Art prices – Art Lini Fri, 14 Jan 2022 11:25:21 +0000 en-US hourly 1 Art prices – Art Lini 32 32 Do cryptocurrency prices affect the value of Nfts? let us discover Fri, 14 Jan 2022 10:49:00 +0000

The non-fungible token (NFT), a relatively unknown concept until recently, has now become ubiquitous. Spending on the digital asset jumped to nearly $41 billion at the end of 2021, from just $1 billion in 2020, according to a report by blockchain specialist Chainalysis. NFTs are transforming art, music, and even sports, and giving creators the ability to monetize their digital works.

Last year, the NFT market saw sales at mind-boggling levels. A digital photo collage by South Carolina-based graphic designer Mike Winkelmann, known in the art world as “Beeple,” for example, sold for $69.3 million, making made one of the biggest NFT sales to date.

The value of NFTs depends on various factors: their rarity, the demand for the artwork or sometimes even the artist, and the prices of the underlying cryptocurrency used. Many online marketplaces that sell NFTs are powered by blockchain. Currently, the Ethereum blockchain powers the most popular ones. So, if you are looking to buy or sell NFTs through one of the popular marketplaces, you will most likely need Ethereum’s native cryptocurrency, Ether, for the transaction.

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But what is interesting is that while cryptocurrencies are extremely volatile, not all NFTs follow the movement of their underlying crypto. For example, despite the ongoing correction in the crypto markets, the NFT OpenSea market has seen $2.3 billion in volume so far in January, poised to break its monthly volume record if the trend continues.

Discussing last weekend’s crypto selloff with Yahoo! Finance, Mason Nystrom, principal research analyst at crypto analysis firm Messari explained this anomaly. Despite the volatility of the crypto market, the nature of NFTs can make them independent of crypto markets, Nystrom said.

“NFTs are a very broad category that can include music, art, collectibles, gaming assets, fantasy sports, financial assets, etc. As such, it is possible that NFT trading in a specific vertical grows while others decline or fluctuate over time,” he added. “Going forward, it is possible that we will see more decoupling of crypto markets, in which an asset like art NFTs could perform well in the midst of the overall poorly performing crypto market or vice versa. .”

A collector who goes by the pseudonym “Pranksy” had another theory. “People who have spent several thousand dollars on NFTs are not going to sell them 50% tomorrow, at least not by much. Much like traditional art markets bucking Wall Street trends, I think many see certain NFTs as a store of value,” he told Reuters in May last year after the value of his cryptocurrency portfolio fell more than $10 million at one point. given in one day.

Collectors believe that the artworks, virtual lands and other digital assets represented by NFTs have a separate value from the cryptocurrencies used to buy them.

A study by titled “Is the pricing of non-fungible tokens determined by cryptocurrencies?” suggests that there is a slight spillover between cryptocurrencies and NFTs.

The study used the dataset of the two largest cryptocurrency markets, Bitcoin and Ether, with raw data obtained from and NFT data taken from secondary market transactions: Decentraland LAND tokens, CryptoPunk images and Axie Infinity game characters, and individual. commercial data from

The study results show that when it comes to cryptocurrency market volatility, the ripple effect in NFT markets is weaker, suggesting that NFT and the cryptocurrency market currencies are distinct from each other and do not necessarily affect each other significantly. co-founder Gauthier Zuppinger told Reuters in May that the NFT market was increasingly de-correlated from the crypto market. Crypto-rich investors might even see NFTs as less risky than cryptocurrencies “because they’re backed by the use case,” Zuppinger pointed out.

(Edited by : Vijay Anand)

First post: STI

Richard Strauss: “In Vienna we are hungry – and art” | Music Wed, 12 Jan 2022 14:05:00 +0000

Fleet Street, Friday
Dr Richard Strauss arrived in London from America. It is the first time that he has visited these countries since the war. In an interview with a London representative from the Manchester Guardian, he said his American tour has been long and enjoyable. He hadn’t been troubled by any lingering anti-German sentiment, and there was a very large American audience that was determined to have good music.

It was the same, he said, in Austria and Germany. The fatigue and despair created by the past terrible years had not negatively affected the arts. All countries have lost promising musicians, but the music has not been affected. If there has been a change, it is towards a greater enthusiasm for music, and even for all the arts. There were good audiences, despite the poverty, and they liked experimentation and novelty, but not too much. There were many good compositions in Germany and Austria, both lyrical and general. He mentioned the names of Pfitzner, Schreker, Korngold and Reznicek, as men doing interesting work for opera, and said that there was also a good composer in Hausegger, but that he did not attempt the opera.

