Digital trends in the art and culture industries

The pandemic forced all ecosystem participants to adapt and resort to digital: museums, galleries, theaters, concerts, and, of course, the viewer. During the months of lockdown, people have been constantly looking for entertainment and educational content. Imagine for a second how many people from all over the world have gone to the Louvre to see their digitized collections, including 3D tours in multiple languages. Or children not only watching cartoons but, for example, operas. Composers have rehearsed and collaborated to create new pieces of musical art. The list is endless of the general digital trends that have become widespread due to the pandemic.

Wide-angle cameras and 360° format

Online viewing rooms (OVR) have become popular with galleries and some art fairs, although they have met with some resistance from collectors. In an OVR, you can see the halls of the gallery and the objects in it. By moving your mouse, it simulates standing in an actual room and allows the viewer to turn in a circle to see the details. From artists in studios to the largest galleries and art fairs like Art Basel or Frieze Art Fair, OVRs have been seen as a solution to the need for a virtual format.

Augmented reality

Open art parks offer to learn more about artworks by pointing your phone camera at QR codes or through special marks. Niche fairs, such as Art Duesseldorf and Artissima, have projects are under development to integrate exhibitions through augmented reality right onto cities’ streets, thus creating a digital quest. Galleries and museums are already using AR to show the verso side of a painting where authenticity marks, signatures, auction stamps, and other usually inaccessible information are located.

Virtual reality

It has been proven that the assimilation of material through virtual reality is accelerated at times. This technology is used in different areas — in medicine and logistics —has been used primarily by the artist with their content. It is becoming more prevalent in multiple venues like museums, art galleries, and educational centers. And is an effective solution for spending leisure time and broadcasting cultural content and a completely successful way to present education formats.

In VR, you can go to a concert, walk along the beach (which seems very attractive after months of lockdown), and even take an astronomy course — not in a year but in 18 hours. New art formats in VR are just around the corner. In the virtual world, it will be possible to learn more from the artist, understand how a creative thought develops, how a work of art is born from sketch, examine the world masterpieces of the old masters and delve into history.

Live broadcasts of performances and concerts

Live broadcasts are not an innovation. Although theaters were part of a conservative camp that had to buy tickets and be physically present, many quickly resorted to broadcasts with the pandemic’s onset. Thanks to this, people were able to attend performances without leaving their homes. For example, during quarantine watching favorite performances and operas in favorite halls with favorite soloists became possible. Joshua Bell performed Tchaikovsky’s first concerto for violin and orchestra at the Sydney Opera, The Marriage of Figaro with Anna Netrebko in Salzburg, and Sleeping Beauty at the Bolshoi Theater. Of course, all kinds of cultural institutions will be slowly returning to their usual work style, but will people return in such streams as before? Or will the hybrid consumption of such content continue to be welcome and accessible?

The American response to the pandemic

An interesting international response to the pandemic is VOMA, the world’s first interactive digital museum of contemporary art. The project promises to become, albeit not full-fledged, an alternative to an offline platform. VOMA is supported by the Whitney Museum of American Art, New York MoMA, and other renowned cultural institutions. It will be possible to move around the museum in a hybrid digital space using VR / AR technologies — the virtual world will adapt to reality depending on time, weather conditions, and other factors.

Additional materials with QR codes will be assigned to each art object, which will enable the viewer to truly immerse oneself in the work’s history. Everyone will be able to visit VOMA free of charge, which solves issues of social distancing and cultural availability. It has just launched and has a robust program planned for the remainder of the year and beyond. 

Another interesting case is the creation of a VR library by the Colnaghi Historical Gallery. The works of great masters often leave the viewer wanting to understand more — about the artist, the period of time in which it was created, and the artwork itself. In a museum, visitors do not have time to immerse themselves in a work deeply, and each of these masterpieces warrants a return visit for deeper consideration. What do we most often ask ourselves when looking at a Titian, a Rembrandt, or at Velazquez’s work? What is the meaning of the artist in his work? Why were particular colors used?

Colnaghi Gallery works with professional critics and top art experts to archive VR work. Their VR library will be available to viewers through special installations in museums or specifically designated places, such as in gallery branches. Currently, there is consideration being given for a viewing station right in Hyde Park, in an open space to maintain a safe distancing for viewers. The content will also be available for viewing through home VR-helmets.

Outcome

We can confidently say that in today’s world we cannot imagine culture, personal development, or education without contact with the digital environment. Transferring cultural heritage to the next generation becomes a priority in the digitalization of art. The digitalization of content opens up new directions for the art industry: introducing technology and the emergence of new genres.

