An editorial about the the nearly extinct movie tradition film makers should bring back. For theater goers, the all but obsolete musical overture is a bridge between real life and the world they’re about to enter.
Detecting art forgeries is hard and expensive. Art historians might bring a suspect work into a lab for infrared spectroscopy, radiometric dating, gas chromatography, or a combination of such tests. AI, it turns out, doesn’t need all that: it can spot a fake just by looking at the strokes used to compose a piece.
Photography by Oli Scarff/Getty
The Long-Awaited Zeitz Museum of Contemporary Art Africa Aims to Let the Continent Tell Its Own Story. Built in 1921, the Grain Silo Complex was for more than half a century sub-Saharan Africa’s tallest structure, a symbol of the role that agriculture—in this case maize, or mealie-meal, in local parlance—played in driving the continent’s economic growth. The factory sorted, packed, and shipped grain until 2001. It will now house art from Africa and abroad made in the years since then.
Even after the subsequent decades of mainstream discovery, critical reassessment, and massive cultural influence, Blade Runner 2049 remains the rarest of Hollywood propositions: an R-rated, $150 million sequel to a movie that not a lot of people liked (or even fully understood) when it first came out. Wired offers an interesting glimpse behind the much feared but celebrated Blade Runner sequel.
The old opposition between the "white cube" and the "black box" feels obsolete, even as the exhibition space's importance as a subject of artistic and critical investigation continues to grow. One such investigation, by Sarah Oppenheimer, an artist who has long worked with built environments, and, in particular, the spatial organization of the museum, takes place this fall at the Pérez Art Museum Miami. This interview began as a conversation between Oppenheimer and media theorist Alexander Galloway held at the Center for Curatorial Studies at Bard College.
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From Bomb Magazine
It doesn't have to be hard to make a video game. It doesn't have to take years of labor, months of overtime and a team of hundreds to make a dot on a screen move and jump towards a goal. But stacked against games like Rockstar's expansive Grand Theft Auto V and new technologies like virtual reality, that's what it usually takes to remain cutting edge, and to make something that'll keep your publishers and players happy...
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Written by Tina Amini for Vice
Illustration by Tom Humberstone
Behind masterful movies like Soderbergh's Solaris and Nicholas Winding's Drive, to name a few, there is an unmistakable supporting element: the soundtrack from Cliff Martinez. Known for his brooding exploration of minimalist and dark synth tones, the artists sheds a little more behind his work.
As new political movements like Black Lives Matter have gained influence in recent years, social practice has risen in stature and popularity in the art world. This has contributed to the hypervisibility of cultures that have, for a long time, operated along the margins. But there is a new wave of contemporary work influenced by racial injustices, one that has arisen in the last two years and is decidedly more sensational, predominantly focusing on pain and trauma inflicted upon the black body. Artists have made systemic racism look sexy; galleries have made it desirable for collectors. It has, in other words, gone mainstream. With this paradoxical commercial focus, political art that responds to issues surrounding race is in danger of becoming mere spectacle, a provocation marketed for consumption, rather than a catalyst for social change.
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Written by Taylor Renee Aldridge for ArtNews