Hey friend, can you spare $150 million?

sundancesolar_1868_1630372Here comes news that Kickstarter, the three year-old online fundraising company, is set to distribute more money next year for cultural projects than the National Endowment for the Arts. That’s right: Kickstarter’s bootstrapped giving may exceed the agency’s circa $150 million budget. And it’s growing.

The announcement signals just how rapidly our funding mechanisms are turning obsolete. It also highlights the roundly different priorities that come into play when funding choices are left to “regular folks” rather than “experts”. Kickstarter’s top three, million-dollar-plus earning projects so far have been an animated film, a design for an iPad dock, and a computer game.

None of this bodes too well for the sort of organizations and initiatives that benefited from arts funding in the past.

For half a century, US philanthropy consisted of a cozy collaboration between tax exempt fine arts organizations and tax exempt giving bodies. For all the efforts foundations spend analyzing their own behavior and chasing innovation, as organizations they remain stunningly risk-averse. Now along comes a giving method that blithely sidesteps the old categories of patronage. Its very success is an indictment of the inefficiencies and blind spots of the old model.

The problem is that the direct democracy represented by Kickstarter will not provide a full answer to arts funding, any more than blogs and tweets can replace professional news gathering operations. Continue reading “Hey friend, can you spare $150 million?”

Museums 2.0


Adam Levine writes:

Amidst the glamour of Art Basel, earlier this month, one panel in the “Conversations” series—moderated by AWS’s Andras Szanto, as it happens—stood out in its attempt to tackle a more intellectual topic: How museums will operate in the digital world?

The discussion revolved around the use of digital media in three areas: (1) platform development, (2) marketing strategies, and (3) business models and fundraising. I’d like to offer additional models that complement what was discussed in Miami.

One of the panelists, Max Anderson, director of the Indianapolis Museum of Art, has arguably done more for the development of open-source museum platforms than anyone. That the IMA is incurring most of the costs for such efforts seems unreasonable and inequitable. Crowd-sourced models of fundraising were discussed, but no mention was made of crowd-sourcing development. One model that has been profitably used elsewhere is for a pool of money—raised from multiple institutions all interested in open-source museum software—to be awarded as a prize for superior development work. The template for this strategy, the so-called “Netflix Challenge,” was quite successful.

In the portion of the Miami conversation on marketing strategies, little was made of the ability to develop targeted campaigns on the basis of what people are viewing online or in the galleries. Such data, which is already available given current technologies, holds the potential for a more intimate museum experience. Using technology of the sort the company Art.sy has developed, museums can market exhibitions to visitors on the basis of their preferences. They can even suggest new works to visitors on the basis of things that they have liked in the past. Similar technologies, deployed much like “smart shopping carts” in supermarkets, could conceivably be used in certain museum settings as well. Continue reading “Museums 2.0”

Green shoots for arts journalism

light-at-end-of-tunnelI am going through new online ventures submitted for the National Summit on Arts Journalism, scheduled for Oct. 2 at the University of Southern California, a collaboration between the Annenberg School for Communication and the National Arts Journalism Program, with support from the Hewlett and Mellon Foundations and the NEA. Web broadcasting and satellite events at schools and cultural institutions around the country promise to make this something of a benchmark moment in our ongoing narrative about journalism’s transformation from a top-down, dead-tree medium to a digital, democratic, diffuse, dialog-oriented domain that bears less and less resemblance to the news media of old.

The agony of print journalism’s attenuated demise continues to dominate pubic discussion about journalism in general and arts journalism in particular. Nonetheless, as I argued recently in The Art Newspaper, we’re seeing the emergence of new communication and business models, some of which may not look anything like the journalism we used to know, but which are filling the void left behind by imploding newspapers and struggling magazines.

