In 2021, NFT art turned out to be a myth, and while art capital created myths, it also broke the news of insider trading and copyright theft. Recently, according to foreign media reports, New York art collector and gallerist Todd Cramer's NFT collection worth more than $2.2 million was stolen. He asked for help on social media, saying: "All my ape men are gone".
After many years, British artist David Hockney's "Hockney on Photography" Chinese an updated edition, 17 dialogues, presenting Hockney's image thinking and image experiments. In Margate, England, Tracy Emin transformed her hometown's "bathhouse and morgue" to create an art school and museum; in Shanghai, two female painters showed the power of painting on canvas.
The Paper, Art Review, "Art Figures of the Week", reports and analyzes art topic figures and hot events at home and abroad.
New York, USA | Art collector Todd Cramer
More than $2.2 million worth of NFT collection stolen: "All my apes are gone"
New York art collector and gallerist Todd Kramer recently tweeted on twitter asking for help, seeking help, with more than $2.2 million of his NFT artwork stolen and 15 disappeared NFT works from the onlinely notorious "Bored Ape Yacht Club" and "Mutant Ape Yacht Club." Club) series, it is said that the theft is due to a network fraud. NFT trading platform OpenSea intervened by blocking further transactions in the series.
Todd Cramer's stolen NFT collection, one of the Boring Ape-Man series
Kramer and his partner Ryan Ross co-founded Ross+Kramer Gallery in New York. At the age of 24, Kramer entered the art world due to his fanatical interest in the American neo-pop artist Keith Haring. With the popularity of NFT art, Kramer became an NFT collector again.
Cramer asked for help online: "I was hacked, all my apes were gone. The Twitter community quickly responded to his post, which received more than 500 retweets. Some users support and actively help collectors find stolen tokens, while others sneer at this unfortunate encounter through memes. The OpenSea platform and other buyers helped him recover several NFTs. "Update... All of The Ape Man was frozen. Wait for the OpenSea team to intervene. Learned the lesson... Use a hard wallet." Five hours after the first tweet was released, Kramer updated the story. The representative of the OpenSea platform said in an email that the platform will not freeze or remove NFTs that already exist in the blockchain, "but we do organize people to use OpenSea to buy and sell stolen goods." Cramer later deleted all of his relevant tweets, and neither Cramer nor OpenSea responded further since then.
The incident once again highlights the vulnerability of buyers in a largely unregulated market. Similar incidents include the theft of three paintings of "Boring Ape Man".
In 2021, NFT art is a big hit, which allows ordinary people to contact the collection field in a low-threshold, low-cost way, and can also bring more production profit opportunities to producers in the cultural field. However, on the other hand, the nature and fancy tactics of the art market are also staged again through NFT trading.
As the value of NFTs rises, cyber fraud is rife. More experienced users are protected by using hard or cold wallets, which are physical and accessible to the Internet only when plugged in and connected. Kramer previously used a so-called hot wallet, which is always connected to the internet and is therefore more vulnerable. On the other hand, there is a more common form of theft than online fraud: some people make NFTs out of art that they didn't create themselves, a problem that is difficult to solve. (Text/Qian Xue'er)
China | British artist David Hockney
"Hockney on Photography" reprint: using photography to criticize photography
David Hockney Source: chrisfloyd.com
Not long ago, Hockney on Photography (revised edition) was published by the Republic of China Beijing Daily Press, which contains seventeen dialogues between David Hockney and his friend Paul Joyce on photography, on Hockney's image thinking and video experiments, showing how far a versatile artist can go in exploring the possibilities of photography.
Hockney on Photography (Revised Edition) [English] David Hockney / [English] Paul Joyce by Luan Zhichao, translated
Republic of Beijing Daily Press
In 1988, Hockney on Photography was first published in the United Kingdom, containing 11 conversations between the two, and was introduced to China in 1994. In the following two decades, with the launch of Various Chinese Editions of Hockney's works, this book gradually faded from the vision of domestic readers. In this updated edition, 7 new dialogues between the two from 1988 to 1999 have enriched the artist's image thinking and video experiments, and continued the title of the 1988 edition of the book.
