Google App Uses Machine Learning to Discover Your Pet’s Look Alike in 10,000 Classic Works of Art

in Art, Data, K-12, Museums, Photography | February 15th, 2022

Does your cat fancy herself a 21st-century incarnation of Bastet, the Egyptian Goddess of the Rising Sun, protector of the household, aka The Lady of Slaughter?

If so, you should definitely permit her to download the Google Arts & Culture app on your phone to take a selfie using the Pet Portraits feature.

Remember all the fun you had back in 2018 when the Art Selfie feature mistook you for William II, Prince of Orange or the woman in “Jacob Cornelisz. van Oostsanen Painting a Portrait of His Wife”?

Surely your pet will be just as excited to let a machine-learning algorithm trawl tens of thousands of artworks from Google Arts & Culture’s partnering museums’ collections, looking for doppelgängers.

Or maybe it’ll just view it as one more example of human folly, if a far lesser evil than our predilection for pet costumes.

Should your pet wish to know more about the artworks it resembles, you can tap the results to explore them in depth.

Dogs, fish, birds, reptiles, horses, and rabbits can play along too, though anyone hailing from the rodent family will find themselves shut out.

Mashable reports that “uploading a stock image of a mouse returned drawings of wolves.”

We can’t blame your pet snake for fuming.

Ditto your Vietnamese Pot-bellied pig.

Though your pet ferret probably doesn’t need an app (or a crystal ball) to know what its result would be. Better than an ermine collar, anyway…

If your pet is game and falls within Pet Portraits approved species parameters, here are the steps to follow:

Launch the Google Arts & Culture app and select the Camera button. Scroll to the Pet Portraits option.
Have your pet take a selfie. (Or alternatively, upload a saved image.)
Give the app a few seconds (or minutes) to return multiple results with similarity percentages.

Download the Google Arts & Culture app here.

- Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto. Follow her @AyunHalliday.

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The First Illustrated Edition of James Joyce’s Ulysses Gets Published, Featuring the Work of Spanish Artist Eduardo Arroyo

in Art, Books, Literature | February 14th, 2022

This year will see the long-delayed publication of a version of Ulysses that Joyce didn’t want you to read — not James Joyce, mind you, but the author’s grandson Stephen Joyce. Up until his death in 2020, Stephen Joyce opposed the publication of his grandfather’s best-known book in an illustrated edition. But he only retained the power actually to prevent it until Ulysses’ 2012 entry into the public domain, which made the work freely usable to everyone who wanted to. In this case, “everyone” includes such notables as neo-figurative artist Eduardo Arroyo, described by the New York Times’ Raphael Minder as “as one of the greatest Spanish painters of his generation.”

At the time of Ulysses’ copyright expiration, Arroyo had long since finished his own set of more than 300 illustrations for Joyce’s celebrated and famously intimidating novel. Arroyo noted in a 1991 essay, writes Minder, that “imagining the illustrations kept him alive when he was hospitalized in the late 1980s for peritonitis, an inflammation of the abdominal lining.”

The initial hope was for an Arroyo-illustrated edition to mark the 50th anniversary of Joyce’s death in 1991, but without the permission of the author’s estate, the project had to be put on hold for a couple of decades. When that time came, it was taken up again by two publishers, Barcelona’s Galaxia Gutenberg and New York’s Other Press.

“Some of Arroyo’s black-and-white illustrations are printed in the margins of the book’s pages, while others are double-page paintings whose vivid colors are reminiscent of the Pop Art that inspired him.” His drawings, watercolors and collages include “eclectic images of shoes and hats, bulls and bats, as well as some sexually explicit representations of scenes that drew the wrath of censors a century ago.” For Ulysses’ “710 pages of inner monologue and dialogue, stream of consciousness, blank verse, Greek classics, and the venues and byways of Dublin, 1904,” as the Los Angeles Times’ Jordan Riefe puts it, are as well known for their formidable complexity as it is for the power they once had to scandalize polite society.