Dr Strauss did not wish to enter into the critique of men and modern musical movements. “We are so easily misunderstood. What struck him the most was the firm determination of Central Europe to keep his music. In many cases, that was all they had left, and they were eager to hold on. “In Vienna,” as he laconically put it, “we are hungry – and art. It is because we have lost so much that we cling so strongly to what can be preserved: our art. It must survive. It was a path to joy.

In Vienna, the city, despite the precarious state of its finances, had not ceased to grant a generous subsidy to the opera. It was the same for the German cities. The result was that the seats could still be offered at popular prices for the best music and songs that the city or country had to offer.

He could only give the figures for four months ago for the Vienna State Opera of which he is the director. A good seat there cost 400 crowns, but he thought it must have been raised since. But they still wanted to reserve many extremely cheap places for the poorest, and there was a very general desire among the workers to take advantage of these opportunities.

Good ideas from Manchester
It was a terribly difficult time for artists, and even with the help of public subsidies, it was no easier for them than the rest of Viennese to achieve a reasonable standard of living. But those who could take occasional work trips to Switzerland or Spain, or further afield, in order to earn money where the money meant something, then come back with the exchange in favor of their savings and so continue their work.

When asked if he thinks music can really help break down national barriers and build friendship and understanding, Dr Strauss wouldn’t commit to more than hoping. “Hunger and art bring people together.” He has been invited since the war to visit Italy and he hopes to go there later. But the time has unfortunately not yet come for German art to be appreciated in France.

Dr Strauss has benevolent ideas about Manchester and admired the Hallé Orchestra, which Hans Richter once conducted. In current English music he has the warmest feeling for Elgar.

Dr Strauss is left with the impression of a serious benevolence and a broad and equal personality. When speaking in his limited English, he does not feel his words with the impatient petulance of the man who must express his ideas as the thought flows, but with the loving care of a philosopher who think every sentence needs to be sifted and sifted again.

]]> Morphy Auctions announces successful year with 2021 sales exceeding $ 50 million Mon, 10 Jan 2022 13:23:00 +0000

Highlights: Colt Buntline single action army revolver with 16 inch barrel, $ 288K; 4 French and Indian war powder horns, $ 216,000; Pull down on the Chute mechanical bank, $ 156K; Keith Haring vase, 84K $

DENVER, Pennsylvania, January 10, 2022 / PRNewswire / – Morphy Auctions is pleased to report an unprecedented year of interest in new buyers and exceptional results in all categories in 2021, with gross sales exceeding $ 50 million.

“Throughout the year we have witnessed an unwavering enthusiasm and willingness on the part of collectors to invest in high quality antiques and items of historical significance,” said the founder and president of Morphy. Dan Morphy. “The market for exceptional, high-provenance pieces was very strong, even in the midst of the second wave of the pandemic. Against all odds, the auction business held its own and continued to evolve into a powerful microeconomics of its own.

Morphy’s price estimation year began with the February 27 sales of Bob and Judy Brady popular mechanical banks. The 40-year-old collection featured some of the most elusive and undamaged banks known. In total, the 184 banks achieved $ 2 million and were directed by a J&E Stevens “Shoot the Chute” representing the first characters from the comics Brown Buster and his dog Tige. In a higher state, he swept his $ 80,000$ 120,000 estimate to close at $ 156,000.

The spring season was characterized by a May 18 Auction of ancient weapons and militaria. The widely publicized event was topped with a Kentucky long rifle presented by the marquis de Lafayette to his faithful Indian guide Tuscarora Iroquois Chief Tunis in 1824. He sold himself for $ 210,000. The same sale included a group of four powder horns engraved with French and Indian war maps, three of which had belonged to the lieutenant colonel. Archibald Montgomerie (1726-1796). The quartet sold for $ 216,000 against an estimate of $ 100,000$ 300,000.

At June 8-9, a dazzling array of fine and decorative arts drew an international contingent of bidders to Morphy’s. Alongside a formidable selection of Tiffany Studios stained glass, classical art, silverware, jewelry and luxury watches, an important Keith haring (vase 1958-1990 flew over its $ 20,000$ 30,000 estimate to be paid to $ 84,000.

At September 29, Morphy auctioned the revered Bill Myers collection of antique firearms, bladed weapons and the first militaria. An extraordinary historical relic, an inlaid pipe tomahawk circa 1780 that belonged to Sir Alexandre mackenzie (Scottish, 1764-1820), the first European to reach the Pacific Ocean [in 1793], collected $ 156,000.

An exciting range of antique and vintage automobilia, petroliana and railroadiana powered by Morphy’s auction block on October 3-4. A 1930s Mohawk Gasoline porcelain neon gas station sign with the image of a brave Native American lit up the gallery and sold for its estimated price of $ 120,000. At the same sale, a 1920s Bruinoil double-sided die-cut pewter flanged sign with the image of a fierce bear roars at $ 96,000 against a presale estimate of $ 35,000$ 50,000.

