Thrivent’s Post

"Much like the proponents of a bygone era known as 'modernism,' the artists featured in this show seem to seek definitive answers. They each found their style at some point and declared, "That's it; that's what I'm going to be known for." To me, this attitude toward art – particularly one's own practice – fits squarely within the age of modernism. Furthermore, it’s an attitude of indifference, defeating the very purpose of art, the quest for something more." Check out our full review for the Gagosian 2023 summer show, To Bend the Ear of the Outer World, on our page! https://lnkd.in/ev8vRtgu

Grace Gordon tapped three experts in the field of art collecting — Zina Khair, Leila Heller, and Vanessa Fuchs — and brings you the best advice from them on how to become an art collector. Discover the art of art collecting, below.

An insightful article, which highlights how contemporary artists and institutions reframe the works of Old Masters to address historical hierarchies of race, gender, and power, while also keeping the impact of these works alive in the contemporary discourse around art. #ContemporaryArt #ContemporaryPainting #FigurativePainting #OldMasters

With accelerating momentum, contemporary artists are shifting the conceptual focus of their practices to address the intensifying crisis of Australia’s diminishing water supply. Alongside scientists and environmentalists, artists have historically presented as some of the first responders to this crisis, bearing witness to its effects through creative expression. Groundswell: recent movements within art and territory showcases a selection of powerful reactions with particular focus on creeping changes to the Northern Territory’s water supply. https://lnkd.in/gQd5uPZM

#conceptualart #conceptualartist #kinetic #kineticart #contemporaryart #contemporaryartworks #artissima #turin #torino #artfair #artfairs #giuseppealletto #theothers Video Art Installation at The Others Contemporary Art Fair Turin Italy 2023 - Giuseppe Alletto shorts videos By Shira Wolfe In the second half of the twentieth century popular entertainment began to move away from the culture of books, magazines and periodicals that had held sway for centuries, and into the realm of the moving image. The exciting new cultural developments, allied to rapid technological progress and the availability of consumer electronics, ensured that television and film became ripe for exploitation by artists, both as subjects for artistic commentary such as in the work of Pop artists, but also to explore as a medium and vehicle for the artistic content itself. However, despite the fact that video art is arguably the most apposite medium for echoing the mores and characteristics of contemporary society, there are several reasons why video art is still considered amongst the most challenging for art lovers and and collectors. Many video works seem as if they might require special access to expensive or unwieldy technological equipment, whilst the seeming lack of tangible object ownership unlike that associated with painting and sculpture creates additional wariness. However, the most common objection seems to be the time based element of the work. Time, for many, is the most valuable commodity of all, and the very fact that a video work demands a greater kind of commitment and attention than a painting or a sculpture, is enough for it to be considered too challenging for many to be truly embraced in a broad sense. Many of the early prominent video artists were those involved with concurrent movements in conceptual art, performance, and experimental film. These include Americans Vito Acconci, John Baldessari, Joan Jonas, Dan Graham, Bruce Nauman, Peter Campus, William Wegman, Martha Rosler and many others. There were other innovators were who were interested in the formal qualities of video as a means of image making and employed video synthesizers to create abstract works. In the 1980s video art enjoyed a further renaissance, when advances in editing technology for the individual user led to a spate of works that developed both narrative and non-linearity, but also stream of consciousness explorations of psychology, which were especially served through advances in technology that could facilitate interactivity.

Fringe's artwork can indeed be considered an investment for several reasons: Growing Recognition: Fringe is gaining recognition in the art world, which can lead to increased demand for their pieces over time. Unique Style: Fringe's unique blend of whimsical imagery and deep themes sets his work apart, making it appealing to collectors seeking distinctive artworks. Limited Availability: As Fringe's popularity grows, their artworks may become more limited in availability, contributing to potential value appreciation. Art Market Trends: Investing in emerging artists like Fringe can align with current trends in the art market, where collectors are often interested in new and innovative artistic voices. Potential for Future Appreciation: If Fringe continues to create compelling and sought-after artworks, his pieces may appreciate in value over time. www.anonymousf.com #fringe #fringetheartist

Contemporary art market faces turbulence as prices plummet 📉 artnet explores industry insights & expert opinions. Read more about it and navigate the way around it 🎉

My latest blog post has some thoughts on the difference between art and craft, sparked by a review in the FT by ariella budick of a new Sonia Delaunay exhibition.

As long as the work of art remains is important. Museums can debate. They can go to court about who owns what. In the end, where is the art. What wall hangs the work, or is it put into storage. Collectors might own the work, but where is the work itself? You might own it, but do we see it? #artgallery #artcollection #arthistory #artconsultant #artmuseum #seeing #learning #create https://lnkd.in/e-NgsXy3