gallery Go, SD kart desteği de sunuyor. Google'ın uygulamalarında genel olarak kullandığı sade arayüz bu uygulamada da dikkat çekiyor.

Uygulamada ayrıca, yapay zeka teknolojisini kullanan yüz gruplandırma özelliği de bulunuyor. Ancak bu özellik henüz test aşamasında ve herkese açık değil. Siz de Gallery Go uygulamasını Android telefonunuzda denemek için aşağıdaki bağlantıyı kullanabilirsiniz.   Aşağıdaki bağlantıdan Ensonhaber Teknoloji Instagram hesabını takip ederek güncel teknoloji haberlerine anında ulaşın. Read the full article

[studio-mariaogedengbe]

Veronica veil (V. v.) acrylic on canvas, hardware 2022 Longview Art and Design Faculty exhibit, Spring 2022 currently on view in the gallery at the Cultural Arts Center Longview Community College, 500 SW Longview Rd, Lee's Summit, MO 64081 hours are 10am-1pm M,T, Th, Sat - through April 16

The theme of Veronica's veil is often seen in western art. My work often makes use of crossover between painting and textile arts with relation to my research in West African textiles. So here, in this work, is a very large portrait that is presented unstretched, like a textile. image © Maria Ogedengbe

[mybeingthere]

https://ocula.com/artists/suzan-frecon/

"Suzan Frecon’s handling of color and densities of oil paint is particularly distinctive. She favors unnameable deep reds, red oxides, terre vertes, ochers and variations of a very special ultramarine blue, working her magic in surfaces that range from nuanced, luminescent ultra-glossy to uninflected, light-absorbent matte. The works were shown at Zwirner, according to Frecon’s preference, with no artificial lighting during daytime hours, only illumination from skylights, so that the surfaces flickered and changed with passing clouds. Even the passage of gallerygoers in front of the paintings noticeably affected their tonality. Though probably fairly direct, the exact colors are difficult to identify (similar to the green-blue-grays in Brice Marden’s 1971-72 “Grove Group”) because of their physical composition, including the ratio of linseed oil to pigment. (Frecon has secret recipes.) Knife-sharp edges are contrasted with areas of see-through color and dense, even flatness." 

By Stephen Mueller

[blakegopnik]

THE FRIDAY PIC is "Severed Spots," a (very) rectified readymade by the Brooklyn collective known as MSCHF, based on a spot print by Damien Hirst, whose spots MSCHF excised and sold as their own works. It's in their first art-world show, at Gallery Perrotin in New York. I wrote about the show in today's New York Times, as follows:

This is the first gallery outing for the Brooklyn collective known as MSCHF (pronounced mischief), well known beyond the art world for pranks that poke fun at commodity culture. In this show’s most striking piece, that culture comes to include a work of art. For that work, “Severed Spots,” MSCHF’s creators spent almost $45,000 on a Damien Hirst print that bore 108 of his trademark spots. They then sliced out those spots to function as separate works by MSCHF, on sale at Perrotin for $4,400 each. The Hirst print, now a spot-free web of holes, is listed at $75,000. Profit is this work’s true subject and art supply. In another project, also on view at Perrotin, MSCHF offers to forge the metal from any gun into a sword: They have already turned a grenade launcher into a massive two-handed blade; a pump-action shotgun is now a Scottish dirk. If Americans want to bear arms, maybe these are closer to what the founding fathers imagined. The project known as “Wavy Shoes” consists of sneakers from brands like Adidas and Asics redesigned by MSCHF to look half-liquefied, like shoes seen in a fun-house mirror. The price and status of high-end footwear is clearly not about function; by making versions you could never run in, MSCHF puts that fact on view. Some gallerygoers are going to ask if all this caustic play counts as art. But I think it fits quite cozily into the business art genre established decades ago by Andy Warhol and his fellow conceptualists, and then pursued by descendants like Takashi Murakami and Hirst. MSCHF’s surgically altered spots could almost as easily be by Hirst himself.