Morphy’s Coin-Op & Sale of old advertisements on November 4-6 includes 1,500 coin-operated slot machines, ingenious European music machines and the first forms of visual entertainment. Around 1931 International Mutoscope Reel Co., a coin-operated “Grandmother Predictions” fortune teller predicted an auction price of $ 20,000$ 30,000 but I realized $ 57,600.

The speech of the November 17-18 The extraordinary gun auction was a legendary treasure of the end Mel Guy’s collection: a Colt Buntline Special Army single action revolver with a distinctive 16 inch long barrel. Model linked to a legend involving famous Wild West lawyers, it was shipped from the Colt factory in 1884. It was sold to Morphy’s for $ 288,000.

To discuss consignment at a future auction at Morphy’s, call 877-968-8880 or email Visit Morphy’s online at

Media contact:
Sarah stoltzfus, 877-968-8880


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Why the climate craze for crypto art is really beyond satire John naughton Sat, 08 Jan 2022 20:42:00 +0000

ohn December 24, the film Do not seek started streaming on Netflix after a limited theatrical release. It’s a satirical story, directed by Adam McKay, about what happens when a humble doctoral student (played by Jennifer Lawrence) and his supervisor (Leonardo DiCaprio) discover that an asteroid the size of Everest is heading towards Earth. What is happening is that they try to warn their fellow Earthlings about this existential threat only to find that their target audience is not interested in hearing such bad news.

The film was widely watched but was glued by critics. It was, said the Observer‘s Simran Hans, a “shrill and hopelessly no fun satire on climate change”. the Guardian‘s Peter Bradshaw found it to be “laborious, embarrassed and un-relaxed satire … like a 145-minute film. Saturday Night Live sketch without the brilliant comedy of Succession… Nor the seriousness that the subject might require otherwise ”.

These complaints about rawness and OTT rang a bell. It turns out that a markedly exaggerated satire published in 1729 elicited comparable reactions. Its author, Jonathan Swift, was an Anglo-Irish clergyman who was dean of Saint Patrick’s Cathedral in Dublin. The title of Swift – A modest proposal to keep the children of the poor from being a burden on their parents or their country and to make them beneficial to the public – only gives a glimpse of the savagery of the satire within . For the heart of the proposal was that the impoverished Irish could alleviate their economic woes by selling their children as food to wealthy men and women. “A healthy, well-nourished young child,” we read, “is one of the most delicious, nutritious and healthy foods at one year of age, whether baked, roasted, baked or boiled; and I have no doubt that it will also serve in a fricassee or a stew.

You get the drift. Swift’s target was the Anglo-Irish aristocracy, often absentee landlords living off the rents of their desperately poor Irish tenant while walking around Mayfair. McKay’s targets are more diffuse. It targets less a specific class than an entire lifestyle – people too dazed by consumerism, short-termism and social media, too hypnotized by the interests of big tech companies, to worry about the future of humanity.

Which brings us, oddly enough, to a contemporary obsession – the frenzy that now surrounds non-fungible tokens or NFTs. For those who have yet to notice this obsession, an NFT is essentially a traceable code that is indelibly attached to a digital object such as an image or recording. Once someone has purchased this item, it becomes irrevocably registered on their ID and it can therefore be said that they are the owner of the code.

If that sounds obscure, that’s because it is. And yet, for about 18 months, NFTs have been causing a sensation in the art world or, at least, in its part controlled by the big auction houses. Last June, Sotheby’s held an NFT auction with prices ranging from $ 9,000 to $ 11 million. At a previous Christie’s auction, a digital artwork by Mike Winkelmann, who calls himself Beeple, sold for $ 69 million. Until then, Mr. Winkelmann had never sold a print for more than a hundred dollars.

You can guess what this sparked: an avalanche of budding Beeples, plus plenty of speculative scammers who see a possibility of smaller jackpots for relatively little work (say a recording of your lovely cat’s purring). Anyone can play the game, and there are some useful DIY guides on the web for those who want to give it a try.

So what’s not to like? Surely it is a good thing that artists who struggled to earn a crust during the pandemic can get paid? He is. But there is a small catch: the technology that ensures that the NFT you bought is a blockchain similar to the ones that power cryptocurrencies like bitcoin or Ethereum. And the computation necessary to provide the certification which is the USP of blockchains requires massive amounts of electricity, which comes with a significant carbon footprint. A single transaction on the Ethereum blockchain, for example, currently requires 232.51 kWh, which is equivalent to the power consumption of an average American household over 7.86 days.

If McKay decides he’d like to try the Swiftian satire again, there’s an opening for him here. Nero was content to fiddle around while Rome was on fire: we were enthusiastically bidding for NFTs while warming the planet.

