eNCA | Drake breaks new streaming record, in video games

… streaming — this time in video games. The most streamed artist on … around the appeal of social video and it’s only … followers not only for the games but also for the talk-show-like … ‘s Plan’ music video The Toronto star has seized … VISIT THE SOURCE ARTICLE eNCA | Drake breaks new streaming record, in video games


Drake breaks new streaming record in video games

… in streaming — this time in video games. The most streamed artist on … around the appeal of social video and it’s only going … followers not only for the games, but also for the talk-show-like … VISIT THE SOURCE ARTICLE Drake breaks new streaming record in video games


The critics are missing what’s special about Michelle Obama’s portrait

When Michelle Obama’s official portrait by the Baltimore-based artist Amy Sherald was unveiled on Monday, the painting behind the black veil received modest cheers and a round of polite — restrained, even — applause. The crowd of gathered journalists, art critics, and pop culture figures alike didn’t quite know what to make of the finished product, which depicts the former First Lady seated…


What’s wrong with Obama’s hand in that official portrait?

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Dragon Ball FighterZ Edition Day 1 Gameplay – YouTube

I am A Veteran Game Streamer & Artist that has moved to Doing Strictly Youtube Content…I Do Gaming as well as Film & Animation reviews, previews, in-depth analysis. We do a lot of theories and speculations of what is coming next! I am a Anime Historian with huge interest and specialty on Dragon ball, Dragon ball Z, and current Dragon ball Super episodes and many of the…


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Czech artist’s exhibition censored in Slovakia | CENSORED.TODAY

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22 January 2018

Piestany, West Slovakia, Jan 20 (CTK) – The exhibition of Czech artist Jiri Naceradsky was ended prematurely because the paintings outraged the new director of the gallery who had some of them, depicting naked bodies, moved outside the main room, the server of the Slovak daily Pravda has written.

Due to this, the author of the exhibition ended the exhibition which was to continue until January 28, the server writes.

“The paintings and drawings by Jiri Naceradsky have been put on display by major galleries in New York, Washington, Paris, London, Vienna, Berlin and Bratislava. Everywhere, they met with acknowledgement, really never with any censorship,” the server quotes gallery owner Petr Mach, who administers Naceradsky’s work, as saying.

Mach said Naceradsky had already suffered boycott and censorship under the Communist regime.

“I can hardly believe that such an incredible approach to the free artistic expression is now revived in Slovakia,” Mach said.

Actor collector and analyst Ivan Melichercik also criticised the steps taken by the director of Galerie Fontana, Marta Jurcova.

“Without my consent, the crucial works of art of the collection were moved to quite unsuitable and undignified areas. When I happened to learn this, I asked for a premature end of the exhibition,” Melichercik said, adding that this approach was barbarous.

Melichar said he did not remember anything of this having happened in Slovakia since 1989.

Jurcova argued that the gallery was situated at the town hall, in its wedding room. The painting that may be denoted as quasi pornographic should not be in such a milieu, she added.

She said she had not known originally what paintings would be exhibited there because the exhibition had been agreed on by her predecessor Martin Valo, who is also the deputy mayor.

Valo said men and women were “in some positions” in the paintings, but they were not obscene.

He said there was a big interest in the exhibition that started on December 19.

Jiri Naceradsky (1939-2014) was a major representative of figural painting of the second half of the 20th century.

After the 1989 overthrow of the Communist regime, he worked as a lecturer at the Academy of Fine Arts in Prague where he studied in the 1960s. In 1991, he was appointed a professor.

In the 1970s and 1980s, Naceradsky could not officially create and had to make his living by restoration of historical buildings.

In 1978, the Paris Centre Georges Pompidou bought seven of his drawings for its collections.

Copyright 2015 by the Czech News Agency (ČTK). All rights reserved.
Copying, dissemination or other publication of this article or parts thereof without the prior written consent of ČTK is expressly forbidden. The Prague Daily Monitor is not responsible for its content.

