More Art...

[thatguy]

<!-- m --><a class="postlink" href="http://www.boingboing.net/2008/01/08/jaap-blonk-bubble-pe.html">http://www.boingboing.net/2008/01/08/ja ... le-pe.html</a><!-- m -->

[youtube]GfoqiyB1ndE&rel[/youtube]
--tg

[Haggis Killer]

....exemplifies why art is so important in America.



Clearly, we need practice.

[Drunk Monk]

...real art poops. i don't know art, but i know what i like.

Giant dog turd wreaks havoc at Swiss museum
Inflatable artwork blown from moorings and brings down power line

A giant inflatable dog turd created by the American artist Paul McCarthy was blown from its moorings at a Swiss museum, bringing down a power line and breaking a window before landing in the grounds of a children's home.

The exhibit, entitled Complex Shit, is the size of a house. It has a safety system that is supposed to deflate it in bad weather, but it did not work on this occasion.

Juri Steiner, the director of the Paul Klee centre, in Berne, told AFP that a sudden gust of wind carried it 200 metres before it fell to the ground, breaking a window of the children's home. The accident happened on July 31, but the details only emerged yesterday.

Steiner said McCarthy had not yet been contacted and the museum was not sure if the piece (pictured here) would be put back on display.

The installation is part of an exhibition called East of Eden: A Garden Show, which features sound sculptures in trees and a football ground without goalposts. The exhibition opened in May and is due to run until October.

The centre's website describes the show as containing "interweaving, diverse, not to say conflictive emphases and a broad spectrum of items to form a dynamic exchange of parallel and self-eclipsing spatial and temporal zones".

http://www.guardian.co.uk/world/2008/aug/12/3

[Greg_phpbb3_import1]

Was there a giant paper towel on hand to retrieve the wayward shit?

[thatguy]

<!-- m --><a class="postlink" href="http://neleazevedo.fotopages.com/?entry=967993">http://neleazevedo.fotopages.com/?entry=967993</a><!-- m -->

--tg

[thatguy]

This looks like CGI from the video clip, but it's an actual installation...

--tg

[Drunk Monk]

inspiring

For $84,000, An Artist Painted Two Blank Canvasses Titled 'Take The Money And Run'

September 29, 202111:53 AM ET
BILL CHAPPELL



Visitors view a blank canvas that is part of "Take the Money and Run," by Jens Haaning, at the Kunsten Museum of Modern Art in Aalborg, Denmark. The piece is part of an exhibition called [i]Work It Out[/i], which explores people's relationship with work.
Niels Fabæk/Kunsten Museum of Modern Art
The money was supposed to be used to create modern art. And it was — but not in the way a Danish museum expected when it gave an artist the equivalent of $84,000. In return, it received two empty canvases.
The artist, Jens Haaning, says the blank canvases make up a new work of art — titled "Take the Money and Run" — that he calls a commentary on poor wages. One thing it's not, he says, is a theft.
"It is a breach of contract, and breach of contract is part of the work," he said, according to Danish public broadcaster DR.
"The work is that I have taken their money," Haaning stated.
The Kunsten Museum of Modern Art in Aalborg isn't satisfied with that explanation, but that hasn't stopped it from displaying the two canvases as part of its exhibition called [i]Work It Out[/i], which explores people's relationship with work.
Artist's unexpected delivery provoked laughter and questions
Haaning took the money as part of an agreement with the Kunsten, which says it loaned Haaning more than half a million kroner so he could frame the cash in a reprise of an earlier artwork. The artist had previously used two canvases, one larger than the other, to illustrate the gap in average annual incomes in Denmark and Austria in concrete terms — or, more accurately, in paper.
Haaning sent two large crates to the museum, as it prepared to mount the work-themed show that opened last weekend. But when staff members opened the boxes, they were surprised to find two blank canvases.
"I actually laughed as I saw it," Kunsten CEO Lasse Andersson said in an email to NPR, adding that the museum first suspected things might not go as planned when Haaning told them he had created a new piece of art, with the title "Take the Money and Run."
The delivery quickly provoked a flurry of emails and messages at the museum. Andersson says that while Haaning's initial work converted money into art, "The new work reminds us that we work for money." It also adds a new twist to the debate over how an artist's work should be valued, he said.