What i read

One more thing
Why I Traded My Fancy Rock Climbing Gear for a Pair of Dilapidated Watches is a lovely blog post from Conrad Anker that will make sense to anyone cursed (or blessed) with a collectible gene.

Back to the future
The great robotics expert Rodney Brooks gives his annual review of the predictions he made in 2018.

The great Escape
The Haunted California Idyll of German Writers in Exile is a beautiful essay by Alex Ross in the New Yorker about the intellectuals and artists who fled Hitler and ended up in LA.

The NFT Bored Ape Craze Is About Ego and Money, Not Art | Art and design Tue, 04 Jan 2022 16:18:00 +0000

Bored Ape # 79 looks almost as bored as I feel when I think of NFTs (non-fungible tokens) and their supposed seismic impact on art. My jaw slips, my eyelids hang down, and I want to pluck the lice from my fur.

Even though I can relate to Bored Ape # 79, I won’t buy it, unlike Eminem who bought another from this very fashionable NFT “art” brand that looks a bit like him. His name is EminApe and sports a military-urban cap above his edgy face. He reportedly paid around $ 450,000 (£ 334,000) for it.

Just in case, like me, you’ve spent the last year looking away with a sigh whenever another post on NFT art gave off an unmistakable bullish aroma your way, here’s a quick reminder of that. that Eminem gets for his nearly half a million – which, by the way, is nowhere near the highest anyone has paid for any of those nihilistic apes. It has a unique unit of data recorded in a digital blockchain, which permanently records its origin or the history of its sales. It is a way of restoring the idea of ​​a unique “original” work of art in the Internet domain, reproducible and copiable endlessly. Anyone can grab Eminem’s monkey image online, but he owns the “original” and has the blockchain provenance to prove it.

Attitude, not art… NFT Bored Ape Yacht Club works for sale on the OpenSea site. Photography: OpenSea

Someone was going to monetize digital culture eventually. And theoretically, from an artist’s point of view, that must be a good thing, right? Suddenly, creators no longer have to be satisfied with the low royalties of Spotify or to see their images circulating for free. They can clean up. The rags of wealth stories helped make the NFT art market the sentimental airbag that it is. Strangers in trouble find themselves selling NFTs at extremely high prices, foreigners who have never had success in the established art world suddenly become famous, and the art world, which has Never delayed to jump on the bandwagon, joined in the fun with Christie’s selling a JPEG file by Beeple for $ 69 million last spring.

The Bored Ape boom, however, should put an end to any romanticism about NFT art. It prioritizes the consumer experience and has absolutely nothing to do with empowering artists. It is a question of the collector’s ego.

Because Eminem doesn’t just get a “unique” masterpiece of digital “art” for its money. Buyers of an NFT from the Bored Ape collection also become members of the Bored Ape Yacht Club, a ‘swamp club for monkeys’ where cool dudes who fork out heaps of cryptocurrency for a monkey cartoon can meet up. . It’s part of the well-planned strategy that makes Bored Apes a marketing sensation – and a mockery of all the uncritical exaggerated claims being made about NFT art.

The Bored Ape Yacht Club might even be a satire of the NFT craze, if it weren’t for such a lucrative example. It is a totally cynical creation. The Club offers a new level of exclusivity, a virtual social club, in addition to its promise of exclusive digital ownership. It seems like the kind of cool fake pop culture / money encounter that might draw insecure Kendall Roy in the Succession TV series – “Bored monkeys are cool, aren’t they?” Yeah they’re cool. See you at the Yacht Club to find out more about my father! Still, real-life celebrities are lining up to join, including Jimmy Fallon and rapper Post Malone. If they are bored of displaying graffiti in the club’s bathroom (this is one of the perks), they can purchase a “serum” that allows them to remix the monkey designs to produce a mutant monkey.

Everything is so well designed, so easily negotiable, so elegantly stupid, that the first artistic sensations of the NFT (as at the beginning of 2021) seem terribly naive. The anonymous inventors of the Bored Ape were two literary slackers – they claim to have connected with David Foster Wallace’s novels – who then hired a graphic designer to create the monkey design. Bored monkeys are framed like portraits in an ironic nod to high art. But they are not the art of any bite or originality. The Monkey is a very ordinary piece and derived from comic book design, greatly indebted to inspirations ranging from Jamie Hewlett to Rick and Morty.

It’s not art that sells here, but attitude. Attitude says it all. Bored, emptied, destroyed and proud of it. This is how all investors in NFT art feel, apparently. And so they should. DFTs are not good for art. They are not liberators for artists. Instead, as the Bored Ape Yacht Club makes horribly obvious, they only serve money. These are just simian poker chips celebrating the thrill of the market. A purer form of capitalism has never existed.