Arroyo, who died in 2018, stayed faithful to Ulysses’ content. (“Of course there are graphic nudes,” Riefe adds, “especially in later chapters.”) He also succeeded in completing an arduous project that the most notable artists of Joyce’s day refused even to attempt. “Joyce himself had asked Picasso and Matisse to illustrate it,” writes Galaxia Gutenberg’s Joan Tarrida, “but neither took on the task. Matisse preferred to illustrate The Odyssey,” Ulysses’ own structural inspiration, “which deeply offended Joyce.” What Joyce would make of Arroyo’s vital and multifarious illustrations, more of which you can sample at Literary Hub, is any scholar’s guess — but then, didn’t he say something about wanting to keep the scholars guessing for centuries?

You can now purchase a copy of Ulysses: An Illustrated Edition.

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Henri Matisse Illustrates Baudelaire’s Censored Poetry Collection, Les Fleurs du Mal

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

by Colin Marshall | Permalink | Make a Comment ( 1 ) |

Tate Kids Presents Introductions to Art Movements: Cubism, Impressionism, Surrealism & More

in Animation, Art, K-12, Museums, Video - Arts & Culture | February 8th, 2022

Tate Kids has a solid grasp on the sort of hands on art-related content that appeals to children — Make a mud painting! Make a spaghetti sculpture! Photo filter challenge!

Children of all ages, grown ups who skipped out on art history included, will benefit from their breakneck overviews of entire art movements.

Take cubism.

The Tate Kids’ animation, above, provides a solid if speedy overview, zipping through eight canvases, six artists, and explanations of the movement’s two phases — analytical and synthetic. (Three phases if you count Orphism, the abstract, cubist influenced painting style married artists Robert and Sonia Delaunay hatched around 1912.)

Given the intended audience, the fond friendship between the fathers of cubism, Georges Braque and Pablo Picasso looms large, with nary a peep about Picasso’s narcissism and misogyny. And it must be said that the narrator’s tone grates a bit — a bit too loud, a bit too wowed.

The Impressionists come off as the real cool kids, with a different narrator, and nifty collage animations that find Camille Pissarro throwing horns and a Mohawked Alfred Sisley as they reject the Salon’s insistence on “myths, battles and paintings of important people.”

Their defiant spirit is supported by criticism that most definitely has not stood the test of time:

Pure evil!

Wallpaper!

Like a monkey has got hold of a box of paints!

Kid presenters seize the controls for an introduction to the mid-century Japanese avant-garde movement, Gutai.

Their conclusion?

Smashing things up is fun!

As are manifestos:

Let’s bid farewell to the hoaxes piled up on the altars and in the palaces, the drawing rooms and the antique shops…Lock up these corpses in the graveyard!

Yay!

Those who are poorly equipped to stomach the narrators’ whizbang enthusiasm should take a restorative minutes to visit the museum oranges in hand, with 12-year-old Jaeda and 9‑year-old Fatimatu. Their calm willingness to engage with conceptual art is a tonic:

When I started art, I though art was just about making it perfect, but you don’t have to care what other people say. That could still mean an art to you.

Watch a Tate Kids Art Movements playlist on YouTube. Supplement what you’ve learned with a host of Tate Kids activities, coloring pages, games, quizzes, artist bios and a gallery of crowdsourced kid art.

Watch the Tate Modern Restore Mark Rothko’s Vandalized Painting, Black on Maroon: 18 Months of Work Condensed Into 17 Minutes

A 110-Year-Old Book Illustrated with Photos of Kittens & Cats Taught Kids How to Read

- Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 1 ) |

The Marcel Duchamp Research Portal Opens, Making Available 18,000 Documents and 50,000 Images Related to the Revolutionary Artist

in Archives, Art, History | January 28th, 2022

Marcel Duchamp made films, composed music, painted Nude Descending a Staircase, No. 2, designed an art deco chess set, and of course — the first thing most of us learn about him, as well as the last thing many of us learn about him — he put a urinal in an art galley. But as you might expect of an artist who spent the early 20th century at the heart of the avant-garde, there’s more to him than that. This notion is backed up by the more than 18,000 documents and 50,000 images made available at the Duchamp Research Portal, a newly opened archive dedicated to the life and work of the revolutionary conceptual artist.

