Anyone happen to be selling 2024 Frieze NYC tickets? I’m looking for up to three tickets for Sunday. Thanks!

The work of the painters in this new age is losing its meaning. What has become the artist is this new world? Were the accuracy of AI images is concerning and a big part of our lives are online. What is going to happen to the painters and other visual artists who don't have good enough connections in the art market to show our work in the real world?

By modern math I’m roughly referring to developments since the 18th century with a sense of mathematical rigor and an idea of the foundations of math similar to what is taught to those pursuing math as an career today. I’m especially interested in artworks informed by more recent theories in analysis, abstract algebra, algebraic topology, differential geometry, etc.

I’m aware of Sol LeWitt’s work referencing combinatorics and how Dorothea Rockburne try to connect their paintings to set theory, but they don’t seem to get anymore specific than that. I also know of some postmodern writers borrowing ideas from modern math (e.g. Lacan with topology), but they usually come from the writer’s misconceptions about mathematical concepts (as Sokal points out in Fashionable Nonsense), and the misconceptions are usually not generative. I just feel like there are lots of underexplored opportunities there to make interesting work.

Thanks!

Looking to find some contemporary painters that I’m not currently aware of. Who are you all excited about at the moment?

Hi, I'm trying to create sculpture or just general three dimensional work...but have no access to sculpting materials like stone or wood. All I really have at my disposal is premade objects...soccer balls, books, crown molding, etc. I'm struggling to find new ways to make work with these materials though. What're some of your favorite examples of the use of readymades in contemporary work? What do you think the place of them is in contemporary work?

What do you do with them? Especially if you have limited space?

Is making huge paintings a trick artists use to make something seem more important than it really is ?

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Hello, i'm kind of new to the part of selling artwork to collectors etc. I'm kind of worried if my type of work is not suitable enough to get attention from these people and places. My main technique is drawing on paper and im kind of worried if i need to work with other materials or need to find new ways to dispaly my works to increase my chance of getting sales and recognation. I appreciate any advice or if you have any similar succesful artist in your mind that i can learn and get inspired from. Thanks!

Edit: sorry for typos

Any works besides the most obvious ones (arcangel, cheng,cao fei etc.). I tried to look some stuff up from people who did works with gta 5, gmod, doom wads but usually those works are pretty blunt with their messages and not really well thought through. more recent examples would be also appreciated.

Yes, they suck, generally, and everyone from the galleries to collectors to artist seem to hate the fairs.

Yet...they still exist. Why? I don't know for sure, but I guess because they make money and it's an easy way to see tons of art in one place.

But I want to encourage artists to attend them. I feel it's part of my job. Here are some reasons:

• Check out trends: see what is generally happening in the art world
• Meet people: Network with dealers and artists
• Imagine: Think of YOUR work on the gallery/fair walls--it can be encouraging
• Scope out galleries: Check out possible opportunities. Do you like the work they show? Are they professional?
• Pricing: See what others are charging

To be honest, I used to fell a sense of dread going to them--maybe that's me. However, they now just part of my job as an artist.

I mention this because the Frieze and many other fairs are in New York now.

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I’ve worked with this gallery for over six years. Had some good sales last year, but they have been struggling to pay my share. I got some payments, but a lot is still outstanding. I’m very frustrated and disappointed. Wondering wtf is the point of all this. What should I do? This experience is definitely having a negative impact on my studio practice, but I know I have to keep pushing. How though? How much longer should I wait?

Im 34, have a bachelor's degree in philosophy and also studied painting in basically medieval atelier conditions for 10 years with an old school painter, have been living from art plus odd jobs for the last decade. I like painting and selling paintings but I just don't care and cant care enough about everything else... making contacts, selling to galleries, applying for the grants and contests and fairs, organizing exhibitions, even selling prints or merch online etc. I'm just kind of allergic to money and I can't compete with other people that are actually trying to get and actually want money and have things that they want to buy with it. Besides I feel like everything about art is changing radically in real time anyway and I feel like I'd benefit from a couple years with institutional support surrounded by artists and art nerds to figure things out going forward

So... I'll get a masters degree but maybe I should go all the way to PhD? I'd be going to the best university in my country, the one I got my philosophy degree from, and it comes with a scholarship and all sorts of international partnerships. Money wouldn't be an issue while studying. But the graduate degrees are focused on either production, research or teaching. And I can pick any specialty... the ones that are most interesting to me are painting, digital art and information technologies in art, research on image theory and research on visual arts (these two look pretty similar...). I just don't feel like I'd benefit too much from a production focused curriculum because like I said I'm just bad at chasing money, sales, grants, etc. and that's what I'd need to do after getting the degree anyway. I don't really want to teach but wouldn't mind being some kind of researcher/academic that also produces some art on his own terms, that seems a better fit for me. So maybe I should try a masters to PhD route focused more on research and theory?