Samsung’s 2022 TV lineup features big software changes and smaller hardware upgrades Mon, 03 Jan 2022 02:00:00 +0000

Samsung showcased its first TVs with Micro LED technology at CES 2021, and they ended up being perhaps the best sets the company has produced to date – not to mention the exorbitant price tag The Wall, that is. -to say. So, this year Samsung is taking a different approach: it is making smaller advancements in hardware and focusing more on software refinement and new features.

Samsung’s 2022 TVs will continue to run the company’s Tizen operating system, but will now feature a completely redesigned home screen that is described as “a testament to our vision for the future of televisions.” . The first part of the new user experience is what Samsung calls the multimedia display. This will “put all the content on your streaming service in one easy-to-navigate place” with a continuous monitoring section that aggregates content “from any provider” – this is what Samsung claims, from all over the world. way. There will of course also be personalized recommendations.

Samsung has redesigned its TV home screen for 2022.
Image: Samsung

It all sounds a lot like Google TV and the Apple TV app; everyone wants to be your main portal for browsing entertainment, leaving streaming apps just for playing the movies and shows you want to watch. Streaming services don’t always like this strategy; Netflix, in particular, has a habit of objecting to other people retaining its content and, therefore, does not participate in Google TV or the Apple TV app.

Here are some other software additions coming in 2022:

  • Watch Together: Samsung is expanding its multi-view functionality to deliver what it claims to be “the world’s first television-based platform for discovering live and streaming content with friends and family” remotely. You can plug in a USB video camera or even use a smartphone or tablet camera to video chat with those you watch.
  • NFT Aggregation Platform: Yes, NFTs are coming to the living room. Samsung is the first major TV maker to significantly rely on NFTs. The company says it will provide “a revolutionary platform that will allow you to browse, buy and display your favorite works of art, all in one place.”

MicroLED TVs are available in new sizes, stay out of reach of normal people

Samsung is producing new models of its MicroLED display, which the company claims is now “bezel-less.” As always, modular panel technology allows (extremely wealthy) customers to configure the screen size that best suits their situation, reaching a whopping 178 inches.

Samsung’s ultra-luxurious MicroLED displays now have a bezel-less design.
Image: Samsung

Besides custom jobs, Samsung also offers pre-made models of MicroLED TVs in sizes of 99 and 110 inches. For 2022, the company is adding an 89-inch MicroLED TV to this lineup. There is no pricing information yet, but you can expect MicroLED to continue to cost significantly more than even the nicest and largest OLEDs on the market.

As a reminder, MicroLED shares many properties with OLED – microscopic LEDs offer self-emissive light control at the pixel level – but don’t have the same drawbacks (like the “organic” part which can limit the duration. life of a panel or potentially lead to burn). It could pull off the OLED if prices ever drop, but 2022 certainly won’t be the year that happens.

Samsung mini LED TVs now look even better when they’re bright

Since this will only be the second year that Samsung has offered 8K and 4K Mini LED TVs as part of its “Neo QLED” line, the company is not making any drastic hardware changes. And it’s not really need to, since last year’s sets represented a significant increase in contrast, black levels and gaming performance. Samsung claims to have “increased the luminance scale from a 12-bit backlight to 14-bit, providing much more precise brightness ”for the 2022 models. He calls this 14-bit HDR mapping. And TVs now use AI to analyze a scene and better separate the foreground subject from the background, creating a greater sense of depth.

Additionally, AI also helps produce adaptive “light shapes” with the many dimming areas of the backlight to reduce bloom and improve brightness and contrast. Combined with the 14-bit HDR mapping, Samsung says it will bring out details that weren’t so obvious on last year’s Neo QLED TVs and make the details stand out more.

Unfortunately, Samsung is still not on board with Dolby Vision in 2022. Maybe next year.

Samsung says its Neo QLED 2022 TVs will offer improved depth and extended 14-bit HDR mapping.
Image: Samsung

For PC gaming enthusiasts, Samsung says some models in its 2022 TV lineup will be capable of variable refresh rates of up to 144Hz – up from 120Hz – and will be among the first TVs to support FreeSync Premium Pro d. ‘AMD. All HDMI ports on high-end TVs will be in 2.1 format and will support 4K 120Hz.

More importantly, the company is adding a new, more comprehensive Gaming Hub to this year’s TVs as another part of the software enhancements. My colleague Sean Hollister covers this feature more here. On last year’s models, Samsung had a game bar that let you see a game’s FPS or quickly adjust important next-gen gaming settings, but the new hub goes a step further and aims to be an all-in-one destination for console and cloud gaming. .

High-end TVs come with a set of audio features such as active voice amplifier, object tracking sound (to make the sound look like it’s actually coming out of the screen), and SpaceFit sound for calibration. Automatique. But as always, Samsung would prefer you pair its 2022 TVs with a range of soundbars and other home theater gear that it is also announcing at CES 2022. Stay tuned to The edge for more extensive coverage as all of the company’s latest products will ship soon in the coming months.