When the idea of the summit was hatched, it was hard to predict how many projects would come out of the woodwork. But after this week’s deadline, the tally has topped one hundred—a remarkable number, in my opinion, and a sign that at long last we have entered a new phase. Continue reading “Green shoots for arts journalism”

After the dead tree

The nice folks over at The Art Newspaper asked András for his thoughts on what would happen to Arts writing with the decline of the Press.   His response can be seen here, or after the break.


Continue reading “After the dead tree”

Google: art


A new barometer of global culture has been set in motion by Google, which launched an “Artist Themes” function that allows people to customize their personal Google pages.
The gallery of custom images doesn’t amount to a vote of confidence for visual artists, especially American ones. I dutifully set my iGoogle page to the “Jeff Koons” theme. Every time I do a search I now see a different Koons work at the top of my screen.


But Koons is pretty much the only artist in the pack. There are many more choices of fashion people (Diane von Furstenberg, Todd Oldham, Dolce & Gabanna) and designers (Philippe Starck, Michael Graves) than of artists in the conventional sense. Most of the custom themes are from the hands and keypads of web designers and animators whose names few gallery-goers would recognize. Many are from Asia (but no Murakami here). Then there’s Coldplay, Beastie Boys, Lance Armstrong, and Mark Morris. Lesson? Though Google’s developers are clearly not trying to draw an all-inclusive map of global visual culture here, what if their selections are, in fact, faithful to what our society understands under the rubric of “artists”? Is Koons the best choice for this virtual Noah’s Ark?


Taste v. Price (why critics don’t matter, Ch. 36)

Margaux.jpgHammad Nasar finished off the previous thread with a statement which many of us take to be gospel, namely, that when it comes to art, or really to any offering from the culture industry, the most expensive product is not the “best” product, it is simply the most expensive. So remains open that space for “critical judgment” which, most would agree, is a necessary condition for criticism to function in the first place.

But are we fooling ourselves? Are our judgments–aesthetic, critical and otherwise–more determined by price than we know? The Art Newspaper seems to think so: Anna Somers Cocks’ has written a short piece on a recent study by Cal Tech scientist, Antonio Rangel, who hooked up a group of volunteers to an MRI machine and measured the pleasure centers of their brains while they tasted various wines of different quality and, most importantly, expense. Over and over again, the volunteers “enjoyed” the expensive wines more, even when the price tags had been switched and the ’82 Margaux turned out to be an ’07 Bin 28.

The parallel to art is both obvious and ill-fitting, which is presumably why Cocks only draws the conclusion that the Rangel effect (actually the Rangel-Veblen effect, given Thorstein Veblen’s economic theorization of it back at the turn of the twentieth century) will contribute to the retraction of the art market once the powers that be are finally able to utter the word “recession” in public. But do we really need Rangel to confirm for us that people “like” their art less (or anything for that matter) when it’s perceived to be losing value? More interesting might be the possibility of a parallel study which could address the physiological effect of positive or negative criticism on the pleasure centers of the brain. For example, what happens when someone tells you the ’82 Margaux tastes no different than that ’07 Bin 28? What does price get you then? Call it the “sucker” study. Don’t we think the art world could use one?

Online art auctions

online_auctions.jpgThe ArtNet announcement that they are to shortly begin an online auction service is the latest in a string of online auction initiatives. This seems a logical move from one of the better sources of ArtWorld statistics and prices. But what does this wave of online initiatives mean for the big boys? Obviously consignors of major works will still want the profile and prestige of the established offline auction houses, Sothebys, Christies et al, but if more bread and butter work starts to go through online systems, whither then the profit margins of the major houses?

And what if the new players start to gain traction in the market place? It should be easier to track prices online in real time across a number of different online sales platforms than it is now. And of course let us not forget that the biggest benefit of online transaction systems is the better access it gives buyers to product; access when they want it. This, beyond the help it gives sellers to put works forward in convenient and price efficient form, is what decides the success or otherwise of any online sales system. And of course if middle and lower level consignors start using online channels we may get better visibility on pricing and trends in a chunk of the market that is usually hidden from public view.

