Miami Basel
It is always fun to come down to Miami for the art fairs. We see a lot of art and enjoy the warm weather. The first day we hit up the big fair which can be extremely overwhelming. For whatever reason, I was not as wowed this year. Maybe I have become jaded after going to so many fairs that I have begun to know the galleries and the artists to the point where I finding something new and exciting isn’t so easy.
Before getting to the fair we went to the Bass Museum. They do such a great job and this year was fantastic. Downstairs is the first Haas Brothers museum exhibit and from what I understand the brothers have been hanging there which is so great. Their work is whimsical and unique.
Have been a fan for years.
Upstairs at the museum is a Paola Pivi installation. Loved the room of colorful larger than life bears. This one is called “Freaking Yoga”.
This was incredible. 92 televisions displaying 40,000 images of reality with recorded lies playing through a sound system.
Then off to the fair. Here are some of my highlights. What If Women Ruled the World by Yael Bartana.
Always love Hockney.
The Couple by Louise Bourgeois.
Finally Finished by Richard Serra.
Embracing Couple by George Segal.
More Paola Pivi.
Deborah Roberts.
Jorge Pardo.
I Pledge Allegiance (Flammable), Rob Pruitt. This is made up of matches.
Going back to the big show again today. Maybe I will find more inspiration.
Comments (Archived):
“Freaking Yoga” made my day 🙂 Love the flammable flag — provocative.
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I love just love some of this art. Thank you J
I wonder when we will first see a physical (not a digital) work of art ‘signed’ with a blockchain public key?
Probably a few years
Please describe what this looks like and why it matters? Not getting it and curious.
It’s a lithograph. 55 editions. Makes you feel like you are inside one of his mazes
So nice.Big fan of mechanically produced arts and as techy as I am I’ve always been drawn to and collected limited edition prints, lithos, silk screens and the like.And love his big mazes. From at Moma years back. In Bilbao as well.Art and objects that don’t let go of you are so critical to a deep and layered life.
Bilbao is amazing
An art object, inscribed with a public key of a network, and with a private key in the possession of the artist/ owner. Can the object be forged? Yes, but with the public key copied? Yes, but with provenance authenticated? No. Ownership, possession, even location of the authentic object could be verified only by the possessor of the private key. The art (and antiquities) markets are littered with both fake objects and objects owned but of dubious legal provenance. https://www.theguardian.com… Imagine a painting in a frame. The nodes of such a network could be run by nation state governments, their museums and galleries, and reputable art auction houses. It would not be difficult to fund. Billionaire art philanthropists are ten to the dozen.
Authentication is happening on blockchain technology in the art world. Where it goes next and what people will do with it is yet to reveal itself
I’ve seen it with digital works. Cats! I haven’t seen it yet with analogue. It has to come.
I get that as that is like people using the blockchain natural building blocks to rethink the supply chain. Some are perfect, many are better ideas than real world use cases.Give me a real world use case and some idea of market segment where this truly is the fix.Yup, I collect art. And yes, i understand the blockchain. That is why i’m not skeptical that it can be done but the importance of the why of it.
The ‘1/50’ (pick a number) copies technique. Am i really getting one of only 50? Do i trust the artist to not produce more later? It’s good for the buyer and the artist.
Get that and yes, that will indicate that it is indeed one of whatever but does not mean that the artist will not print more.In fact today when that is done you are trusting through the artist and broker that the plate itself is destroyed. That is the key and not necessarily connected.
Sell the plate, as shared ownership by the 50, with secure custody. If a 51st copy turns up later but isn’t on the blockchain it isn’t authentic. It’s a breach of contract with the 50. It’s a new form of counterfeit. A court could order it to be destroyed. The possibilities are ‘open’. This is a new paradigm.
Don’t see the rationale with that as this is a scarcity model.But especially with digital assets, managed scarcity over time is an interesting blockchain based model for art.And obviously for digital or tokenized analog, fractional ownership as well.Interesting topic though still early.
Thanks! Big Serra fan.
Ditto