Author: || World Economic Forum

Art and the Every Day with Mike Winkelmann (AKA beeple) – Creative Commons | CENSORED.TODAY

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Beeple, AKA Mike Winkelmann, is a graphic designer, artist, and videographer whose popular video art and design work has largely been released free under CC. Every day for the past 10 years, Winkelmann has released a drawing online through his series of “Everydays,” which is now a personal archive of over 3000 CGI drawings and animations. His output is prolific in other genre as well – his hundreds of CC VJ loops are sought after by electronic musicians and artists looking for mashups.

Winkelmann’s short films have screened at a variety of festivals, and his Creative Commons illustrations and drawings have been used by artists such as Skrillex, Amon Tobin and Taïsto. He currently releases his work on Flying Lotus’s Brainfeeder label.

Discover more of Winkelmann’s work at Beeple-Crap, Instagram, Tumblr, and Vimeo.

You’re a successful artist in a variety of genre on a popular label, yet you consistently release free VJ loops and other material under CC. How do you balance the two modes of creating? Why do you release your work into the commons? Why did you start using CC to begin with?

I think creating stuff and giving it away for free is something that just comes naturally to me for some reason. If there is something that I’ve worked really hard on, I want as many people to see it as possible so giving it away is the easiest way to facilitate that.

Of course, just like everyone else, I have a family and bills to pay and so I can totally understand wanting to charge money for personal work. For me though I’ve tried to draw a line between the freelance stuff that I do and purely personal work that allows me to still release things for free.

One of the arguments that skeptics sometimes deploy when talking about Creative Commons is, “Why would someone pay for this when they can get it for free?” How would you counter that assumption? What leads you to continue to use CC? How do you balance between free/attribution models and paid models as an independent artist?

I think the topic of art valuation is a very interesting subject. I think in some ways it comes down to issues of supply and demand, but is also further complicated with digital assets that can be copied at no cost. I honestly don’t think there are really any ‘right’ answers but personally I feel that there is room for both sides. While it is obviously true that most people will not pay for something that they can get for free, there exists a large amount of counter points to that argument on sites like Patreon where people give money free to people whose work they enjoy. I think sometimes people concentrate a little too much on trying to come up with some great business model when they should be focusing a bit more on their craft.

In terms of my own work, I don’t really have a paid model for the digital assets I create. All of the paid work I do is custom (freelance) work. At the moment I like having things be a but more cut and dry like that.

“Miami” From Everydays by Mike Winkelmann, CC BY

You’re on your 11th round of “Everydays,” in which you complete an art project every day, resulting in over 3500 pieces of original art. What’s the impetus for this project? How has it changed in 11 years? What have you learned, and what would you do differently?

I completed 10 years of everydays in May of last year without missing a day. The main goal of this project was to get better at art. When I first started out, it was to get better at drawing. After the first year of drawing I saw a huge improvement (while I was much better, I definitely still sucked) but saw this as a powerful tool to learn new techniques and continually improve.

Honestly I don’t think much has changed in 10 years. While I’ve seen a ton of improvements and benefits from the project, my skill set is really not even close to where I’d like it to be. I have so many different areas I’d love to focus more attention on so I don’t see stop anytime soon.

“Viceland” from Everydays by Mike Winkelmann, CC BY

How has the rise of more visual, viral social media like Instagram and Facebook changed your work? How have you utilized other platforms as you’ve evolved as an independent artist?

These platforms have been great for helping me reach an audience especially given the format of work that I do. Putting out a picture a day or short little VJ clips, these are very small, easily digestible pieces that are perfectly suited for these platforms so I feel like I’m pretty lucky to be making work that is a natural fit for these mediums. I feel like being adept at utilizing these platforms and understanding the nuances of the audiences with each is pretty key to gaining a following today. On the flip side, I also think it’s something that you can get ‘too’ involved with and can be a bit of time hog. So I think you need to sort of find a balance between maintaining a presence on these platforms but not having it overtake your time.

What projects are you working on now that you’re most excited about? What kinds of projects are your favorite to work on?

Lately I have been doing some VR and AR work that has been really exciting. These are obviously very new formats that don’t have a lot of set rules so people are sort of discovering these things as they go along. I am also continuing everydays, VJ clips and working a short film. So working across a pretty wide range of medium which in itself has been a lot of fun since I get bored pretty easily doing the same things.

Author: Jennie Rose Halperin