The fruit of a seven-year collaboration between the Philadelphia Museum of Art, the Association Marcel Duchamp, and the Centre Pompidou, this formidable digital collection includes many artifacts related to the artist’s best-known work: the “large glass” of The Bride Stripped Bare by Her Bachelors, Even; the mustachioed Mona Lisa; the shocking attempts to commit physical motion to canvas; and that urinal, Fountain.

But its “most interesting items,” writes The Art Newspaper’s Daniel Cassady, “are often the most intimate and involve other major players in the evolution of 20th-century art. A 1950 letter — with enigmatic marginalia — from Breton. A 1933 postcard to Constantin Brâncuși. Many candid photographs by Duchamp’s friend and fellow giant of the era, Man Ray.”

These names will be familiar to readers of Open Culture, where we’ve previously featured Brâncuși on film and portraits of 1920s cultural icons by Man Ray — who, as we can see from the above snapshot of Duchamp at his Spanish home, didn’t always work so formally. But then, no artist can fully be understood through what makes it into the art-history textbooks alone. Browse the Duchamp Research Portal (or click “show me more” to change up the images on its front page) and you’ll see pieces of an artistic life fully lived: the floor plan of his West 67th Street studio; a 1940 telegram to American patron Walter Conrad Arensberg (“HOLDING SHIPMENT OF MASK AWAITING CONFIRMATION OF INSURANCE AND ADDRESS”); a 1954 French newspaper profile; and a series of images juxtaposing Duchamp with an unclothed Eve Babitz, the late Los Angeles “it-girl” — not just the famous one of them playing chess.

via Kottke

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( None ) |

Great Art Cities: Visit the Fascinating, Lesser-Known Museums of London & Paris

in Art, History, Travel | January 28th, 2022

Gallerists James Payne and Joanne Shurvell understand that institutional big gorillas like the Louvre, the Musee d’Orsay, Tate Britain, and London’s National Gallery require no introduction. Their new art and travel series, Great Art Cities Explained, concentrates instead on the wonderful, smaller museums the biggies often overshadow.

First time visitors to London and Paris may be left scrambling to rearrange their itineraries.

The first two episodes have us persuaded that Sir John Soane’s Museum, Kenwood House, the Wallace Collection, Le Musée National Eugène Delacroix, Le Musée de Montmartre à Paris, and Atelier Brancusi are the true “don’t miss” attractions if time is tight.

Credit Payne, whose flair for dishy, far ranging, highly accessible narration made his other web series, Great Art Explained in Fifteen Minutes, an instant hit.

The three British institutions featured above were once grand private homes, whose owners decided to donate them and the magnificent art collections they contained to the public good.

Whatever motivated these wealthy men’s generosity — vanity, the quest for immortality, or, in one case, the desire to cut off a churlish and morally lax son whom Payne compares to the central figure in William Hogarth’s A Rake’s Progress, a Sir John Soane’s Museum favorite — Payne holds them in higher regard than today’s investment-obsessed art collectors:

The world needs more men like (William) Murray, (Sir John) Soane, and (Sir Richard) Wallace, men who saw that art can transcend social class. They understood that art should enrich the soul, not the bank balance.

His peeks into their circumstances are every bit as fascinating as the tidbits he drops about the artists whose work he includes.