2022 Arts Preview: The Year to Come in Theater Sat, 01 Jan 2022 10:07:01 +0000
Fiona Gibson, Managing Director of Capital Theaters, and Elizabeth Newman, Artistic Director of Pitlochry Festival Theater, launch their Sunshine On Leith co-production PIC: Colin Hattersley Photography

January The Scottish theater community approaches the New Year with a strange and ambiguous frame of mind. The people of the theater are elated by the rush of live theater that returned to our stages in the final months of 2021, but also grieved by the divisions and lingering inequalities highlighted by the pandemic, in an industry that often fails. , in a cash-strapped practice, to live up to its best principles. Tensions rise further when Creative Scotland makes a surprise announcement in January that in future every live theater performance supported by Creative Scotland must also be shown online, to ensure greater inclusion for those who cannot. attend live events; the idea that theater as we know it might be inherently exclusive and inaccessible sends shockwaves through the community, although a quick glance at the going theater ticket prices suggests that it must, indeed, to be so.

February At the Lyceum press night for Zinnie Harris’ new play A Scent Of Roses, everything seemed to run smoothly with the show’s’ mixed ‘presentation, live and on Zoom, until a Fire alarm flips cast and audience live in a humid night time on Grindlay Street. The audience at home, comfortably seated on the sofa and not accidentally cut off, begin to chuckle wickedly, raising fears that the audience will abandon the winter theater altogether.

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March Despite growing dismay on all fronts, Scottish theater is plunging into a feverishly busy spring season. Vanishing Point’s Matthew Lenton – a passionate advocate of live theater as a unique experience – is launching a tour of his acclaimed version of Kafka’s The Metamorphosis, one of the last major shows to open in Scotland ahead of the pandemic in 2020. A tense public debate ensued over whether artists should have the freedom to decline to be broadcast live, if they so choose; but the question remains unanswered, despite heated discussions after the show at Tron and Traverse. Meanwhile, during the launch at the Beacon Arts Center in Greenock of a new Scottish musical about the life of Lena Zavaroni – referred to simply as Lena – audiences online can be heard singing along to her hit songs, in a way that seems strangely moving.

Zinnie Harris PIC: Michael Gillen / JPI Media

April At the SECC in Glasgow, the National Theater of Scotland stages the premiere of Douglas Maxwell’s musical stage version of Peter Mullan’s hard-hitting film Orphans. Thanks to Mullan’s stellar performance in the hugely popular NTS Scenes For Survival Fat Baws film – directed during lockdown and also written by Maxwell – Orphans becomes Scotland’s most successful live-broadcast theatrical show; and the NTS enjoys an unprecedented strengthening of its public profile since the launch of Black Watch in 2006.

Can The wind and the rain; numerous complaints that companies cannot organize outdoor shows, which are mysteriously exempt from the mandatory live broadcast decision.

June The Lyceum’s cover of Tom McGrath’s much-loved play, Laurel And Hardy, became a surprise online success, drawing a huge global following of Stan and Ollie fans. Meanwhile, Pitlochry Festival Theater and Capital Theaters, Edinburgh, are launching their new musical theater partnership with a touring production of Stephen Greenhorn’s homage to The Proclaimers show Sunshine On Leith. Interest online is low, as the show already exists in film form; but the live show is a smash hit, both in Pitlochry and on tour.

July Summer holidays; The Scottish theatrical community is intellectually and aesthetically exhausted, not to say bamboozled. Mull Theater launches new play by Joseph Wilde In The Weeds, about increasing pressures on rural and coastal communities, which involves flooding the stage; Creative Scotland is granting the tour an exemption from the live streaming rule, arguing that audiences online could not fully enjoy the experience of sharing a space with thousands of gallons of cold water.

Douglas maxwell

august and september Sudden two-month shutdown of cinemas following the emergence of new variants of Covid, even if fortunately they turn out to be benign. Edinburgh’s festivals are shattered again, sparking an anxious debate over the future of the international arts in a time of uncertain travel and growing climate concerns; but the Pitlochry Festival Theater is allowed to open its open-air production of David Greig’s new play Under Another Sky, based on Charlotte Higgins’ book on Romans in Britain.

October The newly refurbished Citizens’ Theater opens with a beautiful cover of Robert David MacDonald’s Chinchilla, an astonishing play about art and artists, and why they can be important. Artistic Director Dominic Hill says there’s more to accessing than streaming online, and decides the key to inclusion is to cut prices. The new Citizens’ therefore has the words’ all 50p seats’ engraved on every wall visible from the street; Elderly viewers swear they’ve seen something like this before, but legendary Citizens director Giles Havergal, guest of honor at the opening gala, only smiles and says nothing.

