Modern Art
Old Masters Triumph Over Modern Art in 2023 Luxury Investment Shift
The Knight Frank Luxury Investment Index (KFLII) 2023 analysis has spotlighted an intriguing shift in the luxury investment landscape, with Old Masters artworks outshining Modern Art in attracting the affluent’s capital. This change underscores a notable deviation in investor preferences towards more traditional artistic expressions, amidst a backdrop of fluctuating market conditions.
Revival of the Old Masters
2023 marked a year where the allure of historical artistry gained unprecedented momentum among high-net-worth individuals. According to the KFLII, Old Masters paintings, characterized by their craftsmanship and historical significance, emerged as the top-performing asset class. This surge is attributed to a record-setting sale of a Bronzino painting, which fetched £8.56 million at Sotheby’s, epitomizing the renewed interest in classical art. Sebastian Duthy of AMR highlighted the stark contrast in performance between Old Masters and contemporary pieces, with the latter experiencing a significant downturn in the latter half of the year.
Read more: https://bnnbreaking.com/world/uk/old-masters-triumph-over-modern-art-in-2023-luxury-investment-shift
Exhibition-making could be seen as a mathematical equation, with the artists, curators, and institutions on one side of the equal sign, and the exhibition as the solution. But one variable is often ignored. ‘Exhibition design is not particularly ‘seen’ in the artworld,’ explains Berlin-based architect Johanna Meyer-Grohbrügge.
For almost ten years, Meyer-Grohbrügge has been designing exhibitions for institutions including the Bauhaus Museum in Dessau and the Museum of Modern Art in Warsaw, as well as events such as the Berlin Biennale 2020. She has also created spaces for galleries and foundations, including the Julia Stoschek Foundation in Berlin. She sees herself as an equal partner in a ‘conglomerate of curators, artists, and museums,’ but, she tells me, ‘I’m not mentioned in many articles about [the] exhibitions [I design].’ Detlef Weitz has had similar experiences. The exhibition designer, who, with Sonja Beeck, runs Chezweitz, an office for museal and urban scenography in Berlin, says: ‘We do feel very valued by the museums we work with, but most art writers barely know our profession exists.’
The intersection of technology and art has always sparked transformation and innovation. In recent years, the rise of artificial intelligence (AI) has revolutionized the way artists create and engage with their work. This article explores the profound impact of AI on modern art in the USA, highlighting key themes, challenges, and the fascinating relationship between creativity and technology.
Understanding AI ArtAI art refers to artwork that is generated by algorithms and machine learning systems. These technologies can analyze vast datasets, recognize patterns, and produce original pieces that can mimic human creativity. Within the realm of modern art in the USA, AI art is disrupting traditional notions of authorship, creativity, and the role of the artist.
Read more: https://menafn.com/1108603667/The-Impact-Of-AI-On-Modern-Art-In-The-USA
Modern Art
Museum of Modern Art in New York exhibits work of left-wing German artist: Käthe Kollwitz
Käthe Kollwitz, Museum of Modern Art, New York, March 31-July 20, 2024
“If my works continue to make such an impression—even after decades—then I will have achieved a great deal.”
The prints of Käthe Kollwitz (1867-1945)—intaglio etchings, lithographs and woodblocks—have been widely displayed in a variety of contexts over the century since their creation. However, the Museum of Modern Art’s recent exhibition, Käthe Kollwitz, which ended July 20, was the first museum retrospective in New York exclusively dedicated to her entire body of work.
It included her three main suites of prints—A Weavers’ Revolt (created between 1893 and 1897), Peasants War (1902-1908), and War (1921-22); Woman with Dead Child (1903) together with several proofs; her monumental woodblock In Memoriam Karl Liebknecht (1919) of the murdered leader of the failed German Revolution; and many riveting self-portraits she made over the course of her life. The show also included preparatory drawings and revised proofs offering insight into her creative process, as well as sculptures, posters and more.
Read more: https://www.wsws.org/en/articles/2024/07/22/ctsc-j22.html