About the Author: 

Jane Travis is a professional writer in paper writing service. Jane has a university degree in philology and is currently pursuing a second degree in journalism. She is a specialist in many subjects, but her favorites are painting, culture, history, art, and music. She devotes her time to charity work and psychological conferences.

Photo Credit

Image 1: https://www.frieze.com/

Image 2: https://voma.space/

Image 3: https://londonartweek.co.uk/exhibitors/colnaghi/

The post In What Way Has the Pandemic Influenced the Art World? appeared first on Art Business News.

Some artists focused on the eerie silence left behind by the intense lockdowns from March to June, while others tried to find ways to spread hope, motivation, and courage even in this bleak time. Unsurprisingly, many graffiti and street artists have incorporated COVID-19 themes into their work this past year.

As the virus is under some control, and lockdowns are gradually being lifted across the world, people have started stepping outside with precautionary measures. Muralists are taking this as an opportunity to utilize public places to showcase art and spread awareness. Toilet papers, face masks, and disinfectants are some of the common subjects of street artists. However, others are emphasizing boosting immunity, enhancing will power, and staying fit.

Here, we share with you some of the most creative COVID-19 themed art adorning cities all over the world. These contributions are popping up with each passing day as artists are becoming more and more involved. Some well-known murals related to COVID-19 are:

The gratitude, dedication, and support provided by healthcare professionals during the COVID-19 crisis are the most common subjects in street art. One graffiti artist in London did a commendable job highlighting the contribution of doctors during the pandemic. In the mural picturized above, the artists paid homage to junior doctors.

He specifically highlighted the contributions of resident doctors because they are constantly putting their lives at risk, work more, and are paid less in comparison to the senior physicians. However, they are still working day and night with full enthusiasm. An artwork specially dedicated to the resident staff boosts their morale and show them that their contributions are appreciated.

At a time when street artists were focusing on common pandemic related themes, Italian street artist Laika took a different step and focused on the restaurant staff. Since eateries are now opening, Laika focused on a Chinese restaurant owner, Sonia, wearing a fully covered gown along with a face mask.

Sonia’s message in Italian translates to “There’s an epidemic of ignorance going around… we must protect ourselves!”The artist tried to give a message that though the restaurants are opening, precautionary measures are still important. People working at the restaurant are equally affected by the pandemic. Thus, they are back to work but at risk and following new operating procedures.

Another great example is seen in Amsterdam, where the famous street artist FAKE painted a nurse with a Superman logo, titled Super Nurse! The nurse is shown wearing a mask, which is a typical representation of COVID-19. What is unusual is that she has the “S” logo of Superman on the front of the nurse’s uniform, reminding everyone that nurses, along with other frontline workers, are the true superheroes. 

The idea is to highlight the exceptional role played by the nursing staff in this condition of turmoil. These nurses are putting their life in danger serving the COVID-19 patients. Not just in the critical care unit, they are also doing the testing. The artwork received great recognition and appreciation globally, and it was selected as a digital art installation in London.

In Germany, another street artist, Uzey, took up his paints to encourage people to stay strong despite the hardships the pandemic has brought. The art shows a fully covered person carrying a pack of COVID-19 germs in his hand. The picture reveals that no matter how covered a person is, the virus is everywhere. Thus, maintaining social distance and practicing isolation is the only safe solution. Various colors used in the artwork are intended to bring some light to the colorless life these days. This street art gives a friendly message to humanity and tries to boost morale.

In Indonesia, a campaign related to COVID-19 murals started in August 2020. This street art in Jakarta quickly gained popularity as it depicts the message very clearly and powerfully. It highlights many things: firstly, it shows that the man is carrying a shield, which is somewhat similar to a mask, and therefore subconsciously, you are made to think that wearing a mask is the best defense against the virus.

Secondly, it brings a message of hope for the masses – it gives strength to the affected individuals for regaining their health. People who are still in a state of fear can also get some motivation from the thought-provoking art. It shows that we can fight and overcome any germ or virus, only if we have the will and if we take the right measures.

Some fans even interpreted the painting with respect to organizations that stood firm to safeguard society. Most notably, healthcare and human service organizations, but also small businesses and individuals initiated small efforts to help their communities from the financial and emotional effects of the pandemic.

For instance, many individuals started campaigns to buy from small businesses in their community to keep them from going out of business. Similarly, small businesses, like cleaning companies, started offering door-to-door and contact-less services for the safety of their clients.

Another street artist drew this painting of a nurse who is covered from head to toe in a gown, gloves, and face mask. She is portrayed as an angel of love with colorful wings. The artist showed how the nurse is ready to go for work. Such contributions for supporting the doctors, nurses, testing professionals, and the janitorial staff seems valuable in this crucial time. These people are the real heroes who are diligently performing their duties in high-risk areas.