November Fog and sleet. Creative Scotland lifts live broadcast rule in time for pantomime season for creative freedom reasons; but said he hopes companies have learned something from the experience.

December Clear and cool weather; and everything seems almost back to normal, as crowds gather for the Beauty And The Beast opening gala at Glasgow King’s. As stars Elaine C. Smith and Johnny Mac take the stage, a faint third echo can be heard behind the audience’s traditional roars of “hiya” and “behind you”. And yes, that’s the audience online, out there in the ether; those who cannot be there, but still want to be with us, in the theatrical moment – and who, in a changed world, can never again be entirely forgotten, or left out in the dark, beyond the door theater.

David Greig PIC: Michael Gillen

Every show named above will take place at the time and location mentioned, with the exception of the Chinchilla Citizens reopening production, which is my invention. All other details are entirely fictional, drawn from the depths of Mystic McMillan’s crystal ball.

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Master the art of animation on Windows with this 79% off offer Thu, 30 Dec 2021 14:00:00 +0000


Animation is a unique art form that requires both creativity and focus to bring it to life. Software has made the study and practice of animation more democratic, but access to tools and training has not kept pace even as the demand for animation in advertising, presentations, presentation, etc. game design and other fields has skyrocketed.

The Complete Set for Windows Cartoon Animator 4 Pro gives you everything you need to get started with animating, with both tools and training in one set. But act fast, because this price drop will only be available until December 31.

For starters, the pack comes with Cartoon Animator 4 Pro. Formerly CrazyTalk Animator, one of TopTenReviews’ picks for best 2D animation software, this package is designed to get newbies into animating quickly. It offers a wide range of effects and simple tools to get started, and there are more depths to explore as you become more comfortable.

Then there is a full course on the 12 principles of animation. Taught by Master Animator Mark Diaz, the course reviews the fundamentals of point-to-point animation, exploring how animation is drawn, how static images are turned into moving images, how to time and stage your work, and more.

Finally, the Motion 3D Sampler introduces novice animators to the art of transferring 3D movement into 2D art. This sampler gives you a library of 3D to 2D movements, coupled with instructions on how animators transferred real-world combat moves, dances and gestures to line art in a smooth and easy way.

Animation offers both a powerful outlet for creativity and a unique skill that you can add to your resume to make yourself stand out. If you’re curious about what it takes to bring your art to life, this set, now on sale for $ 49.99, offers the perfect way to start exploring.

Prices subject to change.

Covid News: Omicron did not influence the least vaccinated US counties Tue, 28 Dec 2021 21:36:00 +0000
Credit…David Zalubowski / Associated press

Flight disruptions in the United States continued on Monday as many people made their first trip in nearly two years, and Dr.Anthony S. Fauci, the nation’s foremost infectious disease expert, said again raised the possibility of a vaccination requirement for air travel.

At least 2,600 more flights were canceled on Monday, including around 1,000 US flights, as the highly transmissible Omicron variant of the coronavirus sends daily workloads to parts of the United States reaching levels above the winter pandemic peak last.

While cancellations made up only a small percentage of all flights, the problem threatened to spread to the vacation week.

“When you make vaccination a requirement, it is another incentive to get more people vaccinated,” Dr Fauci told MSNBC on Monday. “If you want to do this with domestic flights, I think this is something that should be seriously considered.”

Over the holiday weekend, airlines canceled thousands of flights as the Omicron variant hit flight crews. In total, about 2,300 US flights were canceled on Saturday and Sunday over Christmas weekend, with more than 3,500 more on the ground around the world, according to FlightAware, which provides aviation data. As of Sunday alone, more than 1,300 US flights and nearly 1,700 additional flights around the world were canceled.

While some of the groundings were caused by bad weather and maintenance issues, several airlines acknowledged that the current wave of coronavirus cases had contributed significantly. A spokesperson for JetBlue said the airline had “seen an increasing number of Omicron sickness calls.”

As of Sunday, 12% of JetBlue flights, 6% of Delta Air Lines flights, 5% of United Airlines flights and 2% of American Airlines flights were canceled, according to FlightAware.

Stock prices of United, Delta, American and Southwest – the four largest US carriers – were slightly lower on Monday.

Travel has rebounded sharply this year, worsening the situation at airports: About two million people passed through checkpoints every day last week, according to the Transportation Security Administration, and on Sunday. The numbers on Christmas Eve and Christmas Day were much higher than last year, and some numbers even exceeded those of the same days two years ago, when virtually no American was aware that a virus was starting. to travel to the other side of the world.

The Omicron variant, which is now responsible for more than 70 percent of new coronavirus cases in the United States, has already helped push daily US case averages above 200,000 for the first time in close of 12 months, according to The New York Times coronavirus tracker.

