Mercedes-Benz AG’s Post

"For Henry Hudson, the notion of AI evokes a sense of hysteria, questioning its limits, our control over it, and whether it ultimately controls us. Hudson melds technology seamlessly into his sculptures, transcending physical and digital boundaries. His creations serve as a metaphor for the fluidity of existence in the digital age, prompting contemplation on the influence of AI on our lives." Read more about Henry Hudson's work and the new "AI and Technology Influence on Contemporary Painting" exhibition launching this week in our London gallery, here: https://lnkd.in/e_HrftpZ

The AI-generated art we're seeing these days is interesting and impressive. However, even if it gets 100x better, I think we're going to realize that it can't take the place of human-created art. A huge part of our enjoyment of art is directly tied to the story of the artist behind it. Whether it's a piece of music or a painting, we are making a connection with the creator behind it. That's why art museums don't just have paintings on walls; there's always a paragraph or two explaining the story of the artist and why they created the piece. AI-generated art might end up being fine for dorm room walls, or while you're on-hold waiting for customer service. But no matter how good it gets, I don't see how it can replace the emotional human connection that great art creates.

Exploring the Human Form Through Art "About Face / How Do You Figure? gives visitors an opportunity to reflect on how artists from different eras have represented the human form." **Click link below to read the rest of the story.** #suindependent #Art #artexhibit #artgallery #artshow #HumanForm

Exploring the Human Form Through Art "About Face / How Do You Figure? gives visitors an opportunity to reflect on how artists from different eras have represented the human form." **Click link below to read the rest of the story.** #suindependent #Art #artexhibit #artgallery #artshow #HumanForm

Dive into the mesmerizing world of optical illusion art as we explore the style's history, techniques, and impact on art and design in our latest blog. 🌌🔮 #OpArt #RMCAD #Blog ➡️ https://ow.ly/fhY450RvgV2

In 2022, Cube#35 was one of the submitted works for ART TAKES 2022 - EMERGE, a group exhibition showcasing the perspectives of 26 international artists on how 2021 has impacted their creative endeavours and influenced their vision and ambitions for 2022. During an interview with See|Me Editorial, Ton Voortman explains: “I must say in all fairness that my work travels far bigger distances than I do, the majority of foreign exhibitions are arranged by a gallery or art agent. When I look back at the progress in my career as a sculptor, I see a mountain landscape, the ascent is more difficult than the descent. Building and maintaining a good network is very important. As a representative in unnecessary matters, it starts with visiting galleries with a photo folder under your arm. Trying to establish contacts, later also via the internet and social media. But in the end everything depends on coincidences.” See more of this interview here: https://bit.ly/49VjoVI In the picture 📸:Cube#35 (2021) Stone with oak 15 x 28 x 26 cm #antoniem #tonvoortman #sculpture #minimalart

Discover how AR is transforming art galleries into interactive playgrounds! From moving paintings to evolving sculptures, technology is adding a new dimension to creativity. Have you experienced AR in art yet? Share your thoughts! #AugmentedReality #ArtInnovation #ARinArt #GalleryExperience #TechMeetsArt #CreativeTechnology #InteractiveArt #ArtAccessibility #XRONE #FutureOfArt

Hi ATL Fam, My exhibition Old Suns will open on July 13th at The End Project Space and I hope to see some of your beautiful faces. Here is some more information on the exhibition: Location: The End Project Space 1870 Murphy Ave SW, Atlanta, GA 30310-4837, United States Exhibition Dates | July 13 - September 1, 2024 Opening Reception | Saturday, July 13, 2024, 6-8 pm Zoom Artist Talk |Saturday, July 28, 2024, 1 pm EST Join us on July 13, 2024, for the opening reception of Old Suns, an immersive sonic installation by Los Angeles-based artist Iman Person. Delving into Black speculative archives through somatic memory, ethnobotany, and land extraction, Old Suns creates a liminal space that invites audiences to activate both imagined and real ecologies of remembering through ceramic works and sound. About The Exhibition This body of work is centered on a plot of land in St. Ann, Jamaica, bequeathed to my grandmother– a place I have yet to visit, but view as a profound ancestral connection to the island. Within the installation, historical and live weather data from St. Ann—such as humidity, air quality, and temperature–triggers layered audio throughout the gallery. This soundscape includes my poetry, melodic sounds of deep ocean environments, Koromanti dialect, and field recordings from a 2021 trip to Accompong, Jamaica. The sonification of data, distance, and time creates an improvisational and lucid environment, embodying what I describe as "ancestral time." Within this concept, history transcends the linear progression of past, present, and future, allowing for a continuous state of arrival and exploration. Within this framework, diasporic cultures gain knowledge beyond conventional boundaries, fostering new understandings and living archives. These recollections of time guide the journeying body through different time zones, dimensions, and sensory experiences. To RSVP Visit: imanperson.com/events To view a catalog of available works please email studio@imanperson.com To schedule an appointment to view the work, please email acdrennen@gmail.com

ART OF FAKES Very high level presentations today at the conference on art fakes organized today by Avv. Paola Ghirardelli at Gallerie d’Italia in Milano. My speech was dedicated to art authentication as a stool with three legs: scientific analysis, stilistic analysis, and provenance research. Scientific analysis is mostly useful to prove forgery, rather than authenticity, stilistic analysis is more convincing when based on solid comparison with certainly authentic works of the artist (and AI may help on this) and provenance may be very useful, but provenance documents may be forged as well (and often are). Moreover, scientific tests, stilistic studies and provenance reasearch vary on a continuos basis, so that opinions on authenticity and authorship may vary as well. This is why authenticity is a very unstable and constantly evolving concept. This is why some artist estates release authenticity certificates “based on the information so far available” and reserve the right to change thier opinion at any time. A good example of dynamic authenticity. Congratulations to all other speakers Noah Charney, Magg, Michele Minetti and Paola Borghese and to the excellent moderation of Arianna Visconti #art #authenticity

10th Triennial of Contemporary Art U3 · Against the Stream of Time, Moderna galerija Ljubljana · Museum of Modern Art, 21 June – 17 November 2024, curator: Tevž Logar, opening: Friday, 21 June at 8 pm 101.72 MB (2024) https://lnkd.in/erKp6tZc is presented through twenty framed dead electronic objects that simulate—pretend to be—art, and the skeleton of a disused robot employed in my previous works. The series as a whole is part of my years-long de-digitalization processes, from the deletion of classical net ⁿᵒⁿ⁻art works in 2011 to the present ~ the only way to liberate ourselves from feudal techno-capitalism is through collective and total de-digitalization. The title of the work indicates the amount of now deleted net ⁿᵒⁿ⁻art works (101.72 MB of files) produced and processed by the exhibited machines and their parts between 1996 and 2007.