Aesthetics for Birds

Aesthetics and Philosophy of Art for Everyone

Category Archives: Painting and Photography

December 4, 2016
by Aesthetics for Birds
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3d Printed, AI-produced Original “Rembrandt”

A collaboration between ING bank, Microsoft, Delft University of Technology, and the Mauritshuis museum brings us the Next Rembrandt project. They’ve created an original, Rembrandt-style “painting” created by analyzing existing Rembrandt paintings (colors, head direction, facial composition, etc.). <!–more–> If this is a taste of what the robot apocalypse will look like, then I guess it seems sort of anticlimactic. Anyway, if you were curious about how to make the MOST paradigmatic Rembrandt painting, you’d want the following characteristics: Okay, but so much you probably already knew, without any deep data algorithms. Just with your fleshy meat brain. But could you do this part? They did micro-landscape analysis of the brushstrokes and mimicked that, too. Then used “paint-based UV ink” to create the final product with a 3D printer. And how does it look? I mean, it looks like a Rembrandt to me. (Some people claim they can tell it’s not authentic. I’m skeptical.) This – like … Continue reading →

November 23, 2016
by Aesthetics for Birds
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A Thanksgiving Announcement from AFB

Tomorrow is Thanksgiving in America, and while there are many things to be thankful for (though also many things to be dissatisfied with, to put it mildly), we at AFB would like to take a moment to recognize and celebrate Native American art and people. Please remember that the conventional Thanksgiving narrative is at best naively and misleadingly incomplete and at worst grossly, perniciously, and irretrievably wrong. And be aware that Native Americans still fight for recognition, respect, and rights. Be aware of the current Dakota Access Pipeline (DAPL) situation (see how you can help here). Be aware that while you may be sitting down tomorrow to a meal with family and friends, others will be protesting at the National Day of Mourning in Coles Hill Plymouth, MA and at the Indigenous Peoples’ Sunrise Gathering on Alcatraz Island, CA. The influence of indigenous cultures on contemporary American culture is immeasurable. So we … Continue reading →

October 26, 2016
by Rebecca Millsop
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Heidegger Meets Van Gogh: Art, Freedom, and Technology – Free Online IAI Course

About the Course Modern philosophers traditionally thought of science as the realm of truth and art as the realm of beauty. And with the industrial revolution, western societies followed suit. Technology became the driving force of history as art became a sphere of entertainment. In this two-part course, Philosopher Simon Glendinning challenges this conception by outlining Heidegger’s critique of technology whilst arguing that art is the path to freedom. You will learn about: Heidegger’s critique of modernity and the predominance of technology. The nature and history of scientific rationality. Heidegger’s reading of the work of Vincent Van Gogh. Art’s relationship to truth and freedom. Through video lectures, questions and suggested reading discover why art remains a true source of wisdom.  Share your ideas and support your learning through our discussion boards and test your knowledge through questions throughout the course. Requirements This course is designed for anyone interested in art, … Continue reading →

October 18, 2016
by Rebecca Millsop
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Kelley Walker & A Manifesto for the Artworld Institution

Perhaps you heard about the recent controversy at Contemporary Art Museum St. Louis: Since opening in mid-September at CAM, a solo exhibition of white male artist Kelley Walker has been under fire over a series of works that appropriate images from the Civil Rights Movement and magazine covers of black women streaked with toothpaste and chocolate. After failing to offer adequate explanation for the works during an artist talk at the museum on September 17, both Walker and Uslip—who is said to have had a crucial role in realizing the exhibition—incited criticism from the local community, who found the works malicious in nature. A September 18th letter called for the removal of four offending works; among signees were three black members of the CAM staff. The museum refused to remove the works, and instead added barrier walls and signage to warn museum-goers that Walker’s works “may be difficult for some … Continue reading →

October 11, 2016
by Rebecca Millsop
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Really, Seriously the Artworld — Frieze London

One of the most artworld-of-artworld events took place last week in London: Frieze. Everyone and anyone wanting to be in-the-know is probably already paying attention. But in case you’re not… Why is Frieze such a big deal? Well, all eyes are on the works of art that sell and flop at this event because all of the most important galleries flaunt and sell the work of the artists that they represent–emerging, successful, and deceased alike. The event is described on their website: Taking place a week earlier this year, Frieze London brings together over 160 of the world’s leading galleries from New York to Berlin and Shanghai to São Paulo, to showcase works by newly discovered artists alongside some of the most respected names in contemporary art. Explore our curated sections – Focus, the definitive destination to discover young talents; Live, creating moments of immersion and interaction with participatory performance works; and new … Continue reading →

October 6, 2016
by Rebecca Millsop
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MoMA’s Entire Exhibition History is Now Online & It’s Free

  New York City’s Museum of Modern Art is certainly one of the most important and influential art institutions in the USA and the world. MoMA curators throughout the decades have made decisions that have greatly affected the way the artworld and public understand the nature of art. You can now view all materials from all of MoMA’s exhibitions, beginning with their opening in 1929. Check it out for yourself: MoMA’s Entire Exhibition History After, or perhaps before, check out a recent article in The Atlantic by Robinson Meyer, “The Museum of Modern Art’s Miraculous New Online Archive”, discussing the aesthetic and functional changes in exhibition documentation throughout the years.