Conclusion

In short, COVID-19 murals are brightening the streets across the globe. From humorous and playful styles to more serious and sympathetic themes, street artists have done an excellent job highlighting the issue. From highlighting the importance of healthcare workers to aiming at reviving the mood of infected individuals, each has highlighted the importance of working through the pandemic together.

Along with the artists mentioned here, tons of other artists like Pebsy, Pyritt, AFK, Jesus Cruz, and many others have made valuable contributions. They’ve expressed a collective feeling of fear, rage, and frustration developed during the lockdowns and isolations. And they have also helped us in regaining lost hope.

Thinking out of the box and taking out time in stenciling and painting the walls is a commendable step in uniting the society in this unprecedented time. Was one your favorite?

Author Bio:
Nouman provides ghostwriting and copywriting services. His educational background in the technical field and business studies helps him in tackling topics ranging from career and business productivity to web development and digital marketing. He occasionally writes articles for carpet cleaning. 

The post COVID-19 Murals: Inside the World of Pandemic-Inspired Street Art appeared first on Art Business News.

Although there is no clear roadmap on how to move forward, the team at Huntington T. Block has seen a few trends among galleries, art dealers, collectors, artists, art fairs, and more that are smart to have on your radar.

The Evolving Gallery Scene

The prolonged closure of galleries across the country has forced art galleries and dealers to develop strategies for different ways to stay relevant, promote artists and run their business. For example: 

• Online viewing rooms – Many art dealers have embraced digital technologies to stay connected with key cliental and artists during the pandemic. Although a majority of galleries already had established virtual platforms in place, online viewing rooms are being relied on even more now as an effective way to showcase artwork and engage collectors—whether it’s a major art fair like Art Basel Hong Kong or a small to mid-size gallery. In fact, viewing sites have almost become the norm as a replacement for art fairs that could not proceed. Obviously, these digital platforms do not allow potential buyers to experience art physically, but many collectors feel comfortable buying their works through reputable galleries from familiar artists.

• Financial support – Many small businesses in the art industry may potentially qualify for financial assistance through the federal government. The rapid and evolving changes around what help is available can be intimidating and overwhelming. Art dealers should feel empowered to seek out guidance from financial professionals to navigate any confusion or uncertainty about how to access, benefit, or qualify for government sponsored loans and grants or assistance.

• Employee relations – Art museums and galleries around the world have been faced with tough decisions—layoffs and furloughs—in response to the financial fallout. For example, the Museum of Fine Arts, Boston, recently furloughed about 300 staff members, more than 40 percent of its workforce. If possible, galleries should consider hiring freezes and salary cuts to help retain workers. The altruistic goal here being to help ensure that staff can weather this crisis as-best-as possible so, when the time comes, they may return to work on their feet.

Reactionary Selling

As the state of the economy worsens, art collectors may feel that it’s wise to sell their pieces. Financial professionals typically caution against reactionary selling during a financial crisis. My team and I, just like all fine art lovers, have a strong passion for art and fear the dangers of any type of commoditization. Fine art insurance aims to protect rare and historic objects to help guarantee their survival, in good condition, from one generation to the next—and over many centuries in some cases. 

However, the general consensus among art dealers and art advisors, from my perspective, is that there is no mass desire to sell artwork at this time. Most collectors take a more conservative approach to the sale of artwork, which requires time and skill in order to optimize value for both the buyer and seller.  Additionally, the high-end collector segment of the marketplace is somewhat insulated from immediate effect of the economic downturn.

Auction Market

Several of the recently concluded auctions, particularly last fall, resulted in lower than expected sale totals. The sales were lower not due to a decrease in unit price per se. Rather, the decrease was tied to a lack of supply of high-quality pieces available for sale. It’s too soon to speculate what the art market conditions will be in one month, one quarter, or even one year from now, and beyond. However, it can be assumed that any current reactionary selling will not have a substantial impact on overall pricing in the future.

The current challenge with buying art is not financial, but rather logistical. As lockdowns continue, physical inspections of artwork and movement of pieces cannot occur—a critical aspect of the sale process. For the time being, many collectors are developing “wish lists” in the hope of investing in the artwork of established artists—this could be the result of the recognition of artwork as an asset class and confidence in the value of good artwork.

Managing estimates at auction will be the key to bringing in potential buyers. There are a lot of people who still have a lot of money. If there is good work available, I can see where the auction houses may work to appeal to the collectors’ desire for good value and be able to build interest and sales.

Looking Ahead

Overall, we must remember during these delicate times that this is not the first downturn in the economy that the art world will have lived through. Galleries, art dealers, collectors, artists, art fairs, and the industry as a whole need to support one another as we navigate these challenges.

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