Jens Haaning's artwork "Take the Money and Run" is seen in the Kunsten Musem of Modern Art. The empty canvas was meant to hold thousands of dollars in cash — but the artist chose to hang on to the money.
Niels Fabaek/Kunsten Museum of Modern Art
Artist urges the public: Take the money and run
Haaning told [i]P1 Morgen[/i] that he decided to keep the money after rejecting the idea of reproducing art that was more than a decade old. Instead, he said, he wanted to create a work that dealt immediately with his own work situation.
"I encourage other people who have just as miserable working conditions as me to do the same," he said, according to a translation from Artnet. "If they are sitting on some s*** job and not getting money and are actually being asked to give money to go to work," they should take the money and run, he told the radio program.
Haaning says he would have had to pay 25,000 kroner (around $2,900) to re-create his art work — an unfair burden, he told Danish radio. But Andersson says the museum's contract provides up to 6,000 euros, or nearly $7,000, for Haaning's work expenses. Under the agreement, the artist also receives a fee of 10,000 kroner, plus a "viewing fee" determined by the government.
The museum isn't taking legal action — yet
Haaning signed a contract with the Kunsten, promising to deliver the artwork and to return the $84,000. The artist now faces a deadline to give the museum its money back on Jan. 16, when the work exhibition closes. The museum says it's talking with him about that deadline; it also acknowledges that Haaning did produce a provocative piece of work.
[b]"[/b]It wasn't what we had agreed on in the contract, but we got new and interesting art" from Haaning, Andersson said.
Haaning is a well-known artist in Denmark, where his attention-grabbing projects have included rendering the Dannebrog, Denmark's red and white national flag, in green, according to public broadcaster DR. He also "moved a car dealer and a massage clinic into exhibition buildings," the news agency says.

[Greg]

Now that someone has done it, we have to come up with another scam. That Bansky piece that halfway shredded itself just sold again for a ridiculous sum.

[thatguy]

https://boingboing.net/2021/11/21/the-in...r-art.html

The Institute of Illegal Images is a wonderland full of LSD blotter art
[color=var(--body-font-color)]Popkin [/color]
8:00 am Sun Nov 21, 2021 
The walls of Mark Mccloud's San Francisco home are covered in LSD blotter art. He calls his collection the "Institute of Illegal images", and you can visit for free. Here is a 2016 interview with Mccloud inside of his home. He's a fascinating character. All of the artifacts in the institute have a backstory, such as "a framed blotter print of a telegraph sent by Allen Ginsberg pleading for the release of LSD pioneer Timothy Leary (SF's Institute of Illegal Images is like an LSD museum )." Mccloud nearly got a life sentence in prison for owning so much blotter art, but he managed to get out of trouble and continue curating his incredible collection. Check out some images and prints from his collection online here.

—tg

[cranefly]

"Mccloud nearly got a life sentence in prison for owning so much blotter art, but he managed to get out of trouble..."

Interesting concept and exhibit, but I'm still puzzling over how you could get a life sentence for the art you hang in your house -- unless it's child porn or something similar.  Though no doubt those were crazy times, so who knows...

[thatguy]

This piece could be yours...



--tg

[thatguy]

AI generated video for Echoes (wonder exactly how much AI vs how much curation was involved...)



--tg

[Drunk Monk]

That was cool. AI needs to make a movie next. Couldn’t be much worse than so much of the crap that’s out there already. 

When AI starts to generate AI, we should really start worrying.

[thatguy]

That was cool. AI needs to make a movie next. Couldn’t be much worse than so much of the crap that’s out there already. 

When AI starts to generate AI, we should really start worrying.

Malkovich Malkovich!

--tg

[thatguy]

Biggus Dickus!

https://nationalpost.com/news/world/idea...n-fine-art

Ideal penis size is on the rise in fine art, and this change is accelerating: study

The penis started out 'rather small' in the 15th century Renaissance, stayed that way for a long time, and grew significantly on contemporary canvases
Published Nov 18, 2022  •  Last updated Nov 18, 2022  •  4 minute read
152 Comments 
Male students drawing a nude man during a life drawing class at the Chase School of Art in New York City in 1896. Photo by Museum of the City of New York/Byron Collection/Getty Images
Pointing out penises in classical fine art is a childhood tradition as hallowed as underlining swear words in the dictionary.