It is easy to be sceptical of online transaction systems. One always assumes there are some items that people need to see or touch for themselves before committing to a purchase. I certainly felt that way when I first heard about eBay selling cars or artworks online. But look at the success they have had. This may start at the bottom end of the market but, as with so many other sectors, quality of products offered rises with reach of market. I think we are witnessing the first steps of a paradigm shift in the Art World market place.

It is also potentially another worrying development for the traditional galleries. They are already losing footfall to people who prefer to see more-work-in-less-time at the fairs and biennials. An effective new online market place could also take footfall from them (or direct it elswhere) and, potentially, encourage more bright young artists to avoid galleries and promote directly online. All such artists would need is one respected critic to validate their work and they could sell “direct from the studio”.

Interesting times. Thoughts?

YouTubing the art world

imgres.jpgThe debut of Robert Knafo’s NewArtTV, which is dedicated to offering online streaming video coverage of exhibitions, gallery shows, artist interviews, art world events, etc., gives us an opportunity to take a fresh look at a persistent question: Just how does one “cover” visual art in a televisual format, be it web-based or otherwise?

We should note that Knafo’s enterprise is not the proverbial “first to market” here. Basel-based VernissageTV has been up and running since late 2005. LXTV, a more broad-based lifestyle site, offers segments on art and collecting. Both artinfo.com and artreview.com are ramping up their menus of streaming video options (full disclosure, I’m working on a project for the latter). More independently, James Kalm maintains a channel on YouTube where he regularly posts more guerrilla-style first-person coverage of shows and openings. And I’m sure there are more, both on YouTube and beyond.

NewArtTV itself seems to follow the format favored by PBS’s Art:21, the well-produced and thematically organized series that forgoes a narrator in favor of voice-overs by the artist alone. VernissageTV gives up on narration of any kind, offering instead only a steady stream of “composed” installation shots. True to the YouTube ethos, Kalm’s episodes tend towards running commentary with the “record” button pushed.

These are different approaches to be sure, but it seems to me that they are only beginning to scratch at the surface of the “coverage” question. What is more, we should probably also ask how streaming video, the new promised land of web-based content (as the current writers strike more than amply demonstrates) might alter the relationship between “coverage” and “criticism”—is there room (or rather time) for the latter in a YouTube world?

The market limits of JPGs?

If there’s one thing I learned from having a closeup view of the nineties tech boom, it’s that the greater public tend to first underestimate a new technology’s impact (i.e email, txt-msgs, and e-commerce). Then, once it proves itself, they overestimate its utility, using it for purposes far beyond its capacity. We definitely saw Step 1 in the art market, where the initial attempts to do business virtually hit a wall (remember the ebay/Sotheby’s collaboration?), proving to skeptics that, “No one buys art they haven’t seen.”

But then collectors started doing precisely that, and at increasingly high price points. So suddenly people started talking about virtual art markets eliminating the need for gallery spaces. To me, that’s edging far into Step 2 described above, a sort of late-adopter euphoria.

There’s a limit to JPGs, after all, even in the age of 10-megapixel cameras. So I was gratified to spot this, buried way down in yesterday’s Independent article Saatchi’s new stars: collector prepares for new gallery opening:

A spokeswoman revealed [Saatchi’s] buying methods, which included an arrangement with international art dealers in which he could “view” works for 24 hours before deciding on a sale. “He gets sent images sent by about 25 or so young dealers in New York and Los Angeles and they have now got a system in place whereby if he thinks any of the images are interesting, he get the works sent over here for 24 hours so he can see them properly. If they are not for him they can be sent back the following day,” she said.

As a collector, Saatchi is famously rapid and risk-taking. Yet dozens of works are flying along the NY-LON and LA-LON axes so he can study them in person. Given his influence, that seems like a clear signal that the buying-by-JPG concept has reached the backlash stage of its art-market hype curve. Thoughts?

