Verein zur Förderung zeitgenössischer KünstlerInnen
“Creation is simultaneously in and out of time. It communicates thoughts, emotions, precision and ambiguity. It is a vital part of who we are.” (Robert Richardson)
“I will seriously consider the .ART Digital Twin as an additional level of provenance, since the confidence of collectors is a principal concern.”
The art world is ready to undergo a full transition to digital. The millennial generation – primed to be a driving economic force – is replacing material, object-based consumption with a pattern that is non-material, educational and experience-driven. Digital art in itself is already more than just a trend, having carved itself a pivotal role in permanent collections at prominent museums around the world. Meanwhile, the economic model and creative rights infrastructure behind Apple Music and other streaming services send clear messages that non-ownership culture is growing fast.
Robert Richardson is a visual artist and writer, selling digital artworks as limited edition prints. He is one of the many creatives at the forefront of a global digital transition. Robert walks us through the process of the decision-making that led him to become a digital artist and reviews his preferred digital tools.
I am aware there are more thoroughly digital approaches to art than those that I follow. These involve creating artworks through coding, which may include algorithms for certain elements of artificial intelligence. Some artworks may remain as computer files, and we see emerging strategies that help give them market value, helping to attract collectors. Blockchain’s role has developed in this context, and the Digital Twin by .ART – a digital letter of authenticity – will aid in providing necessary provenance.
My work began in 2014 when I revisited concrete poems and prepared them for an exhibition by recreating them using a computer, which I also used for newer, text-based work. As the gallery was also concerned with Constructivist art, I used the same vector software to include a few non-text artworks. Since 2014, I have used digital technology to produce a portfolio of abstract artworks. These works were produced using existing software, mainly Adobe Illustrator. This vector software has led to the ‘Large Prints’ available at the online store — www.robertrichardson.art — that I launched in January 2020.
Four prints – each in two sizes (A0 and A1) – are currently on sale. Many more more will be added in the future. The website also features a section for ‘Small Prints’ created using (and often combining) phone and tablet apps. These are pixel-based and more suitable for an A4 size format. Presently, four of these are also on sale, and again I intend to add more.
Turning my digital artworks into limited edition prints available for sale online was the result of a series of decisions. The acquisition of a .ART domain as a clear and relevant URL was the first. I also liked the idea of the .ART domains becoming an arts community. I “parked” my domain for just over two years, but always knew it would eventually be the web address for my limited edition prints.
Another decision was the choice of printer. My online research led me to several companies in the UK (where I live), which specialise in giclée prints for artists. There are two important aspects to consider to satisfy collectors: a print quality of the highest standard and provenance. The London printer I am using, Point101, has an Epson HDR 10-colour pigment ink system profiled for accurate colour reproduction, and uses state-of-the-art print software. Both papers and inks are of archive quality, with images lasting for hundreds of years. Their clients include the British Museum and the BBC.
I think the online and offline worlds should interact as much as possible, and I am looking forward to exhibiting my limited edition prints as much as possible.
For provenance, the printer provides certificates of authenticity and, for the back of the prints, numbered micro-embossed security labels. Both certificates and labels are signed by the artist. I will seriously consider the .ART Digital Twin as an additional level of provenance, since the confidence of collectors is a principal concern.
Another crucial decision was the choice of website host. After some research, I decided on Squarespace (with its branding removed). Reviews led me to realise they provided elegant and aesthetically pleasing templates suitable for the online store of an artist.
With my store now live, I am open to the idea of my prints being available to buy on a few other sites. The ‘Small Prints’ are already available on ARTMO, a social media platform for the art world run from Germany and China. Connecting with potential collectors is now the final, and probably most difficult, part of the process. The knowledge base and expertise of traditional offline dealers should, I feel, still be acknowledged, but it is not easy to attract their interest. I think the online and offline worlds should interact as much as possible, and I am looking forward to exhibiting my limited edition prints as much as possible.
Finally, although my prints were produced using specific technologies, this should not exclusively define them. While having a unifying abstraction, they also refer to a range of art movements and styles, such as Constructivism and Psychedelia. Above all, I hope that you enjoy looking at my artworks, because ultimately art, regardless of technology, should work on its own terms.
OPEN CALL FOR ARTISTS
Vienna Calling II „All you need is love“
An Atelier Coolpool and ArtCan Group Exhibition
featuring 30-35 international and Austrian artists in Vienna, located at Galerie Art Pool Vienna.
