Specifically, the Arts & Culture app will take a selfie you shoot and run it through a database of artworks shared by institutions partnered with Google cultural program. Then, it will present you with the top matches, with a percentage that indicates how close a match it thinks you are.
I have a feeling we will be asking many more similar questions regarding AI soon.
I found these examples of robotically generated art and music to be polished and appealing. But something kept nagging at me: What happens in a world where effort and scarcity are no longer part of the definition of art?
A mass-produced print of the Mona Lisa is worth less than the actual Leonardo painting. Why? Scarcity—there’s only one of the original. But Amper churns out another professional-quality original piece of music every time you click “Render.” Elgammal’s AI painter can spew out another 1,000 original works of art with every tap of the enter key. It puts us in a weird hybrid world where works of art are unique—every painting is different—but require almost zero human effort to produce. Should anyone pay for these things? And if an artist puts AI masterpieces up for sale, what should the price be?
If you’re a famous drummer, how do you turn drumming into an art form that people can buy, collect and hang on their wall?
Ashlander Steve Smith, who was the drummer with the famed ’70s-80s rock group Journey (and still does the occasional tour with them), creates “art” by drumming for 10 or 20 seconds with lighted drumsticks, recording it with time-lapse photography, making an impression of the resulting image on canvas and signing it for fans and collectors.
This novel art form is sold with a lavish coffee table book on his work, which includes a write-up about the concept, style and feeling portrayed in each photo, with a vinyl LP of what’s being played.
If there’s one prerequisite to creativity, Birsel believes it’s a sense of fun, a “playful spirit,” unlike the mind-set that rote or analytical tasks usually demand. “When you’re in a playful mode, you’re less of afraid of making mistakes and you’re less judgmental, which is really key to any creative endeavor. That little voice in your head that says, ‘Well that’s a bad idea!’–it’s the worst possible friction to creativity.”
By playing with the stuff on your desk for 10 minutes, “You’re not trying to prove that you’re the most creative person in the room,” she adds, you’re just trying to silence that voice and start having fun.
We’ve started to bring together the best events and shows for creatives from around the UK – and a few major ones you might want to consider booking a trip to.
We’ve included exhibitions to inspire you, conferences to help build your skills and trade shows to learn about the latest technology that could help you push your work into new areas. We’ll be updating throughout the year as more events are announced, so keep checking back.
We kick off with 11 exhibitions, conferences, classes and festivals, starting with illustrator Sam Gilbey’s (work seen here) live art class in London.
It’s five years since authorities in Germany uncovered around 1500 works of art held by Cornelius Gurlitt, then aged 79. He’d inherited the work – by artists ranging from Old Masters to Picasso – from his father, an art-dealer who worked with the Nazis to acquire valuable artworks from Jewish families. Now exhibitions in Germany and in Switzerland are putting highlights on display, in the hope of alerting descendants who may be the rightful owners.
So in March 2014 another online network, Art Detective, was established to enable the input of anyone who could supply specific knowledge about individual paintings. As well as specialists, ordinary members of the public have been encouraged to contribute by proposing discussions to establish attributions and dates of paintings, or to identify the subjects and locations depicted. Once the owners have agreed to a public discussion, the suggestion is assigned to one of 27 groups, each headed by a specialist t
In the 1930s, coal miners based out of Ashington, Northumberland, began an art appreciation class out of their local YMCA. The Ashington Group, as they called themselves, stuck to the philosophy “paint what you know,” and the group became a sensation, capturing a unique look at life in coal mines and coal towns. The life and times of the miners, dubbed the “Pitmen Painters” have been chronicled by art critic William Feaver and also adapted into a Broadway play. Now, reports Javier Pres at artnet News, their
What if you had a magic pencil with the power to create anything you wanted? What would you draw? What would you erase?
As a child Malala Yousafzai, the youngest Nobel Prize Laureate, dreamed for such a pencil, one to draw a real soccer ball for her brothers or beautiful dresses for her mother. One to draw a more peaceful world, an equal place for boys and girls.