[aulel-process]

Nude Descending a Staircase, Marcel Duchamp, 1912

“Once artists are expected to shock, it’s that much harder for them to do so. And the prototype for all New York art scandals to come was not over Chris Ofili or Robert Mapplethorpe but the 1913 Armory Show. The infamous exhibit displayed more than 1,000 works of art by more than 300 artists. The roster included Picasso, Matisse, Manet, and C��zanne, all unknown in this country. Also on hand was Marcel Duchamp’s Cubo-Futurist Nude Descending a Staircase (No. 2). The outrage aimed at this one work was epic. People packed the Lexington Avenue Armory by the thousands to gawk at, ridicule, and revile it.

Today the painting hangs quietly in the Philadelphia Museum of Art, and it takes effort to grasp what the to-do was about. No longer looking like the “explosion in a shingle factory” it was said to resemble, it is a well-constructed, small, brownish, semi-abstract image of angled stairways, banisters, balustrades, a landing, and a sort of stop-action stick figure. It’s still visionary in its ideas, but hardly shocking.

Viewers didn’t just dislike the painting; they saw it as a threat—un‑American, a ruse, a challenge to their religious faith. Remember that in 1913, there was no American avant-garde to speak of. Americans presumed paintings should be of historical scenes, Hudson River landscapes, presidents, cowboys, and Indians. There were plenty of nudes, too, but they weren’t taboo as long as they were realistic depictions of spent-looking, lounging women, or moony girls with budding breasts. Duchamp’s painting broached cognitive boundaries. People weren’t able to handle that he redefined what originality was, or that he was trying to shatter what he considered a dead academic language of painting. In retrospect, there was a good reason for the scandal: Gallerygoers were faced with a living, breathing image of rebellion.

In art, scandal is a false narrative, a smoke screen that camouflages rather than reveals. When we don’t know what we’re seeing, we overreact. Oscar Wilde wrote that “there is no such thing as a moral or an immoral” work of art. He’s right. Art is good, bad, boring, ugly, useful to us or not. It does or doesn’t disturb optical monotony, and succeeds or fails in surmounting sterility of style or visual stereotype; it creates new beauty or it doesn’t. Scandals happen when people are certain—­certain that a bunch of angled shapes on a brown ground is vulgar. Certainty sees things in restrictive, protective, aggressive ways, and thus isn’t seeing at all. What the scandalized don’t take into account is that more than one thing can be (and often is) true at once.

To engage with art, we have to be willing to be wrong, venture outside our psychic comfort zones, suspend disbelief, and remember that art explores and alters consciousness simultaneously. When someone sees something immoral, he or she is actually seeing something immoral in him- or herself. This built-in paradox is one of art’s services to us. It creates space for doubt, accepting that we’re human animals. Scandal is only human.” ( 1 )

[eye-of-enigmatic-thought]

Some coloured pencil doodles of my Smile For Me OC, Vahid Gharagazlou, a mad pretentious Iranian artist with shadow powers, chronic back pains, and is also your NB uncle now. I’ll create a full ref for him eventually, but his fluffy brown coat is what he usually wears.

More info on him under the cut! (I wrote... a lot.)

Vahid is an old autistic Iranian artist in his early 50s. He is ethnically Persian with some Turkish ancestry and was born in rural Iran. He is a transmasc NB and goes by he/they pronouns, he hasn’t had any surgeries and doesn’t bind due to his back problems, but he has been on T though stopped when his voice dropped as that’s what he really wanted out of it. 

He like the Habit family has shadow powers, and often uses them for his performance art pieces and to deal with the chronic back pains he’s had since childhood. The shadow powers also give him the ability to communicate with vultures, and he has a pet Black Vulture named Gharch.

Whilst he uses a variety of mixed media (from painting, sculpture, to even performance art) and tackles all kinds of themes, most of his work is usually of a macabre nature. Most of it is simply because it’s what he enjoys creating, but some may have personal themes relating to his old life in Iran. Vahid is often disinterested in answering on what his work may ‘mean’ and so often gives cryptic answers to mess with others.

Personality wise, Vahid is a... very eccentric man. Due to his disability he often appears mellow and tired and has a formal though often cryptic way of speaking, but he becomes incredibly energetic and crass when becoming passionate over something. He can be very pretentious, smug, and full of himself, and he has odd ideas as what can be considered art and has gained a reputation of being very temperamental towards art and artists he dislikes or deems ‘too commercial’ and ‘pretentious’, sometimes outright getting into fights with the artists. 

