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Digital Art Organization Rhizome’s New Blockchain Program Is an NFT-Dotted Journey Through the History of Generative Art

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Source: Artnet

In 1999, programmer Alex Galloway, artist Mark Tribe, and researcher Martin Wattenberg built an all-encompassing online archive for Rhizome. The platform had launched three years earlier as an email list for discussions about new media art, and the trio’s approach to logging its dialogues was suitably visual, hinging upon digital technology. Titled StarryNight, the resulting interface allowed users to navigate a constellation of stars across a digital night sky, each of which was linked to a keyword and associated emails.

Alas, despite its significance as a piece of Net art, StarryNight would end up nonfunctional, its text corpus lost for more than a decade—until now. Rhizome, now affiliated with the New Museum, has resurrected the interface, partially recovering its text content and enabling it to run on operating systems later than Windows 1998. And in a further move, the team has brought the work up to date with the Web3 era.

Read more: https://news.artnet.com/market/rhizome-trlab-seed-generative-art-2331679

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‘The Legendary Mo Seto’ is an epic martial arts adventure

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Source: AsAm News

A 12-year-old taekwondo black belt, Mo Seto dreams of landing a role in a martial arts film opposing one of her idols. However, she finds out that she is too short to even qualify for an audition. With her heart set on the role, Mo sneaks into the auditions anyway. The newly released middle-grade novel The Legendary Mo Seto, follows Mo along her journey, where she finds a secret form of martial arts traced back to her ancestors and faces many lessons of self-discovery.

While Mo’s story may be fictional, the inspiration for it was not. A. Y. Chan, author of The Legendary Mo Seto, was a young martial arts enthusiast herself. She drew from her own experiences at taekwondo practices, which she began at age six, and sneaking peeks at her parents’ Hong Kong martial arts movies to write her debut novel.

Read more: https://asamnews.com/2024/07/07/the-legendary-mo-seto-is-an-epic-martial-arts-adventure/

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Transcript: How to develop your taste in art, with critic Ariella Budick

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Source: Financial Times

The US art critic Ariella Budick is one of my favourite explainers at the Financial Times. I often look up her art reviews after I’ve seen a show at a museum in New York, as I’m trying to form my own opinion on it. Ariella’s reviews do a few things. They place the artist in context. They consider whether the exhibit did them justice. They cover a huge variety of shows across time periods and the world, and they often make me laugh a lot. Recently, she wrote a scathing review of a video art exhibition at the Museum of Modern Art by the artist Joan Jonas, and in it she wrote that the show was like walking a puppy. You’re curious about every leaf, but in the end you just, quote, spend an eternity nosing the same unpromising patch of sidewalk. Ariella is with me to talk about the craft of being an art critic and how we can be more adventurous and trust our judgment when it comes to art. Ariella, hi. Welcome to the show.

Read more: https://www.ft.com/content/84d96d7d-2b33-4474-ac4c-0003ae36c2b1

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Urban Aboriginal art takes centre stage at the 2024 Sydney Biennale

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Source: Financial Times

Search for the origins of contemporary Indigenous art in Australia and the answer is surprisingly specific: the Northern Territory town of Papunya, c1971, with a depiction of the Honey Ant Dreaming ancestral tale in a large-scale mural. This was the birth of “dot painting”, the reproduction on paper or canvas of traditional styles of sand and body ceremonial art, and it brought global fame to artists such as Clifford Possum Tjapaltjarri and Kaapa Tjampitjinpa.

In the minds of many outside Australia, Aboriginal art, both old and new, is linked to remote areas of the country. Yet contemporary Indigenous art has always had an urban side, most notably in Queensland art schools in the 1980s, where students included Tracey Moffatt, who became the first Indigenous artist to represent Australia in a solo show at the Venice Biennale, and the brilliant Gordon Bennett, who skewered colonial history by appropriating large chunks of western art.

Read more: https://www.ft.com/content/d819b351-4e98-4ee8-978e-3916bcf2baf8#comments-anchor

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