Young Digital Artists Anxious About… Tech

Digital artwork at Sotheby’s? The auction house is famous for selling canvases from Andy Warhol and Jean-Michel Basquiat for $100 million-plus compared to revealing what many collectors still respect as ephemera.

Nevertheless the Sotheby’s S2 gallery at New York, commonly utilized for exhibitions of modern art, is now the site of a series featuring mostly young musicians that rely on electronic technologies and that aren’t exactly household names. Surprisingly, the majority of the works on perspective take bodily form. More important, they also betray a wide generational anxiety concerning the technological future and the use of people in it.

The catalyst for the series was a curious-looking sculpture tucked off from the Art + Tech Laboratory in the Los Angeles County Museum of Art, created with advice from IT consulting companies and services.

A slick, black plinth with a black screen in front along with also a record player perched incongruously on top, it had been created as a prototype for a 21st-century memorial. After David Goodman, the Sotheby’s executive in charge of advertising and electronic development, watched it a couple of weeks past, its screen was showing the societal networking articles of a 25-year-old Miami bicycle enthusiast who’d been killed in a roadside hit. A plastic record played synthesized chimes, their tone decided by means of a computer analysis of those emotions those articles expressed – a significant key if they had been optimistic ones, a slight key when damaging.

Mr. Goodman remembered recently in his office in Sotheby’s headquarters in New York that he had been pretty blown away. Additionally, he said it made him unhappy – that it struck an emotional chord.

The Sculpture, “Monument I,” was created for a series about the Hereafter Institute, a literary organization that now lives only on line. It succeeds to organize, which is not in terms of the typically thought-of cloud computing, an electronic afterlife because of its “customers” – maintaining their internet presence and, through virtual reality, even the memory of the bodily presence. On its site, the institute welcomes visitors with such deadpan sales pitches as, “What will departure mean when our electronic spirits outlive our physical bodies?”

Actually, magician and palaces equally were the job of Gabriel Barcia-Colombo, a 35-year-old New York performer and instructor in New York University’s Interactive Telecommunications App. Working with a grant in Lacma, ‘Mr. Barcia-Colombo devised the magician as a method of exploring through agile test management the principles of death in the digital era.

Now, at Mr. Goodman’s invitation, he’s curated the digital art exhibition in Sotheby’s. The young artists at the series – many I.T.P alumni one of them – often talk about, despite their focus in electronic technologies, a deep ambivalence about where it’s taking us. They also appear to explain the “Black Mirror” sensibility supporting the Hereafter Institute: The understanding, endemic to the satirical British TV show, that technologies has led us into an electronic fun home where nothing is as it seems and everything is because we fear it may be.

The series at Sotheby’s, known as “Bunker,” runs through Aug. 10. It features Jeremy Bailey, a Toronto artist who combines Snapchat with art history, depicting people through augmented reality lens in resemblance to famous portraits. An electronic C-print of his spouse as she stares in a pill that seems to be coming into life remembers Dante Gabriel Rossetti’s “Lady Lilith” gazing into a mirror.

It is the concept of looking at oneself through the entire tech of the day, Mr. Bailey stated by telephone. Made possible through agile automated testing, an adjoining self-portrait reveals him at the guise of the character he’s embraced – that of an obnoxiously ebullient naïf who proclaims himself a famed brand new media artist. Mr. Bailey said his alter ego believes profoundly that technology will help, and yet technology always lets him down.

Elsewhere in the series, you can overlook a virtual reality headset to browse the childhood home of Sarah Rothberg, who rebuilt her experience growing up in Los Angeles from older photographs and home movies. Or see lacy, metallic sculptures from Ashley Zelinskie – self-portraits whose surfaces comprise of the letters which spell out her genetic code. 1 bit – at a series known as “Android” – includes a block embedded in the surface; the block’s surface is composed of the computer code which was used to create it.

