In the Far Eastern countries of Asia, the traditional Sumi-e art has a long and rich history, dating back to the ancient Zen masters. This art form, also known as "ink painting", is characterized by its simplicity, elegance and deep connection with nature.
The name "Sumi-e" comes from the Japanese words "Sumi" for ink and "e" for painting and refers to the use of ink as the main medium. Artists use traditional brushes and inkstones to create their works on rice paper or silk. Through skillful brushstrokes and sparing use of color, images are created that are characterized by a deep aesthetic and spiritual meaning.
Sumi-e art is closely linked to the principles of Zen Buddhism and emphasizes the appreciation of simplicity, emptiness and momentariness. Artists strive to capture the essence of a subject with a single brush stroke, capturing the energy and movement of the moment. The point is not to create an exact copy of reality, but rather to reproduce the inner spirit of the subject.
The motifs in Sumi-e art are often inspired by nature, from bamboo and pine trees to flowers and birds. By reducing them to the essentials, the shapes and lines of the motifs are highlighted and their inner beauty is emphasized. The artists strive to create an expression of harmony and balance that invites the viewer to pause and appreciate the beauty of nature.
Sumi-e art is not only an artistic practice but also a spiritual discipline that requires patience, concentration and mindfulness. Artists often spend hours concentrating on their subject and waiting for the right moment to make the decisive brush stroke. This meditative practice not only creates a work of art, but also achieves a state of calm and inner serenity.
]]>Black artworks are more than just dark canvases or black and white photographs – they are a study in contrast, texture and light. By using a variety of materials and techniques, artists create a variety of nuances and shades that capture the eye and appeal to the senses.
A monochrome, black work of art is often more than just the sum of its parts. It is a meditation on the essence of the color black itself - a color often associated with mystery, depth and elegance. By reducing it to the essentials, monochrome black allows the viewer to fully concentrate on the emotions and moods conveyed by the artwork.
What makes black works of art so fascinating is their versatility and their ability to evoke different feelings and interpretations. A black painting can create an atmosphere of calm and contemplation, while a black and white photography project can tell a story of loneliness or drama. The possibilities are endless and each viewer is taken on their own journey of discovery.
For the artist, creating a monochrome, black work of art is both a challenge and a liberation. It requires a deep understanding of the subtle nuances of the color black and the ability to manipulate it in ways that evoke emotions and feelings. But at the same time, it also offers the freedom to break away from traditional conventions and expectations and explore new avenues of creative expression.
In a world often overwhelmed by color and visual stimuli, monochrome, black artwork reminds us that beauty also lies in simplicity. They invite the viewer to break away from the abundance of everyday life and immerse themselves in the depths of black - a journey that refreshes the senses and touches the soul.
]]> Every work of art in the lyric abstract tradition is a composition of lines, colors, and textures that blend harmoniously together to create a deep emotional resonance. They are not just shapes on a canvas, but an expression of longing, joy, pain and hope - a language that is universally understood, regardless of words or cultural differences.
The origins of lyrical abstract art go back to artists such as Wassily Kandinsky, Joan Miró and Willem de Kooning, who had the courage to push the boundaries of convention and explore new avenues of expression. Through their works, they opened up a world of possibilities where imagination takes the lead and creativity is limitless.
What makes lyrical abstract art so captivating is its ability to evoke an immediate emotional response in the viewer. Each work of art speaks directly to the heart and immerses the viewer in a world of dreams and fantasies, where the boundaries between reality and imagination blur.
For the artist, lyrical abstract art is an act of liberation, an expression of the innermost feelings and longings that lie beyond language. It is a way to interpret the world and transfer one's emotions on a purely visual level - a dialogue between soul and canvas that needs no words.
At a time when the world is often hectic and noisy, lyrical abstract art reminds us to pause and find the beauty in the chaos. It is an invitation to allow yourself to be enchanted by the magic of the unknown and to celebrate the power of imagination - a journey that continues to inspire and enrich us.
Accessibility : Online commerce enables art lovers around the world to discover and purchase works of art, regardless of their location. This makes the art market more global and more accessible.
Diversity : Online trading gives artists and galleries the opportunity to offer a greater variety of artworks. There are platforms where both established artists and emerging talent can showcase their work.
Transparency : Online trading offers greater transparency in terms of prices and information about works of art. Potential buyers can obtain detailed information about an artwork, such as size, materials, technique and the artist's background.
Marketing opportunities : Online trading offers artists and galleries an additional platform to market their works and increase their reach. Social media and online marketing allow them to showcase their art to a wider audience.
Sales Potential : E-commerce has the potential to expand the art market and increase sales of artworks. Artists and galleries can increase their sales by selling directly to collectors and art lovers.
It is important to note that online commerce does not completely replace the traditional art market, but complements it. Many buyers still prefer personal contact and the opportunity to view artworks in a gallery or at art fairs. However, e-commerce offers an additional way to discover and acquire works of art and has thus expanded and democratized the art market.