Clippings from the salon floor, #9

Buying a Rothko Rockefeller Marc Glimcher of PaceWildenstein, which represents Mark Rothko’s estate, cited in Bloomberg’s report on the mindblowing new Rothko auction record, $72.8M at Sotheby’s: “While it’s a spectacular painting, it’s clear the allure of having David Rockefeller’s painting in your house is going way beyond what you might otherwise consider reasonable.”

Auctionmania at a glance Still trying to parse last week’s PostWarCon results? Check out the handy totals boards from chelseaartgalleries.com. Especially worth ruminating for art-market junkies is the data-crunching site’s “biggest surprises” category, which notes artist whose pieces showed steep and sudden jumps against their estimates. In some cases, such as the late Steven Parrino, it reflects the recent involvement of a heavy hitter (Gagosian) in the artist’s market. Likewise, Yayoi Kusama’s US representation is in flux, but clearly her market’s already spiking.

Ed Ruscha, Dare#2, 2001 Art market=New Economy? From CultureGrrl, to whom California collector Tom Dare explained selling two Ed Ruscha pieces he had commissioned to spell his own name: “The crazy market combined with all-time high Dow indices caused me to rethink the personal nature of the commissioned pieces and do the smart thing—take money off a hot table and pay the mortgage off. I work in the dot.com business and remember the pain from the bursting bubble in 2000 and the untold dollars I left on the table as a recently IPO’d employer fell back to earth.” This time, Dare made a killing, doubling the estimate on works that he had bought before the market for Ruscha rocketed.

Collector pathology From the Judith Pascoe’s New York Times editorial Collect-Me-Nots: “The pathos of Napoleon’s penis — bandied about over the decades, barely recognizable as a human body part — conjures up the seamier side of the collecting impulse. If, as Freud suggested, the collector is a sexually maladjusted misanthrope, then the emperor’s phallus is a collector’s object nonpareil, the epitome of male potency and dominance.”

Saltz stiletto strikes again From the Jerry Saltz review of Andreas Gursky’s new show, in New York magazine: “Gursky’s new pictures are filled with visual amphetamine, but now they’re laced with psychic chloroform.”

Banksy unmasked? We’re too busy (gearing up for the European art marathon) to bother being hassled by Banksy’s lawyers – the excellently named firm Finers Stephens Innocent – but apparently Radar magazine’s not. Check out its post Making Banksy, with the image of a man purported to be the anonymous artist, before FSI makes it MIA. Continue reading “Clippings from the salon floor, #9”

The auction revolution will be televised

WarholBids.jpgClearly, there’s a huge difference between watching an auction live and watching it virtually, closely akin to the difference between attending theater and viewing films. Live, it’s a visceral, all-engulfing experience, as if one were getting a contact high from the massive endorphin rush of all the interested parties. Remote, it’s mind-numbing. Here’s a perfect example: Watch the Christie’s video of Andy Warhol’s “Green Car Crash” blasting past its high estimate to hit $64 million. I’m sure it was spellbinding to be in that room, but when one of Artworld Salon’s faithful readers e-mailed me the clip last night, I rapidly started multitasking in my email and IM windows until the the last couple of bids. Let’s face it, folks, unless you’ve got money on the line, auctions are boring television.

Interestingly, this week’s issue of New York Magazine has an Intelligencer item from Alexandra Peers, Sotheby’s Shuts Out Auction Regulars, relating how some grumpy auction attendees found themselves watching the sales on closed-circuit television rather than live. Based on differing versions I’ve heard – all from people well-connected inside the auction house – there were several possible motivations for this move, including: 1) making it easier for Tobias Meyer to keep track of bidders in the back of the (now-shortened) room; 2) making the auctions feel more exclusive for those allowed in (i.e. ye old velvet-rope nightclub trick); 3) reducing the traffic jam at the doors, which had previously made it impossible for some latecomers to get paddles in time to bid; 4) slick consultants told them it would raise profits.