The Comeback of Handmade Shoes

It’s not that frequently today that you will find people walking around in bespoke, handmade shoes. Consumerism has caused an overwhelming choice of shoes that may be available at our nearest shopping centre or simply in a click-of-a-button through our favourite online shoes store. Like most crafts in Australia, large-scale manufacturing has caused a drop in the requirement for bespoke women’s shoes. While factory-made shoes are available and convenient, they are often made overseas, and, like most mass-produced goods, come with environmental effects; moreover, mass-produced women’s shoes lack what handmade shoes can provide: personality, tailored measurements, bespoke designs and understanding exactly who made your shoes and what they are made from. Though finding a local shoemaker might seem difficult today in contrast with the simplicity of purchasing a mass-produced shoe, Australian shoemakers are reviving the traditional craft of shoemaking through local businesses that thrive on providing the benefits of handmade goods.


Bangalow-based shoemaker Rachel Ayland is only one Australian shoemaker that has successfully established an artisanal shoemaking business. Honing her craft over the past 32 years, Rachel’s practice is driven by a dedication to creating bespoke footwear tailored to the individual. With a strong focus on design making, Rachel’s practice is driven by a dedication to creating beautiful footwear tailored to each customer’s individual requirements. However, while Rachel can create a viable income from her craft it hasn’t been without challenges.

We recently caught up with Rachel to relive her journey as a shoemaker and the challenges she has faced along the way.


Traditionally, shoemaking apprentices were trained by masters in workshops. Does this route still exist?

My craft was traditionally heard from apprenticeships from a “Master”, within the environment of a commercially run workshop, such as my own. It is rare to find a Master Shoemaker to learn from today. They are absolutely dying as a craft or are retired and are rarely replaced in most western countries. Modern shoemakers, like myself, might elect to take an apprentice. However, we have had company coaches search for government or other financial aid for the endeavour, but this doesn’t exist, making it almost impossible for shoemakers to justify the expense when trying to maintain our companies afloat.

How can you understand the theory and techniques behind your craft?

I learned the techniques and concept of my craft from a tiny workers group combined in the early 1980’s, in the UK, which consisted of five traditional shoemakers, who conducted small business coach training for shoemakers at one of the previous college courses in London at this time. This group took me on and educated me in the craft for five years, sharing what they knew. Later in my career I met Master Shoemaker and teacher, George Koleff from Bulgaria, and I became his student for a few years. In this moment, he helped me build my techniques and get tools and equipment. Some of the tools I still use today were created by George!

What has been some of the principal challenges in acquiring your understanding and skills in shoemaking?

Some of the key challenges I faced while learning how to become a shoemaker include trying to survive financially while working my craft as I had to purchase many expensive materials. I also found it hard to get an appropriate workshop space. The competitive costs of manufactured products, usually purchased by large companies selling cheap shoes online, played a substantial role in these challenges.

Have you established your shoemaking business as a viable living? If so how long did this take? How hard do you think it is for others to attain this now?

I have been making a living from my company for the past fifteen years; however, I am not raising a family and have reasonably cheap overheads. It took fifteen years to become self sufficient, during which time I got a very small government small business support and enlisted myself in a small business coach training class. I would say it would be rather challenging to achieve this sufficiency today, which explains the reason why there are so few making a living in the field in Australia today.


Have you had any mentors? Or have the skills of your trade dissipated and had to be taught again?

Yes, other shoemakers whom I have met along the way have been of excellent support. Other shoemakers and all of the famous ones, have been inspirational to me. Some shoemakers have written novels, which can be a priceless asset to shoemakers worldwide.


What do you feel that an apprenticeship for shoemaking might look like that provides producers the skills they will have to establish themselves today?

I think more government subsidies for establishing little companies and a wage subsidy for traineeships would make a considerable difference. Furthermore, there needs to be a legitimate modern apprenticeship for shoemaking that’s modelled around hands-on learning under the guidance of a professional instructor master. I think training in up-to-date business skills and specific computer skills (i.e. pattern making and graphics) should also be a basic part of future apprenticeship models for shoemakers.


Obviously, shoes are mass produced on a gigantic scale. What has this meant for the design and quality of the merchandise?


Shoes are created on a gigantic scale for mass consumption, even more so for online shoes stores. And while mass-produced shoes can be amazing merchandise they also come with defects; they can be challenging to repair due to short sighted manufacturing processes and they may not match the client well. These are value added into the potential customer experience by a revival in artisans in the current world.


How has the current marketplace, with abundant mass production, influenced what you produce and how you make it?