However Vahid has some degree of self awareness to this reputation and uses his image as a ‘mad intimidating pretentious artist’ to often play jokes on others, such as appearing in his own exhibitions pretending to be a common gallerygoer or rival artist and insulting his own art before revealing himself as the artist to see others’ reactions or intimidating someone to give him criticism. He’s overall pretty mischievous and does all kinds of weird shit just to see someone else’s reaction.

Despite his intimidating reputation, to young and beginner artists that are being taught under him, Vahid can be incredibly supportive and encouraging of their endeavors, often coming across as a ‘uncle’ like figure to them and always striving to make sure he gives them opportunities to improve and express themselves. He can also generally be very caring and sweethearted, and enjoys spending time with those he likes even if they may not do much together, especially if it’s over tea!

[deepartnature]

Peter Schjeldahl (1942–2022)

“One problem with seeing an exhibition with someone else is that rhythms of looking are so often at odds—either they move too slowly or not slow enough, or pay too much attention to stuff that you do not. Soon after we met in 2014, Peter Schjeldahl and I figured out that we were weirdly in-sync gallerygoers. Walking through a show together, we’d incessantly narrate bits of what we were seeing to each other, trying out descriptions and bits of language in the presence of the art itself—Peter scribbling on a checklist or small notepad like a proper reporter. These were my most vivid encounters with Peter the Poet, always aiming to delight with an unexpected adjective or analogy. The goal was marrying precision and surprise. ...”

ARTFORUM

NY Times: Peter Schjeldahl, New York Art Critic With a Poet’s Voice, Dies at 80

2017 July: Peter Schjeldahl

[creativinn]

Toi Tū Toi Ora: Contemporary Māori art show holds record for largest art exhibition since 1989 - NZ Herald

It was the largest exhibition in the 132-year history of Auckland Art Gallery Toi o Tāmaki and the most attended since 1989.

Toi Tū Toi Ora: Contemporary Māori Art is the first exhibition to take over the entire gallery. It held more than 300 artworks by 110 Māori artists and before its closing saw more than 140,000 gallerygoers.

It consisted of contemporary art between the 1950s and today, with some of New Zealand's biggest names like Robyn Kahukiwa, Robert Jahnke, Lisa Reihana, Ngatai Taepa, Tangimoe Clay, and Donna Tupaea-Petero.

According to the Toi Tū Toi Ora exhibition key statistics, 51 per cent of people who came to see the exhibition had stepped into the gallery for the very first time, making it one of the most intriguing exhibitions Tāmaki Makaurau has held.

Among those statistics were 6,000 students, despite the normal average being 3,000. The students ranged from primary school pupils to tertiary students.

Māori visitation also increased from 4 per cent to 15 per cent, which was a goal for mana whenua and Chief Operating Officer for Ngāti Whātua Ōrākei Tom Irvine.

Toi Tū Toi Ora: Contemporary Māori Art at Auckland Art Gallery Toi o Tāmaki. Photo / Supplied

"It's a new beginning now that the show has ended," Irvine said, but due to its popularity and capacity, some of the artworks remain at the gallery for anyone who has missed the opportunity.

An Auckland Art Gallery spokesperson said they're expecting an extra 50,000 people to check it out by July.

The artworks include:

• Ko Tangaroa e ngunguru nei! | Tangaroa Rumbles and Roars!

• Te Haerenga | The Passage

• Kei te Eke Panuku te Wahine | Women Far Walking

• Te Kore, Te Po, Te Ao Marama

• Tikanga Ora, Tikanga Toitū | Living Traditions, Enduring Traditions

• Ngā Tai e Whā | The Four Tides of Tangaroa

• Ko Taku Toa Takitini | Finding Strength in the Collective

It opened on December 5, last year, and closed most of its art on Mother's Day.

"This show holds a new era. It re-indigenises institutions, if it's safe for Māori it's safe for all," Irvine said.

"There is potential to create travelling shows to celebrate toi Māori internationally. I am working with our team and stakeholders to work toward taking toi Māori to the world's galleries and grow commercial success for our artists."