As you grow up, however, you’re supposed to start keeping those snickers to yourself, and commenting instead on things like composition and brushwork.
It is a rare scientific research paper that recaptures this youthful fascination with artistic naughty bits, but a new one in a British medical journal gave it a try, and made a curious discovery about art history.
It seems penises are getting bigger in paintings, and this change is accelerating. That is the conclusion of a team of urologists reported recently in the BJU International journal, in their article “Depictions of penises in historical paintings reflect changing perceptions of the ideal penis size.”
“In paintings depicting nude males, the size of the penis has gradually increased throughout the past seven centuries, and especially after the 20th century,” they report.

One of the co-authors, Annette Fenner, is chief editor of Nature Reviews Urology, but was participating as an independent researcher. The others are affiliated with academic or clinical urology departments in Turkey. An academic art historian is listed as a contributor.

From the 19th century onwards, images of the penis began to become proportionally larger

They began with some ground rules. No adolescents. Obviously no cherubs. Only adult male nudes, and no erections. It must also be possible to measure either ear or nose for standardization. That eliminated nearly a third of the 232 paintings of male nudes selected in online art databases with keywords “male” and “nude.”
Their interest was in the artistic depiction of a physical ideal. So the stylized iconography of medieval Christian art was out. Their time frame begins with the Renaissance, with the renewed artistic effort “to reflect the ideal beauty of the human form.”

They describe this as an important moment in the artistic history, when a cultural preoccupation with penis size that dates at least to Greco-Roman antiquity if not Stone Age cave art finally started to show itself in precisely lifelike paintings.
This presents an opportunity to measure the ideal penis size throughout the ages. What the researchers found was that the penis started out “rather small” in the 15th century Renaissance, as the paper puts it, stayed that way through subsequent periods such as Rococo, Baroque and Impressionism, but then grew significantly on contemporary canvases.
“From the 19th century onwards, images of the penis began to become proportionally larger,” the paper reports.
Their input skews heavily European. The authors suggest this might be related to the nude as a mainly Western painting tradition, in contrast to Eastern traditions of “aniconism,” or not depicting revered people in art. It does not address how paintings come to be included in the online art databases, or the potential effect of search terms being all in English.

The final set was 160 paintings by 99 painters from 21 countries, with Italy, France and Britain most common. They include Frühling by Koloman Moser (1900), David by Eric Gill (1926), and Paradox of St. Sebastian by Bruno Surdo (2017).
It took an unusual mathematical approach to pin this all down, involving an ancient esoteric concept known as the golden ratio, which has often been used to describe the geometry of the human form. It describes a line divided such that the ratio of the smaller to the larger is the same as the ratio of the larger to the whole. It is also mathematically related to the Fibonacci sequence of numbers: 1, 1, 2, 3, 5, 8, 13, in which each is the sum of the previous two.
Both concepts are evident through evolution in nature, as the mathematics underlying spirals, anything from a snail’s shell to a head of cauliflower. There is a long history of fascination with this ratio and its relation to art, beauty, and the human form, but also many attempts to see it where it does not exist.


Leonardo da Vinci’s Vitruvian Man. Photo by Leonardo da Vinci
The most famous is Leonardo da Vinci’s Vitruvian Man, a 1490 sketch of the geometry of ideal body proportions, said to be based on his knowledge of the golden ratio. In the middle, more or less, is a penis that, unusually for the time, “was clearly visible and was portrayed to look more aesthetically beautiful rather than being large and long, similar to depictions of the phallus in the Ancient Greek period,” the paper reads.
In this new paper, however, the golden ratio was most useful when applied to the face, because it served as a way to standardize the body of different male nudes.
“In this study, the face of the male depicted in the paintings was assessed to ensure that it fitted the proportions of the golden ratio, which showed that the image was correctly and realistically proportioned,” the paper reads.

Taking the ratio of penile length to ear length therefore gave the researchers a “penis depiction ratio” that allowed for consistent measurement across different paintings, they claim. If they could not measure the ear, they used the ratio of penile length to nose length instead, based on the assumption that “nose length is defined as equal to ear length according to the golden ratio.”
“If historical and contemporary artwork are considered to represent the ideal in a similar way to modern media, the perception of phallus size and the size that is considered to represent the male ideal seems to have altered throughout the centuries, alongside evolution in cultural differences… In the present study, we have demonstrated that the size of the ideal penis as represented in artwork seems to have increased in size throughout recent history, particularly in the 20th and 21st centuries,” the authors write. “This observation illustrates the changing sociocultural inputs into male body image and emphasises the need for improved understanding of the sociocultural factors associated with the perception of penis size in men.”

—tg