Exhibition Run: September 25th – October 9th 2020
Application form closes: April 22th 2020
The artist Manfredo Weihs, member of ArtCan and co-founder of Atelier Coolpool is curating the exhibition.
After the great success of the group exhibition Vienna Calling 2018 in Vienna, a continuation in 2020 of Vienna Calling with the theme „All you need is love“ is planned.
The Name Vienna Calling is a song title by the Viennese singer Falco, who sadly died way too early.
We chose this title in 2018 for the 20th anniversary of his death and made his song and his person an exhibition theme.
The continuation „Vienna Calling II“ with the exhibition theme of a Beatles song „All you need is Love“ is not only a friendship message for our artist colleagues from ArtCan in London, but also to the whole world, in this, the Beatles‘ 60th year anniversary.
Art knows no borders, the exchange of art and their collective communities will not be influenced or prevented by politics or religion. Not only does the Atelier Coolpool support this idea, we also live it.
The topic “All you need is love” should also set an example. We are currently living in a time when hate posting and fake news meet us on the Internet, getting to know each other is becoming increasingly difficult. The digital world seems to have us under its full control. We are artists, we want to meet, chat, stimulate, talk, encourage, wake up, fuck, drink, move and work with each other, create communities and forge networks and we must use the internet for this!
This is an exhibition opportunity for 30 – 35 ArtCan members and Austrian / local artists from the fields of painting, drawing, photography and sculpture to participate in the joint exhibition “Vienna Calling II” at Galerie Art Pool Vienna.
Kate, Daisy and Manfredo
Kate Enters, Founder & Director ArtCan
Daisy Gold & Manfredo Weihs, Atelier Coolpool
ArtCan: – London / United Kingdom
The Gallery – Vienna / Austria:
„Ich habe so viele Ideen in mir…“ (Regina Merta)
Und diese werden auf die Leinwand gebracht und wir haben ihre Bilder in ein neues Licht gerückt.
Stöbern Sie in der Galerie von Regina Merta auf der Biennale Austria website.
Bei Interesse können Sie jederzeit die Unterlagen unter firstname.lastname@example.org anfordern.
Sie werden Anfang April an Sie per e-mail versandt.
ist unsere Kreativität gefragt!
Daher ist es uns möglich, auf Vorschlag der Galerie ART POOL VIENNA, die Ausstellung „REVOLUTION! Blumen im Frühling“ auf den Juni 2020 zu verschieben.
Die Ausstellung wird nun am 4. Juni 2020 eröffnet.
Wir werden Sie weiter informieren, sollten Änderungen notwendig sein.
am 26. März 2020 die Ausstellung von 14 – 21 Uhr geöffnet.
Es findet keine Vernissage statt!
Die Eröffnung von Manfredo Weihs, Galerie ART POOL VIENNA und Elisabeth Rass, BIENNALE AUSTRIA wird als Video veröffentlicht.
Öffnungszeiten ab 27. März bis 2. April 2020: MO – FR 14 – 18 Uhr, SA 11 – 16 Uhr
An den Ausstellungstagen sind Einzelführungen durch die Ausstellung möglich.
Wir werden während der Ausstellungstage, die technischen Möglichkeiten nutzen und die Ausstellung in die virtuelle Welt verlagern und so vielen Kunstinteressenten die Möglichkeit bieten an dieser Ausstellung, trotz des Passus „Einschränkung der sozialen Kontakte“, teilzunehmen.
Wir danken den Künstlerinnen und Künstlern, dass Sie dieses Ausstellungsprojekt mit ihren Arbeiten Wirklichkeit werden ließen und freuen uns, die Arbeiten im Ausstellungsraum zu präsentieren.
Wir danken für Ihr Verständnis und denken Sie daran, dass trotz aller virtuellen Möglichkeiten das Spiel zwischen Bild und Raum eine Lebendigkeit bringt, die nicht über Veröffentlichungen auf website, onlineshop oder social media erreicht werden kann.
Der Verein BIENNALE AUSTRIA wurde 2005 in Wien gegründet und hat sich zur Aufgabe gesetzt bildende KünstlerInnen in den Bereichen Kommunikation, Vermarktung, Netzwerk und Pressearbeit zu unterstützen.
Er wird durch die Mitgliedsbeiträge, durch Organisationsbeiträge für Ausstellungsprojekte und durch ehrenamtliche Arbeit getragen.
Der Verein BIENNALE AUSTRIA ist international tätig und Partner einiger internationaler Künstler-, Kunst- und Kuratoren- Vereinigungen.