Katy Hessel’s ambitious, weighty corrective to an art history canon that sidelines (or erases) women is ‘impressive and overdue’, writes Edwina Preston.
A newcomer to the Artificial Intelligence art market, Stable Diffusion, can create images almost indistinguishable from human artwork.
Remnants of polychrome colouring were scrubbed from recovered ancient Greek sculptures and artists created new all-white marble sculptures seen as continuous with an imagined past.
(Shutterstock)
Western fashion, laundering and style reflected the racialized politics dramatically shaped by profound global transformations bound up with slavery, colonialism and modernization.
After Anita Lane died, former collaborator Nick Cave said she “despised the concept of the muse but was everybody’s”. Meera Atkinson highlights her achievements – with help from those who knew her.
‘Trallib (Oil Container),’ by Norman Daly, 1970. Daily made this object with an orange juicer.
Photo by Marilyn Rivchin
Gathered throughout the period of the British empire and gifted to the people of Glasgow, this famous collection is both spectacular and problematical.
Barbara Kruger, ‘Untitled (Your body is a battleground),’ 1989, photographic silkscreen on vinyl 112 x 112 in. (284.48 x 284.48 cm).
Courtesy the artist, The Broad Art Foundation and Sprüth Magers
Barbara Kruger’s ‘Untitled (Your body is a battleground)’ has seamlessly transitioned to social media, inspiring a new generation of media-savvy artists and activists.
Even though Afrofuturist works are set in fictional worlds, they provide a blueprint for social, political and economic systems free from exploitation and oppression.
The Blue Room by Suzanne Valadon, an important post-impressionist artist.
Wikimedia
The text-to-art program DALL-E 2 generates images from brief descriptions. But what does it mean to make art when an algorithm automates so much of the creative process itself?
I have been re-drawing my data to make visible what Strava cannot. The unheroic stuff: emotions, persistent thoughts, body sensations, lyrics from the songs, the weather.
Dilomprizulike chooses garbage as his main material. His inspiration is from his father.
Dilomprizulike WaitingForBus AfricaRemix installation
Dilomprizulike’s startling vision has both mesmerised and befuddled art critics and audiences by equal turns.
In 1970, a 16-year-old Laotian boy drew a picture of his school being bombed. ‘Many people’ died, he wrote, ‘But I didn’t know who because I wasn’t courageous enough to look.’
Legacies of War
Climate artists can offer a vision of tangible networks, activities, behaviours and lifestyles that, rather than damaging the planet, support planetary — and personal — health and well-being.
Honorary (Senior Fellow) School of Culture and Communication University of Melbourne. Editor in Chief, Design and Art of Australia Online, The University of Melbourne