Naturally, insiders long used to watching live auctions are dismayed at the prospect of following them on-screen instead. Although CultureGrrl managed to score some thrills tracking the Sotheby’s sales online, as a rule people getting shunted into the spillover room will feel personally slighted. One rejected regular, dealer Ellen Marie Donahue, told Peers that “she was told she could still get a ticket if she passed along her primary clients’ financial information to the house.” She refused the deal. And I’m betting veteran artworld types will get belligerent at the notion that they now must prove their worthiness to attend an auction live, especially given that the houses have taken to positing themselves as the democratic alternative to the “elitist” gallery scene.

That said, from a sales standpoint, the move seemed to have very zero effect at Sotheby’s. Which kind of undercuts my fundamental notions about what makes auctions such a powerful selling platform – namely that the right auctioneer and the right setting, with the right pacing of lots, can seduce people into paying significantly higher prices. But in the age of the telephone bidder, the monster guarantee and the massive marketing campaign, maybe the auctioneer is more like an MC than a master seducer. Thoughts?

Clippings from the salon floor, #6

America First in Venice? Venice Biennial director Rob Storr, quoted in Time’s Talking Bout the Biennale Q&A (via MAN): “America has been, in terms of markets, exhibitions and publications, the 300-pound gorilla. It’s not in the place where it was in the ‘60s and ‘70s but it still weighs in very heavily. So if you are an American you’re seen as part of that sizeable American art world.” Later on Storr says “[the biennial] has about 96 artists. A larger number of Americans than I would have expected going into it — about 22.” That gorilla’s looking strong, huh?

More Storr… From the same article cited above: “Biennales are a crash course in contemporary art, a place where the general public at a relatively low cost can come and find out what’s going on in the world. In my mind the real audience for the Biennale are students and travelers who have sufficient income to make a trip to Italy and who don’t have access to much contemporary art at home… But attendance has sloped off over the last decade or so. I’m not sure why.” Um, maybe because the “real audience” is surrounded by newConArt museums and art fairs in the convenience of their own homelands?

Magical museum thinking: Bloomberg’s Martin Gayford musing on how the job posting for Charles Saumarez Smith’s replacement as director of London’s National Gallery should read: “Wanted: Capable administrator and art world diplomat, able to conjure tens of millions of pounds out of thin air, time and time again.” Equally well-put: “Now, the masterpieces outside museums are as rare as snow leopards or Yangzi dolphins.”

A director ´s dreams, a visitor ´s nightmare: From Eric Gibson’s Opinion Journal piece on overcrowded museums (via AJ): “Art museums are now mainstream, the leisure destination of choice for a large segment of the population… [At the British Museum] the Rosetta Stone was so mobbed that the only way to “see” it was to hold your camera aloft and hope that there would be a decent photograph to look at when you got home… The viewing conditions are now so difficult that, in the midst of a crowded museum, you find yourself wondering why the director and curators went to all the trouble to acquire such fine objects and persuade you to come look at them if they’ve made it impossible to really see anything.”

Explosive Language “Nazi Looted Art” author Gunnar Schnabel cited by Bloomberg, re Germany ´s unresolved WWII restitution cases (via AJ): “It’s like hiding a nuclear bomb under the bedcovers. There are so many cases that need to be cleared up, thousands of them in Germany alone.”

Indian bazar: More signs of India’s art market growing pains, from the Times of India article Taxmen raid 25 art galleries in Delhi, Mumbai: “A large part of the deals were found to have been made in cash, sources said… The Income-Tax department believes that the galleries were resorting to large-scale under-invoicing, reporting lower value than what they earned through sale of art work, and did not show a large number of works in their inventories raising apprehensions that many transactions were not being reported to the taxmen.”

Gallery Geekery A while back, we mulled the need for a Google maps/gallery guide mashup. This week, Gallery Hopper wrote: “The new “My Maps” feature of Google Maps allows you to create your own customized maps and I’ve given it a little spin using the April gallery picks I posted earlier this week. Now you’ll have a handy map to follow while running around the city looking at this months great photography.”