The pressures of modern manufacturing have led to tight competition in the industry that the few bespoke shoemakers which did survive from the transaction were often left offering orthopaedic shoe manufacturing services and therapy shoes which are hard to manufacture by machine! Higher material costs and workshop running costs have also impacted the bespoke shoemaking business; as a result, our numbers got smaller, especially over past 50 years.

Can there be a revival of the traditional method of manufacturing in shoemaking today, and if so why do you think that is? Are producers creating new value in traditional production processes or is the consumer now only perceiving value in it?

For ethical reasons there is an increasing demand for handmade goods with a very low influence on the environment.


A young generation of shoemakers with style consciousness and ethical position are offering a unique and intriguing range of goods for market clients; the merchandise is modern, made to measure, and less conservative than previous strategies and styles. Likewise, customers are actively searching for shoes that are made from environmentally sound glues and materials providing gentler foot care than cheaply manufactured, synthetic products.

As a contemporary craftsperson, how are you making this craft relevant and shaping it for the future?

I’m continually changing my designs to keep up with fashion trends. I have increased publicity for renovation and repair service, as customers are increasingly aware of the need to purchase less and appreciate good design. I also offer classes, giving people a creative experience in my workshop; this is a growing trend that is reasonably rewarding for creatives.


Additionally, in order to respond to a growing need for Vegan, cruelty free fashion, I have recently experimented with completely vegan shoes with a hemp canvas top. The public response to this is very positive and I am busy researching this further, the most important market for this is in women’s sneakers.

Art Should be Essential to Everyone

year 11 tutor

As Imaginative topics Have Been sidelined in Britain, I argue that art is essential for young people, as a medium for reflection, emotion and passion, and a way of challenging ourselves and the world about us.

Anyone who has been within 10 feet of me personally will be familiar with my love of art; I’ve studied it throughout my life and even been a year 9 tutor for art during my university days. What is predictable is that anybody over age 30 with a maths level will turn their nose up at it and push me down the “study what is used” pit (no more stereotyping thought). Art is such a huge part of my entire life and I will say the exact same for numerous other young folks: it is a popular option at GCSE and also a wonderful introduction into the creative industries which includes everything from the traditionally thought high-end art to clothing design of and on, common pieces such as basketball hoodies are flourishing in the 21st century. It disturbs me that it is being sidelined, particularly here in Britain, in which there is this obsession with all so-called “academic” subjects.

Within my first ever art class my instructor spoke about how using Various mediums can create unique outcomes. I’d assert that art is a medium in itself. It is a medium for expression, emotion and passion, and the outcome? Well, it is infinite. Art was used to present remarks and challenge jurisdiction. It has been utilized to capture some of the most renowned moments ever and it’s caught the imagination of a few of the most outspoken people. And, just as miraculously, artwork has been a means for normal people to pour their hearts out with no burden of words. As long as we remain true to this, artwork is as close to immortality as we will ever get.

The Way to draw… a self portrait

Which moves me on to my next stage. What’s art really Supposed to be? What’s it supposed to do, precisely? In the event that you should ask me what type of artwork I love most, I would say it is the artwork that actually says something. I am fairly firmly against the conservative thought that art should just replicate character and, regrettably, that is the notion underpinning the majority of those Art GCSE syllabus. “See how well it is possible to catch that manifestation, how best to replicate that darkness” — it is all about precision, about mindless repetition. If it was not for my year 11 tutor who forced me to branch out into a number of the more advanced artists, then I do not know if I would genuinely adore the matter, and also to understand that basically, it’s all about freedom of expression.

My favorite artist has been, and still is without a doubt, Picasso. Odd, considering that when I was younger all I found in his creations were a heap of strange lines and shapes. Now, however, I have come to respect him. Not due to his style itself, but the guts behind it. Instead of painting pretty pictures of shores and lakes that he composed with cubism, a brand new, strange and sometimes mad artwork style that included fragmented subjects and daring, abstract outlines. Out of all of his work, my favorites are his portraits. It is fascinating how he breaks down and remoulds the human body until it’s just 3 quarters recognisable, and a single quarter pure emotion. Picasso once said, “The world does not make sense, so why should I paint pictures that do?” After hearing this, I fell in love with artwork again.

