This week, art market boom thoughts, women ignoring men in art, press freedoms in the US, emotions of fonts, displacement as translation, reconstructing Le Corbusier’s Maison Dom-Ino in Venice, and more.
Georgina Adams reflect on her decades of experience covering the art market and auctions and pens this insightful essay on “How long can the art market boom last?”
In the late 1980s and early 1990s contemporary art was hardly sold at auction. While there was a brief “greed is good” interlude in the 1980s — when Julian Schnabel and others enjoyed superstar status — this ended with the 1990 slump.
… In 1995, when I moved to Japan, the country suffered the twin blows of the Kobe earthquake and a terrorist attack in the Tokyo subway. The country’s miracle period of economic growth was over and I watched as banks tried to offload the massive inventory of paintings bought in the “bubble” years, often selling works at a tenth or less of the prices they had previously paid.
Back in the UK in 2000, I saw the first dotcom boom collapse, sweeping away early adopters’ predictions that the internet would propel the art market upwards by finding new buyers around the world.
Then, from 2004 onwards, it all changed. The market for contemporary and modern art began to grow powerfully, barely flinching after the 2008-09 global crisis. It has continued to grow, galvanised by new players, from giant art fairs to massively rich new collectors and emerging economies, as well as changing roles for auction houses and galleries.
This is hilarious: 500 Years of Women Ignoring Men in Art.
Chelsea Manning writes an op-ed about the US military’s campaign against press freedom:
Early that year, I received orders to investigate 15 individuals whom the federal police had arrested on suspicion of printing “anti-Iraqi literature.” I learned that these individuals had absolutely no ties to terrorism; they were publishing a scholarly critique of Mr. Maliki’s administration. I forwarded this finding to the officer in command in eastern Baghdad. He responded that he didn’t need this information; instead, I should assist the federal police in locating more “anti-Iraqi” print shops.
I was shocked by our military’s complicity in the corruption of that election. Yet these deeply troubling details flew under the American media’s radar.
Researchers are getting better at figuring out why we emotionally react the way we do to various typefaces and fonts:
The latest evidence suggests that typefaces convey their own meanings and elicit their own emotions independent of the words they spell out. That distinction is critical. From a design standpoint, that means matching typeface personality with message personality becomes far more important, and potentially far more challenging.
And some history:
People have been assigning character to typeface for ages. Ancient Greeks and Romans saw serif letters as “symbols of the empire.” Renaissance type carried nationalist undertones: Fraktur for Germany, Garamond for France, Bodoni for Italy. Some of the earliest research on fonts, conducted in 1923, found clear cultural associations: Simple types like Cheltenham Bold or Century Bold conveyed economy and strength, and so were fitting for such products as coffee and cars; ornate types, including Caslon Old Style Italic and Typo Slope, conveyed luxury, and worked well for jewelry and perfume.
Fra.Biancoshock’s Street Drumsticks on the streets on Milan are clever:
Kill Screen found the official video games for all 50 US states, and declares New York’s official game as Mario Bros., while California’s is LA Noire, and Massachusetts is Assassin’s Creed III.
Over at Artspace, Ian Wallace explores the evolution of the artist studio from the Renaissance to today:
But where does the model of the artist’s studio, and our fascination with it, come from? Like art itself, the artist’s studio is always a reflection the spirit of the times. Below is our history of the evolution of the artist’s studio in Western art, from the Renaissance to today.
Kenneth Goldsmith explores the topic of displacement as the new translation:
Displacement is rude and insistent, an unwashed party crasher — uninvited and poorly behaved — refusing to leave. Displacement revels in disjunction, imposing its meaning, agenda, and mores on whatever situation it encounters. Not wishing to placate, it is uncompromising, knowing full well that through stubborn insistence, it will ultimately prevail. Displacement has all the time in the world. Beyond morals, self-appointed, and taking possession because it must, displacement acts simply — and simply acts.
Dezeen reports on the full-size model of Le Corbusier’s Maison Dom-Ino in the Giardini of the Venice Biennale of Architecture. The structure was created by German architect Valentin Bontjes van Beek and students from the Architectural Association in London:
In the midst of fierce battles between drug kingpins and police, one tweeting Brazilian teenager emerges as the most reliable reporter from inside the countries infamous favelas:
By the time he was fourteen, his monthly publication had caught the attention of a local NGO that helps young entrepreneurs in impoverished neighborhoods. The Future Citizens Project donated a laptop, workspace and funds to publish the newspaper. Local businesses from Alemão also became interested in advertising in Voz da Comunidade (which translates to “Community Voice” in English) and began buying space at $0.25 a line. The junior reporters had managed to bring attention to the stories they cared about, like the lack of public services in the community and challenges with mobility, reaching an audience of roughly 5,000 people per issue.
Grant Snider takes on perception:
Required Reading is published every Sunday morning EST, and is comprised of a short list of art-related links to long-form articles, videos, blog posts, or photo essays worth a second look.
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