Reverse Engineering From the Telegraph’s Art sales: Technology fuels boom in print: “‘The computer is the new sketchbook,’ says Alan Cristea, who has led the market in British print publishing since the 1970s, when he began working with artists such as Richard Hamilton. ‘Artists like Hamilton and Julian Opie are now starting with the printed image and making paintings from prints.'”

Sgarbi the Destroyer I have no idea what he’s talking about, but I stumbled across this video of Italian reactionary culturati Vittorio Sgarbi’s MacBook-throwing television tantrum.

Clippings swept from the salon floor, #2

New term alert: China fatigue. The Telegraph’s Art sales: Rampant market, rising fatigue used the phrase “China Fatigue” in two quite different ways: 1) The Chinese churning out of tired but highly saleable work, e.g. “Tate’s Simon Groom believes that the rampant market may have produced what he calls ‘China fatigue,’ encouraging artists to make saleable pastiches rather than ‘genuinely good, creatively interesting art’. 2) The seemingly inevitable state when the current high demand for Chinese ConArt falters, e.g. “Over the next 12 days, contemporary Chinese art will be auctioned in Paris, London and Hong Kong. No one doubts that the speculation will continue, but some will be watching out for signs of China fatigue.” I’d propose another, synthetic, definition: 3) The market condition arising when demand for Chinese ConArt finally flags, because people tire of endlessly seeing similar pieces.

Chris Burden, Shoot, recreated by  Eva and Franco Mattes Tech Gone Wrong: “Synthetic Performances,” in which classical pieces of performance art – Joseph Beuys’ “7000 Oaks,Valie Export’s “Tapp und Tastkino,” Vito Acconci’s “Seedbed,” Chris Burden’s “Shoot” – are recreated in Second Life, the newest machinima platform. An odd project made even odder by the gym-bot physical culture in Second Life – Burden and Acconci look like buffed-out surfer dudes and Export is working a Daisy Duke/Pris look. (See also at Art Review Blog, via Ed_W.)

Those who can’t make, sell? While there are some New York dealers who are also active artists (Guild & Greyshkul ‘s three founders – Sara Van Der Beek, Johannes Van Der Beek, Anya Kielar – all had shows at other very solid galleries in the last year), apparently Chelsea and LA are larded with artiste manqué dealers. The Kantor/Feuer Window gallery (literally a window on 10th avenue, open 24/7) will be featuring the work of 20-plus such dealers starting today. Those include heavy-hitters and hot young names such as Roland Augustine, John Cheim, Zach Feuer, Continue reading “Clippings swept from the salon floor, #2”

Virtual museum tours: Time for an upgrade?

Kunstmuseum Basel, lobby, virtual tourSpinning off last week’s discussion of catalogs in the age of digital production, I’ve been thinking about the possibilities (and limitations) of visiting shows online. So I spent some time clicking on the virtual-tour links in Ian’s post from Beijing’s National Art Museum of China. (“360-degree scans of a 19th Century room here; a more contemporary room here.”) More locally to me, there are examples such as Zurich’s E. G. Bührle Collection, the Kunstmuseum Basel and Le Louvre. That’s a very random sampling. But of these four, I like the Buhrle’s best, if only because one can click on each image and get a full descriptive text, and then click again for a screen-size image.

Still, I think there’s a lot of untapped potential here. Because as with digital art, the standard by which we judge virtual tours is set less within the artworld than outside it – animated movies, console videogames, virtual worlds/MMORPGs (Massive Multiplayer Online Role-Playing Games), etc. My closest friend is writing her PhD dissertation on Second Life, and I used to do a lot of videogaming, so maybe I’m over-demanding. But these museum virtual tours would benefit greatly from being true walkthroughs (not just 360-degree views from fixed positions). Also the images often pixelize into near-abstraction as soon as you zoom in. And the viewing screens tend toward the tiny. (Yeah, yeah, I know, bandwidth issues. But museums could just offer users different bandwidth options, as do many streaming-video sites.) Now, I’m not a museums expert, so I’m betting that there are some best-practices examples out there and I’d love to see them. If you know of any, drop me a line (marc@artworldsalon.com) and I’ll update this post with links to the best ones.