Rather than giving a sweeping overview of each collection, he focuses on a few key works, sharing his curatorial perspective on their history, acquisition, subject matter, creation, and reception:

Rembrandt’s Self Portrait with Two Circles (1669)

Vermeer’s The Guitar Player (1672)

Hogarth’s A Rake’s Progress (1732)

Canaletto’s Venice: the Bacino di San Marco from San Giorgio Maggiore and Venice: the Bacino di San Marco from the Canale della Giudecca (c. 1735 — 1744)

Fragonard’s The Swing (1767)

Frans Hal’s Laughing Cavalier (1624)

Payne’s rollicking approach means each episode is crammed with plenty of artwork residing outside of the featured museums, too, as he compares, contrasts, and contextualizes.

One of his most interesting tales in the London episode concerns an 18th-century portrait of William Murray’s great-nieces, Dido Belle and Elizabeth Murray, raised by their abolitionist great-uncle at Kenwood House:

Dido Belle was the illegitimate daughter of a Black slave and William Murray’s nephew and was raised by Murray as part of the aristocracy. By all accounts, Dido and her cousin were raised as equals and this portrait of the two was seen as an image of sisterhood, reflecting their equal status. But looking at it with modern eyes, we can see it more in the vein of traditional servant and master portraits of the time. Belle’s exotic clothing is designed to differentiate her from her cousin and the painting reflects the conservative views of the time.

Artist David Martin places the cousins on a bench outside the Hampstead Heath mansion, with St. Paul’s Cathedral in the background. For years, it was the only known portrait of Belle.

It hangs, not in Kenwood House, but in Scone Palace’s Ambassador’s Room.

Meanwhile, one of Kenwood House’s latest acquisitions is a 2021 portrait of Belle by young Jamaican artist Mikéla Henry-Lowe, on display in the library.

Next up on Great Art Cities Explained: New York. Look for it on this playlist on Great Art Explained’s YouTube channel.

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Ayun Halliday is the Chief Primatologist of the East Village Inky zine and author, most recently, of Creative, Not Famous: The Small Potato Manifesto. Follow her @AyunHalliday.

by Ayun Halliday | Permalink | Make a Comment ( 1 ) |

Watch the Renaissance Painting, The Battle of San Romano, Get Brought Beautifully to Life in a Hand-Painted Animation

in Animation, Art, History | January 27th, 2022

Before the advent of the motion picture, humanity had the theater — but we also had paintings. Though physically still by definition, paint on canvas could, in the hands of a sufficiently imaginative master, seem actually to move. Arguably this could even be pulled off with ochre and charcoal on the wall of a cave, if you credit the theory that paleolithic paintings constitute the earliest form of cinema. More famously, and much more recently, Rembrandt imbued his masterpiece The Night Watch with the illusion of movement. But over in Italy another painter, also working on a large scale, pulled it off differently two centuries earlier. The artist was Paolo Uccello, and the painting is The Battle of San Romano.

“The set of three paintings depicts the harrowing details of an epic confrontation between Florentine and Sienese armies in 1432,” writes Meghan Oretsky at Vimeo, which selected Swiss filmmaker Georges Schwizgebel’s short animated adaptation of the triptych as a Staff Pick Premiere. Completed in 2017, the film’s beginnings go back to 1962, when Schwizgebel was a gallery-touring art student in Italy.

“Even though I wasn’t normally moved by old paintings, this one made a strong impression on me and still does today,” he tells Vimeo. “I was also inspired by the use of cycles, or loops, which suited a moving version of this image perfectly.” Schwizgebel executed the animation itself over the course of six months, foregoing computer technology and painting each frame with acrylic on glass.