How did you decide a base price range? Till what extent did your gallery intervene in the pricing decisions? What was the scale of your work?

Years ago, I remember reading this article about Eli Broad: https://thebaffler.com/salvos/hoard-doeuvres

And I remember The Broad getting a lot of press when it opened. I finally had a chance to visit it and it was probably the worst museum of contemporary art I went to with the worst collection I've seen. It's purely driven by money, and it appears the collector only cares about big name artists rather than cultivating or creating new opportunities for emerging to mid level artists.

I was thinking to my self walking through, does this guy only collect white male artists? But you do see a handful of pieces by women and people of color, but the overall strategy seems to be focusing on blue chip art.

The layout is also horrendous and hard to navigate. I bumped into so many people and felt claustrophobic at points.

Also, it seems that the museum is really for flexing, because there were so many influencer types going to take photos of themselves in front of the art. It stood out to me because that doesn't really happen in other galleries or museums. Like, I went to MOCA which is across the street and got a totally different vibe from The Broad.

Also, the arts district in downtown LA was pretty disappointing.

But that's me.

I’m an artist and started paying Google £6 a month so I can use my website url instead of my gmail address.

Does it look like I’m trying too hard? I kind of thought it may help increase awareness of my website and also a sense of professionalism or seriousness.

But I see other more successful artists just having a gmail address on their contact pages and maybe it’s more authentic.

I am working on a collection of references for some research and I thought I’d open it up to the community here to find examples that resonate with others.

I have an interest in site specific work that is in dialogue with architecture, and that extends to more casual interventions into space where the art is not actively addressing the site but there might be interesting visual tensions happening.

That opens up basically anything that is not in a white cube: exhibitions in architecturally significant houses, historic public buildings that have a lot of character, etc. Slightly less interested in permanent public art per se, but more situations where temporary exhibitions have been staged in unique places. This can even be a commercial gallery that moved into a cool / unique space.

I know there are a million examples out there but wanted to survey the community for you what you all think are the most iconic, visually stunning examples of this?

Has anyone used the PVC orbs you can get on alibaba for art installations? If so - any comments on how obvious the seams are, and how long they last inflated?

First, if there is a more appropriate subreddit for this, I would greatly appreciate redirection.

Now, the reason I’m here is I was hoping a contemporary art space could assist me in my search for a physical copy that I am able to purchase of the final in print edition- Collective Volume Edition 34-37. I was unaware that they were preorder only until it was far too late.

Thank you in advance for any direction I may receive.

I watched "In Frame" on PBS and later looked the documentary up and saw it was self funded. It was entertaining enough, a bit superficial though. It being self funded made me wonder if there was a more compelling story to be told. Curious about how the art world views them. Thoughts, insights?

Hi all, I'm looking for recommendations for places undergraduates can apply for professional development. This would be for juniors and seniors. Any ideas on where I can look?

Or I suppose the end of coming of age? I know this is a specific ask but I am v interested in artists who explore this topic as I am doing my own project on it!

Hi everyone! I’m in NYC right now, and visited LA a few times recently, and just fell in love. I love the city, the way of life, a lot of my friends have moved out there, etc.

I’ve heard that the art world is much smaller in LA than it is in NYC, and that worries me a bit, because I’ve built up a lot of connections and art world affiliations here. Anyone have any general advice on living in NYC vs LA as an artist, and whether it’d be worth a move?

(I make video art, video sculptures, and art films!)

I also want to visit a few more times and get connected with the art scene, before considering a move. I’ve already done the whole museum run, and now want to try to connect with more local art communities. Does anyone have any recommendations of art galleries, media houses, art resources/clubs, opportunities for artists in LA, just any recommendations for things in LA to check out as I try to decide?

Thank you!!

What do you think ?

You can get a Damien Hirst machine made spin painting for around $3 000.

You can get a Martin Creed crumbled A4 paper for around $ 900.

What other works are there?

Does anyone have any professional tips for how to engage with this practice as an emerging Artist?

Remember the bored apes at art basel? Pepperidge farm remembers!

https://www.theboredapegazette.com/post/these-bored-ape-yacht-club-members-are-transforming-a-miami-mansion-into-the-club-during-art-basel