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Liste, the Beloved Satellite Fair for Emerging Talent, Lobbied Art Basel to Set Up Shop Inside the Messeplatz The Gambit Paid Off
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by Paul Sullivan
(NYT NEWS SERVICE)
.- British artist Damien Hirst, best known for putting a shark in a tank of formaldehyde, has gotten on the NFT bandwagon. NFTs, or nonfungible tokens, rely on blockchain technology to designate an official copy of a piece of digital media that would otherwise be cheap or free. Hirst is selling a collection of 10,000 NFTs, each of which corresponds to a physical dot painting, for $2,000 each. A year from now, the collectors of the series, called The Currency, will have to decide whether to keep the NFT or the painting; whichever one they do not choose will be destroyed. Is it better to keep the NFT or the physical artwork? Which will be the more valuable investment? It is hard to know. Certain NFTs are fetching large sums of money, but not all of them are. As with any new art form, what happens over the next few years is hard to predict. And anyone investing in NFTs with an eye on earning investmentlike
Ed Atkins and his mum are starring in a museum show
The computer-generated mask of Ed Atkins, digital artist, at the New Museum, from his work, The Worm. Atkinss videos have made him one of the most acclaimed artists of his generation, but what really animates this British artist are the emotions that slip off the screen. Ed Atkins, New Museum and Nokia Bell Labs/Experiments in Art and Technologies via The New York Times.
by Jason Farago
(NYT NEWS SERVICE)
.- Of all the strange, attenuated long-distance calls of the past 16 months, British artist Ed Atkins check-in with his mother surely wins a prize for pandemic alienation.
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An Airstream Bambi trailer, which was designed in 1960 and became a fixture on American highways, at the Museum of Modern Art in Manhattan, June 29, 2021. The MoMA exhibit Automania, drawn almost exclusively from the museums own collection, walks a painted white line between critique and celebration. Jeenah Moon/The New York Times.
by Lawrence Ulrich
(NYT NEWS SERVICE)
.- For many Americans, cars became a lifeline and refuge during the pandemic, even as newly sparkling air over locked-down cities highlighted their darker side. Soul-searching over commuting and climate change was balanced by hope that cars might clean up their act via electricity, and allow new generations to fall for their beauty and ingenuity. That wrench-tight tension is at the heart of Automania, an exhibition opening at the Museum of Modern Art in Manhattan on Sunday July Fourth, a holiday that has come to symbolize motorized freedom and parade-queen convertibl
Ed Atkins premieres a new project at the New Museum
Ed Atkins, The Worm, 2021 (production still). Video projection with sound, 12:40 min. Courtesy the artist. Commissioned and produced by the New Museum and Nokia Bell Labs / Experiments in Art and Technologies.
NEW YORK, NY
.- Over the past decade, Ed Atkins (b. 1982, Oxford, United Kingdom) has created a complex body of work that considers the relationship between the corporeal and the digital, the ordinary and the uncanny, through highdefinition computer-generated (CG) animations, theatrical environments, elliptical writings, and syncopated sound montages. With these filmic and text-based artworks, Atkins tracks forms of feeling, living, and communicating hidden behind or curtailed by technological representation, which unfold into sensitive and often somber narratives.
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