Scored by composer Judith Gruber-Stitzer, Schwizgebel’s “The Battle of San Romano” constitutes a kind of shape-shifting tour of the painting that first captivated him half a century ago. But what he would have seen at the Uffizi Gallery is only one third of Uccello’s composition, albeit the third that art historians consider central. The other two reside at the Louvre and the National Gallery, and you can see the latter’s piece discussed by Director of Collections and Research Caroline Campbell in the video above. Schwizgebel is hardly the first to react boldly to The Battle of San Romano; in the 15th century, Lorenzo de’ Medici was sufficiently moved to buy one part, then have the other two stolen and brought to his palace. If that’s the kind of act it has the power to inspire, perhaps it’s for the best that the triptych’s union didn’t last.

via Aeon

13 Van Gogh’s Paintings Painstakingly Brought to Life with 3D Animation & Visual Mapping

William Blake’s Paintings Come to Life in Two Animations

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( None ) |

1,100 Delicate Drawings of Root Systems Reveals the Hidden World of Plants

in Archives, Art, Biology | January 20th, 2022

We know that plants can inspire art. If you, personally, still require convincing on that point, just have a look at Elizabeth Twining’s Illustrations of the Natural Orders of Plants, the drawings of Ernst Heinrich Haeckel, Elizabeth Blackwell’s A Curious Herbal, and Nancy Anne Kingsbury Wollstonecraft’s Specimens of the Plants and Fruits of the Island of Cuba — not to mention the paintings of Georgia O’ Keeffe — all previously featured here on Open Culture. But those works concern themselves only with plant life as it exists above ground.

What goes on down below, underneath the soil? That you can see for yourself — and without having to pull up one of our fine flowering (or non-flowering) friends to do so — at Wageningen University’s online archive of root system drawings. “The outcome of 40 years of root system excavations in Europe,” says that site, the collection contains 1,180 diagrams of species from Abies alba (best known today as a kind of Christmas tree) to Zygophyllum xanthoxylon (a faintly scrubby-looking native of the arid and semi-arid regions of continents like Africa and Australia).

The site explains that “the drawings, their analysis and description were done by Univ. Prof. Dr. Erwin Lichtenegger (1928–2004) and Univ. Prof. Dr. Lore Kutschera (1917–2008), leader of Pflanzensoziologisches Institut, Klagenfurt, (now in Bad Goisern, Austria).”

Over the course of 40 years, writes The Washington Post’s Erin Blakemore, Lichtenegger and Kustchera “collaborated on an enormous ‘root atlas’ that maps the underground trajectories of common European plants.” Created through “a laborious system of digging up and documenting the intricate systems,” these drawings are “also art in their own right, honoring the beauty of a part of plants most never give that much thought.”

Even the least botanically aware among us knows that plants have roots, but how many of us are aware of the scale and complexity those roots can attain? “Root systems allow plants to gather the water and minerals they use to grow,” writes Blakemore. “As the root system grows, it creates more and more pathways that allow water to get into the deep subsoil, and fostering the growth of microbes that benefit other life. Strong root systems can prevent erosion, protecting the land on which they grow. And the structures allow the soil to capture carbon.” Thus root systems, never a particular locus of coolness, have the distinction of doing their part to fight climate change. And thanks to Lichtenegger and Kustchera’s drawings, they underscore the capacity of art to reveal worlds hidden to most of us. View all of the images here.

via Colossal

Historic Manuscript Filled with Beautiful Illustrations of Cuban Flowers & Plants Is Now Online (1826)

Ernst Haeckel’s Sublime Drawings of Flora and Fauna: The Beautiful Scientific Drawings That Influenced Europe’s Art Nouveau Movement (1889)

A Curious Herbal: 500 Beautiful Illustrations of Medicinal Plants Drawn by Elizabeth Blackwell in 1737 (to Save Her Family from Financial Ruin)

Two Million Wondrous Nature Illustrations Put Online by The Biodiversity Heritage Library

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Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( None ) |

When Andy Warhol Guest-Starred on The Love Boat (1985)

in Art, Television | January 18th, 2022

On Friday, August 31, 1979, Andy Warhol records in his diary that he took a cab to Elaine’s to “meet the guy who might get me a guest appearance on The Love Boat.” But nearly five years pass before he writes that the writers are working on his episode; with the shooting dates set, “I started to get scared, I don’t know if I can go through with it.” A couple of months later, as the appointed time approaches, he hears the plot: “There’s a girl on the boat named Mary with her husband, and she used to be a superstar of mine, and she doesn’t want her husband to know that she used to be ‘Marina Del Rey.’ And I just have a few lines, things like ‘Hello, Mary.’ But one of the lines I have to say is something like ‘Art is crass commercialism,’ which I don’t want to say.”