David Hockney is a painter and photographer. The representative of the pop movement in the Uk in the 1960s is considered to be the most influential British artist of the 20th century and one of the most influential artists in the international art world today. Since the 1980s, Hockney has created a series of photographic collages called "Joiners", through Polaroid photographs, exploring the relationship between painting and photography in visual expression, and making an important discussion of the possibility of photography as art. This gave him the same important position in the history of photography as the painter Gerhard Richter. In Gombrich's The Story of Art, Hockney is one of only two photographers to be introduced, the other being Bresson.
Viewing with space is Hockney's constant concern. In Hockney on Photography, he argues that collage is the key to getting rid of traditional ways of viewing, a confirmation of the surface. Hockney saw his work as a critique of photography with photography. "After all, words alone don't work. You have to use the language of photography. He said.
Another person in the book is filmmaker Paul Joyce, who owns a film company that makes art documentaries. He was a close friend of David Hockney, and from the 1980s to the early 2000s, because of his work relationship, he had a lot of opportunities to spend time with Hockney and have a comprehensive understanding of Hockney's life and work during that period. (Text/Hatacho)
Margate, Uk | Artist Tracy Emin
Renovated the "bathhouse and morgue" in his hometown and created an art school and museum
Tracy Emin
Artist Tracey Emin is building an art school and museum in margate, a port city on the southeast coast of England, the city she grew up in. The school will be named TKE Studios (from the initials of her name) near her studio, in a former bathhouse and morgue.
The school will include 30 newly built studios for students to rent at very low prices. Students will be required to display their work regularly, and according to the Daily Mail, they are not allowed to smoke or play loud music. The abandoned morgue will serve as a "mini-museum" to house Emin's work. She announced last September that her studio would eventually become a warehouse open to the public, storing about 30,000 photos and 2,500 works on paper. Emin also announced plans to launch a residency project in Margate. Margate has been in poor financial shape for decades, though the Turner Center for Contemporary Art, founded in 2011, hints at the possibility of a reversal of fortune.
"It's organically giving the right place to the right person," she says, "and I love art." I love real estate. And in this way I combine my two hobbies and do something good. Emin said. Emin rose to fame as one of the YBA (Young British Artists) in the 1990s, and after being diagnosed with cancer and undergoing major surgery, she began working to preserve her work, as well as working to promote the development of her hometown. The Tracy Emin Foundation's contributions to the local area will include a sculpture park, lectures and sketching courses open to the public. (Finishing/Qian Xueer)
Shanghai | Painters Guo Fengyi and Lucy Bull
Folding time and life, a dialogue of the power of women's painting
On January 8, the exhibition "Lucy Bull & Guo Fengyi" opened in Shanghai Chishe, presenting representative works by two artists. This exhibition is the first time that the works of the two are displayed at the same time, allowing the creation of artists of different ages and different regions to build a cross-cultural exchange about form, media and culture.
Both Boole and Guo Fengyi's images are derived from the perception of internal and external transcendent individual experiences, and although their backgrounds are different, their expressions have commonalities; their practices are rooted in the understanding of real life, reflecting that artistic creation is a response to changing reality.
Guo Fengyi (1942-2010, born in Xi'an, China) has gradually established a personal and symbolic artistic language through the understanding of the philosophy of life in her creative career for more than 20 years, and highly systematic images and mysterious temperament coexist in her paintings. Her media is mainly on paper, and after 1990, she expanded her more complex compositions and dense lines, focusing on long scrolls. Guo Fengyi's paintings cover ancient Chinese cosmology, myths and legends, traditional Chinese medicine and body philosophy.
At the exhibition site, Guo Fengyi's works
The paintings of Lucy Bull (b. 1990, n. New York), usa, fold the passage of time into distorted spaces and unexpected color shifts. Boole does not construct a single pivot of perspective in the work, or even a single compositional motif; as the viewer's gaze wanders through the picture, their attention is constantly drawn to the work.
Exhibition scene, lucy Boole works
What Guo Fengyi and Boole have in common is a firm belief in the power of painting, which does not exist independently in the painter, the viewer, or the work, but in between. The exhibition will run until February 20 at 2555-4 Longteng Avenue, Shanghai. (Text/Hatacho)