On a related note: A friend of mine was stunned to witness a major international curator sprinting through a huge retrospective in a few minutes with a video camera in hand. Sometime later that day, during an apparently dull conference, that curator was spotted “visiting the exhibition,” already downloaded onto on the de rigueur white MacBook. Maybe what’s needed here is a sort of MuTube, where people upload their walkthroughs of museum shows for those who can’t make it in person.

ArtReview: “Please be my friend!”

Okay, I can’t decide if this genius or absurdity: www.myspace.com/artreview. Though it’s pretty funny that the magazine has chosen to describe itself as a 58-year-old female.

Still I think when it comes to the Web 2.0/social networking category of the Weich/ArtReview vs. Wilson/Saatchi Online Throwdown, you have to give round 1 to Rebecca Wilson and the Saatchi collection, whose YourGallery section has become the MySpace/Friendster/Facebook of the artworld, dis-intermediating the space between collectors and artists. That should make Charles Saatchi even more of a hero among art dealers. Not.

Cardboard, the new JPG?

WeberBooth2.jpg Had a funny moment while walking around Zurich yesterday: I stopped in at Galerie Jamileh Weber and saw this little maquette of the gallery’s fair ABMB booth. First off, I just love models. And this one was accurate right down to the Eames chairs and the storage closet filled with paintings.

But my favorite part of this was finding out that a collector had been visiting the gallery, spotted a Frank Stella hanging in the “booth,” then bought the painting after seeing a JPG of the work. In a way this is a precursor to ArtNet’s upcoming arrangement to build a fully 3D digital model of Art Basel that can be perused online long after the art dealers have packed up the far and started summering in Capri, the Hamptons and St Tropez. But that’s another post.

Gallery guide Google mashup

gallerygoogle.JPGVery interesting use of technology. Now if they could just combine this with Mappy or another route planner, that would be useful.

I imagine an interface where you choose all the shows that you want to see and then the software spits back to you the most efficient route and modes of transport – taking into account existing tube and traffic conditions. Especially in London, this would be a godsend.

Photography in Berlin and Paris with Google Maps
Recently Google Maps has linked maps from all over the world with specific information on many different locations.

Photography now and the Berlin based agency Datenflug have developed a prototype version of this service for the European Month of Photography in Berlin and Paris. All the institutions have been “pin-pointed” on Google Maps and are presented with their exhibition programmes as well as opening times, enabling interested users to find detailed information about the festival quickly and easily.

Paris | Berlin

The neuroeconomics of Art collecting

brain_1.gifDid you read the New Yorker piece last week on neuroeconomics i.e. the integration of neural-processes science into the study of economic decision making by individuals? I couldn’t help but think of the artworld when I read this section:

“When people make investments, they weigh the possible outcomes of their decisions and select a portfolio of stocks and bonds that offers the highest possible return at an acceptable level of risk. That is what mainstream economics says, anyway. In fact, people often have only a vague idea of the risks they face. … In one study, Camerer and several colleagues performed brain scans on a group of volunteers while they placed bets on whether the next card drawn from a deck would be red or black. In an initial set of trials, the players were told how many red cards and black cards were in the deck, so that they could calculate the probability of the next cards being a certain color. Then a second set of trials was held, in which the participants were told only the total number of cards in the deck.

The first scenario corresponds to the theoretical ideal: investors facing a set of known risks. The second setup was more like the real world: the players knew something about what might happen, but not very much. As the researchers expected, the players brains reacted to the two scenarios differently. With less information to go on, the players exhibited Continue reading “The neuroeconomics of Art collecting”