The exhibition looked at old and new ways of approaching and engaging with the Māori art of the last 70 years, bringing forward a multiplicity of interpretations on the narrative of making the art.

Beyond the art, it was also an opportunity to grow new leadership roles and a beginning of a bicultural partnership.

"A great start demonstrated by partnership between Toi o Tamaki director Kirsten Lacy and mana whenua Ngāti Whātua Ōrākei," Irvine said.

The headcount of Māori staff had increased, with new roles at all levels and a senior leadership team role with a core focus on kaupapa Māori to be advertised soon.

"We are building biculturalism powerfully here."

This content was originally published here.

[photojojo]

Photographers are capturing gallerygoers who look like they're part of the art exhibit. See the newest spin on "Dressed To Match" and tell us your favorite → https://peoplematchingartworks.tumblr.com/

[thatrickmcginnis]

My pictures of gallerygoers were a personal challenge: Taking photos of people that weren't portraits, a sort of street photography with strictly limited variables. When I do a portrait, I try to force a relationship, however brief and one-sided, with the subject. With these photos, I have no relationship with the subject at all; most of the time I never see their face.

More here.

[cardstumble]

NY Times - June 6, 1980 - Bonwit Teller Bldg article by Robert D. McFadden

FROM THE ARTICLE: “In 1980 I was a working for an architectural firm in Midtown Manhattan. I enjoyed going out at lunchtime to visit art galleries, which in those days were clustered around 57th Street; and which is how, on a sunny day in June, I found myself on the eleventh floor of a building on Fifth Avenue, in the Robert Miller Gallery. I don’t recall the art being shown that day, but I do have an indelible memory of what I saw from the gallery’s big windows. Directly across stood the department store Bonwit Teller, the elegant facade of which featured a spectacular 15-foot-high Art Deco sculptural ensemble, at eye level with the gallery. That day activity across the avenue was unusual, and it took me a moment to realize that workmen on a scaffold were in the process of destroying the limestone bas-reliefs with masonry saws and jackhammers. Other gallerygoers took notice, and we all watched the demolition in horror — and then somebody muttered “that fucking bastard!”

https://placesjournal.org/article/post-trump/?gclid=EAIaIQobChMIzY6rx6aW1wIVilmGCh0boAxTEAAYASAAEgL95_D_BwE

comment by Cardstumble: he was in a big hurry to build his Trump Tower, which is a monument to vulgarity designed to attract vulgar nouveaux riche, like bees to honey

[blakegopnik]

My pic shows  a set of “transformable” dog toys, made around 1930 by

Joaquín Torres-García, recently on view at  Ortuzar Projects in New York.

I wrote a few words about the show for the New York Times:

Ortuzar’s show of dozens of wooden toys by Joaquín Torres-García, plus a few toy-inspired paintings and sculptures, is full of utterly delightful, playful objects. In their delight, however, they manage to raise important questions about the nature of art.

Torres-García, born in Montevideo, Uruguay, in 1874, is best known as an early adopter of modernist painting. The Ortuzar show, “Toys,” explores the serious energy he also spent designing handmade toys, which paid his bills for a while in the 1920s.

His wooden dogs have interchangeable parts — long or short ears; cropped tail or curly — so the kids who got them could play at build-your-own breed. His “Funny People” series captures all the different “breeds” of human a child might come across in a big city. The simplicity of their modernist forms makes them perfect fare for budding brains. (Or did toys get simple before art ever did?) Someone should reissue the playthings in this show: They’d bring joy to children and parents.

But how should a gallerygoer consider these toys? Are they lesser objects, because they were “mere” moneymakers? Or does their close contact with everyday functions make them that much more compelling?

By calling them “art,” do we risk pulling a Duchamp on them, when we should be appreciating them for their simple play-value for kids?

In the end, does their playfulness make them better toys or better art?

I have a feeling Torres-García would have answered, “Yes.”

(Image courtesy Sucesión Joaquín Torres-García, Montevideo and Ortuzar Projects)

[villain-ette]

eavesdropping on gallerygoers debating free speech at @flightdeckoakland 's gallery opening for #oaklandfirstfriday - up all month afaik (at The Flight Deck)