]]>Art is not only a means of entertainment, but also a reflection of our society and culture. It can convey political, social or emotional messages and make us think about important issues. Art can also have a therapeutic function, helping us to express and process our feelings.
It is important to note that the definition of art can be subjective and depends on individual preferences and cultural backgrounds. What is considered art to one person may not be perceived as such to another.
Overall, art is an integral part of our human experience. It enriches our lives, stimulates our creativity and allows us to express ourselves in unique ways.
]]>Born in Germany (*1940 in Templin), he has lived and worked in Caracas/Venezuela since 1974, where he died on October 23, 2019. His last exhibition took place under the heading "The Dignity of Silence" in the Eine Art Galerie in Cologne.
Jorge Stever, painter and sculptor as he is often described, is one of our best-known plastic artists, pontor and sculptor, having completed his studies in philosophy and art history in Frankfurt and Munich (Germany). In 1972 he took part in the "Documenta 5" (Kassel, Germany) and exhibited in 1973 in the Darmstadt Museum and in the Kunsthalle in Cologne, in the Museum of Modern Art in Helsinki, in the Museum of Modern Art in Stockholm and in the Weingarten Gallery in Stockholm with Jasper Johns. That year he lived in Venezuela and has been exhibiting as a Venezuelan artist ever since. His work is related to lyrical abstraction or new realism, with clear informalist influences. He has been featured in numerous publications in Europe and America as one of the forerunners of hyperrealism.
In 1974 he exhibited again at the Weingarten gallery in Stockholm together with Lynn Chadwick and at the Kunsthalle Recklinghausen, where he received the National Painting Prize that year. He also takes part in the III. Triennial of New Delhi (India), where he receives the gold medal. He stayed away from the art market for some time, but after years of research he exhibited in 1989 at the Galería Garcés/Velásquez (Bogotá) and in the Sala RG. For Susana Benko, this artist's work is "a solid piece of work because it is the result of a continuous, daily, solitary investigation. For Stever, penetrating the darkness is also not new.
Years ago, chromatic sobriety was present in his works. Then it was the white period and at another time he explored color. But none of these phases interrupt each other. They have a logic and they show a coherent plastic thought" (1989). In 1990 he took part in the collective "New Abstract Painting. Ocho planteamientos" (Walk through the Museo Soto, the Museo Francisco Narváez and the Sala RG) and " Lot 80. Panorama of the fine arts in Venezuela" (GAN). Stevers` work has as its main feature a dense, dark and very pigmented atmosphere. Roberto Guevara has said of his painting that it has a brilliant and unique aura, which in recent times has been oriented towards opaque, almost monochromatic textures. Although his work was previously more identified with pictorial technique, it was his sculpture that distinguished him in the early 1990s. In this context, the artist himself said that it is the beginning of everything, because this branch of art has a "mystical charge". According to Jesús Fuenmayor, they are "sculptural segments in which the artist expresses his intuitive way of perceiving things".
Moving from historically charged pre-Columbian symbols to working with mundane references, Jorge Stever evoked irony and contradiction in his painting" (Monsalve, 1991).
Exhibitions (selection)
The Nightshade software alters images in subtle ways that are barely noticeable to humans but can significantly disrupt AI models trained to do so. In this way, artists should be able to protect their works from being used for training without their consent.
The tool is intended to deter companies and individuals who use artistic images to train AI models without first obtaining permission from the creator. This practice is becoming increasingly common as AI relies heavily on large image databases.
A targeted attack on Scraper
Nightshade alters images in a way that confuses AI systems trying to train with them, while making the images look almost identical to human viewers, the researchers said.
For example, a poisoned photo of a cow can look unchanged but trick an AI into seeing it as a leather handbag instead. The distortions are precisely calculated to maximize problems for the AI without overtly altering the image. This means that even a human controller should not notice that the training data has been falsified. Of course the pictures have to be put online. It is also helpful to repeat the underlying tags in the metadata or image captions. On the other hand, the researchers advise against labeling and publishing the poisoned images as such because such material can be quickly filtered out.
This targeted poisoning makes models unreliable and provides a strong disincentive for scraper developers to use artists' images without asking their permission. Further details about the technology have been published in a research paper.
The tool is customizable and allows artists to choose tags that blur the boundaries of represented concepts for AI systems that ingest their works. The researchers say Nightshade can be adapted over time as new techniques emerge that could debunk the Nightshade technique.
Artists and academics develop defense measures
Nightshade comes from the same group at the University of Chicago that developed another defense tool called Glaze , which focuses on disrupting AI's ability to imitate artistic styles. According to the researchers, with Nightshade artists can take offensive action against the unauthorized use of their content by AI.
(Source: Golem.de)]]>Article: RZ, Ulrike Bletzer (October 2020)
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