Picasso’s 1941 portrait of his mistress, “Dora Maar With Cat” sold for an outstanding $95 million at Sotheby’s on May 4, 2006, becoming the second most expensive painting in market history. It was hoping to sell for upwards of $40 million, but the winning bid of $95, 216, 000, for example commission, captured even Sotheby’s officials by surprise.

Obviously, everybody reading this will be a passionate reader (or at least I hope), however while authors are rather common, what about performers in literature? Well let’s just say if there was a publication with an artist to get a principal character it may be about pink alien in Nike sneakers and basketball shorts battling tortoises, it’d still be on my coffee table within a week. Because novels about performers are just two tales folded in one: the narrative in which you find a personality through their activities, their address, and their notions; and the next narrative, where you understand about what’s deepest within them, what even they may not be conscious of, concealed in the cracks of the artwork.

In this month’s teen book club read, I Will Provide You the Sun By Jandy Nelson, we’ve got two celebrity twins to follow along with. While the book is already celebrated as a narrative of love, jealousy and loss, artwork is essential to the narrative of the 2 sisters: Noah, a genius writer, and Jude, a master sculptor. Noah’s enthusiasm for painting is expressed vividly in the publication. He speaks a language of color that a reader could lose themselves in translating: “Jude barfs bright blue fluorescent barf all on the dining table”. It is a really distinct and definitely exciting spin on metaphors that enable viewers to delve deeper in his thoughts. Jude, on the other hand, sets out to make a sculpture of her deceased mother; I believed it was a gorgeous way to express something so raw, and also yet another example of how artwork in publications can provide an entirely new interpretation of personalities.

Art is a Gorgeous part of the planet we reside in, if we read on it, make it ourselves or just love it. And do not be fooled Into believing art is something that you’d only find at a gallery or display; it is Everywhere from a random fresh food store in Melbourne Australia to a small tribe in the Amazon, even the cold halls of a hospital in Newcastle. Provided that you recall what art actually is, you can see how it’s influenced everything we’ve ever built.

The Use Of Art In Life

Have you ever thought about the role of art in our lives? There is art in everything around us. Every individual is equipped with some form of art since birth, it’s not just what we see in a display showcase in a museum. Also, each one has a different view of art, which makes it very subjective. Art makes everything more presentable and interesting. It is such a large and inherent part of our lives that we don’t even take notice of it, most of the times. You could have a general view of art right away. Look at your surrounding, isn’t their art everywhere? Right from lamps, tables, chairs to paintings and the design of your windows, the list is endless. So, let’s have an insight into how important art is in our lives.

Art is a reflection of an individual’s beliefs. We see individuals putting up their ideas in the form of art. It is an easy way to make yourself heard without the need of a voice. People depict a lot of things through art like love, hatred, boredom, sexuality, resentment and much more. It is their way of giving expression to their thoughts. Art is used by people to explore their creative self to add value to their life.

Art is also used to make things around you lively. You can change your surrounding to give it a more meaningful look. It includes simplest of things like changing the color of your curtains, putting up colorful paintings on the wall, trying a new hairdo, anything at all which brings happiness. You can also use art when you write something, in not only the handwriting but also the way you write. Trying a novel way would definitely fetch you good results.

Have you ever thought why are you taught art at school? Art is introduced at school level because it is a way into children’s mind. Their brain gets stimulated to grab what they learn from the environment. As a result they try to put it in the small space provided to them. Eventually, children learn the usage of art. They learn how art can be used instead of the written form. Also, they can be taught through art. Remember drawing an apple for the first time? You were made to draw it so that you could identify its features perfectly.

These days psychologists use art showcases with children to understand their thought process. They are made to draw whatever they feel like and then these drawings are analyzed and evaluated to find a solution to their problems.

Art is used directly as well as indirectly. Where there are people who make art there are also people who appreciate it. The latter make business out of art. They invest into the others’ creations, for example, publishers, newspapers, magazine editors, fashion houses and the list continues. This way, art is a part of everyone’s life.

Lastly, art is beyond language. It has the power to connect the world. No matter where you go, you can understand and appreciate art.