Whatever his objections to the script, Warhol doesn’t seem to have been an especially difficult participant, of whom The Love Boat must have had more than a few in its 250 episodes. During its run on ABC from 1977 to 1986, the series became an American pop-cultural phenomenon of a scale difficult to comprehend today. But as a connoisseur of American pop culture, Warhol would have comprehended it fully. By the time of his appearance in October 1985, The Love Boat had entered its ninth season, presumably hungrier than ever for attention-grabbing guest stars; on “his” episode, Warhol shares that billing with, among others, Milton Berle, Happy Days’ Tom Bosley and Marion Ross, and Andy Griffith (who, Warhol notes, “seems bitter to be on The Love Boat”).

“If there was any space where painters and artists could brush shoulders with soap stars and teen idols, it was aboard the Pacific Princess,” says MeTV. “In one episode dedicated to the fashion industry, designers Gloria Vanderbilt, Geoffrey Beene and Halston all came aboard.” Warhol’s coming aboard, then, “was both unexpected and somehow inevitable.” You can witness this surprising yet unsurprising cultural crossover in the video above, which contains just the scenes from Warhol’s story within the episode (which, like most Love Boat scripts, has three different plotlines). Even if it delivers few profound insights into the nature of art, celebrity, and human aspiration, it does capture Warhol’s presence as it seems really to have been during his final years.

“My Stephen Sprouse jackets were there on the wardrobe rack,” Warhol writes in his diary during the shoot. “When I wear them, I think I finally look like people want Andy Warhol to look again.” That must have been true of the shiny silver number he wears in his first scene of the episode, when first he rolls up with his “entourage” to the ship’s reception desk. “As we’re walking off, the Love Boat girl asks Raymond St. Jacques, ‘How does an artist know when a painting is really successful?’ And he says, ‘When the check clears.’ ” But on one take “they did it wrong and it was better — she said, ‘When is a painting really finished.’ ” Unfortunately, that version of the line seems to have been a bit too Warholian for the Pacific Princess.

Andy Warhol’s 15 Minutes: Discover the Postmodern MTV Variety Show That Made Warhol a Star in the Television Age (1985–87)

Andy Warhol Hosts Frank Zappa on His Cable TV Show, and Later Recalls, “I Hated Him More Than Ever” After the Show

When Frank Zappa & Miles Davis Played a Drug Dealer and a Pimp on Miami Vice

Andy Warhol Eats a Burger King Whopper, and We Watch … and Watch

Based in Seoul, Colin Marshall writes and broadcasts on cities and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Faceboo k.

by Colin Marshall | Permalink | Make a Comment ( None ) |

Google App Uses Machine Learning to Discover Your Pet’s Look Alike in 10,000 Classic Works of Art

The First Illustrated Edition of James Joyce’s Ulysses Gets Published, Featuring the Work of Spanish Artist Eduardo Arroyo

Tate Kids Presents Introductions to Art Movements: Cubism, Impressionism, Surrealism & More

The Marcel Duchamp Research Portal Opens, Making Available 18,000 Documents and 50,000 Images Related to the Revolutionary Artist

Great Art Cities: Visit the Fascinating, Lesser-Known Museums of London & Paris

Watch the Renaissance Painting, The Battle of San Romano, Get Brought Beautifully to Life in a Hand-Painted Animation

1,100 Delicate Drawings of Root Systems Reveals the Hidden World of Plants

When Andy Warhol Guest-Starred on The Love Boat (1985)

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