A business group of airlines has asked the Centers for Disease Control and Prevention to shorten the recommended isolation period for fully vaccinated employees who test positive to a maximum of five days, instead of 10 days, before they can return with a negative test.

“Quick and secure adjustments by the CDC would ease at least some of the staffing pressures and set up airlines to help millions of travelers returning from vacation,” said Derek Dombrowski, a spokesperson for JetBlue. .

The flight attendants union, however, argued that reductions in recommended isolation times should be decided “by public health professionals, not the airlines.”

Some of the delays this weekend had little to do with the pandemic. Alaska Airlines has had only a few cancellations related to the crew’s exposure to the coronavirus, spokeswoman Alexa Rudin said. Yet it canceled 170 flights in the two days, according to FlightAware, including 21% of its Sunday flights, due to unusually cold and snowy weather in the Pacific Northwest, which affected its hub, the international airport of Seattle-Tacoma.

The pandemic has also caused a shortage of train and bus workers nationwide. In New York City, the Metropolitan Transportation Authority is also facing a slight increase in positive cases among its staff, who are 80 percent vaccinated. He said Monday’s metro service was operating on a regular schedule, with a few exceptions.

“Anything we can do as passengers to help minimize the risk to transit workers will help reduce the spread,” said Lisa Daglian, executive director of the Citizens’ Standing Advisory Committee to the MTA, a group monitoring. “The MTA is doing what it can with the resources it has. “

Danny Pearlstein, spokesperson for the Riders Alliance, an advocacy group, said: “I feel like the MTA is making the most of a bad situation again.”

Francis spoke about the explosion of the contemporary art market and his “peephole” career going from artist to auction manager Mon, 27 Dec 2021 06:00:11 +0000

You have been active as an artist and curator; you had a theoretical and artistic training Historical context. Wasn’t going to an auction house problematic? Many artists, art historians, art critics don’t like auction houses because the evaluation goes through the money. There was that old conflict between art and money, already Pliny in the 1st century complained about the degradation of art due to its connection with money. Have you not had a problem with the exchange of the symbolic value for financial value?

Obviously, this has always been a problem; it was even more true in my time; people really haven’t crossed that divide at all. For many people, I was like Judas; they felt like I had almost turned my back on the artists. But my position was relatively creative because I felt that I could make a difference. I never had a problem with the connection between art and money at all. From my point of view it seemed crazy to me that great art was being done that was not appreciated in the the artist’s life and allow him to pursue his career. I never wanted to do just a “job” in my life. I looked at him as a kind mission to try to change the perception of the auction house in various parts of the art world. When I came there as an artist and curator, I thought we could show these works better than they were being shown at that time. At that time there was absolutely no interaction between auction houses and artists; I wanted to to get artists who were unhappy with auction houses to be more in discussion with them.

Who is the first artist with whom you managed to engage with Sotheby’s?

Damien Hirst in my first evening auction. It was a heart shaped butterfly painting that Marco Pierre White was selling. Marco and Damien had had a partnership on the Quo Vadis restaurant in London, but they had fallen out with the public and Marco was selling this painting. I do not have want Damien to feel ostracized, so I suggested that we build enough time to include it in the process. I felt it was an opportunity to obtain the artist’s point of view and contribution on the presentation of his work which would encourage them to feel involved and therefore supportive to treat. For me it was a win-win situation and it worked really good. He helped us with the spreads. He gave us different points of view and the room ended up selling to Charles Saatchi. It became one of the big pieces that he promoted as part of his group Young British Art in the second wave.

Then we started to approach more and more artists. If you watch it today auction houses cater to virtually any art studio or their gallery to get their consensus on the presentation, because if you getting the wrong information is not good for you. It is part of the a legacy that I would like to think I left behind.

Damien Hirst, I love you forever (2014).


How do you explain that the majority of collectors now collect post-war and contemporary art? It wasn’t even the case 30 years ago.

It’s interesting. My father is an antique dealer; he started his antique business in the 1970s. It was a time when Europeans and English furniture was very popular; the 70s, 80s and 90s were, in a way, the golden period to establish this market. While you can still sell very special pieces very well, the general market for antique furniture has practically disappeared. The unsigned works are nowhere and are probably worth half or a third of what they were back then. I saw with my own eyes How? ‘Or’ What markets can change and fluctuate. Part of the reason why contemporary art has become so popular, I would say, is that works of art are relatively portable mirrors of your own life. As people have started to question the role and meaning of religion in their lives, art provides a different kind of philosophical context. Maybe I’m too romantic here, but I think art allows the viewer to find other forms of direction and spirit. Obviously, there are all kinds of art consumers out there, from the investor to the avid collector, and being one doesn’t necessarily exclude the other. For me, the biggest concern I have about the future of art is that it continues to interest us.