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@monotonerainbow69
Earring-hook type with ball pendant and paste setting, Metropolitan Museum of Art: Greek and Roman Art
The Cesnola Collection, Purchased by subscription, 1874–76 Size: Other: ¼ × ¼ × 13/16 in. (0.7 × 0.6 × 2.1 cm) Medium: Gold, glass paste
https://www.metmuseum.org/art/collection/search/243395
Anna Barlow “Softening Solace” 2016 “I am fascinated by the way we eat food, especially by the rituals around celebration or indulgent treats that have developed; the way they are assembled, displayed and then eaten. I am also interested in how food tells a story of the people and place it’s in.” - Barlow
https://www.artspace.com/anna-barlow/softening-solace
Going Home, Tom Roberts
Sua Yoo
morrasydesign:
by Tristesse https://ift.tt/39ATWbX -> Telegram Design Bot
Kurppa Hosk (KH) / Securitas / Securitas Pro / Typeface / 2021 https://ift.tt/3cNQVan -> Telegram Design Bot
Statue of the tomb of René de Chalon. 1550 Ligier Richier photo © Fred Kempf
Michael Dean, Analogue Series (Bruise Petals), 2017
Kohiki sake cup, Tsujimura Shirō, 20th century, Minneapolis Institute of Art: Japanese and Korean Art
sake cup; small foot; dish-shaped, with sides slightly flattened; grey bottom; white and brown glaze Size: 1 11/16 x 3 3/16 x 2 13/16 in. (4.29 x 8.1 x 7.14 cm) Medium: Glazed ceramic
https://collections.artsmia.org/art/104675/
Arthur Percy
Blå stege i trädgård
, 1946
Fibula, 7th century B.C., Metropolitan Museum of Art: Greek and Roman Art
Purchase, 1896 Size: Other: 2 15/16 in. (7.5 cm) Medium: Bronze
https://www.metmuseum.org/art/collection/search/246441
maribor 2020
NFTs. Invented to frustrate Tumblr
https://www.theatlantic.com/ideas/archive/2021/04/nfts-werent-supposed-end-like/618488/
by Anil Dash
(…)
The only thing we’d wanted to do was ensure that artists could make some money and have control over their work. Back in May 2014, I was paired up with the artist Kevin McCoy at Seven on Seven, an annual event in New York City designed to spark new ideas by connecting technologists and artists. I wasn’t sure which one I was supposed to be; McCoy and his wife, Jennifer, were already renowned for their collaborative digital art, and he was better at coding than I was.
At the time, I was working as a consultant to auction houses and media companies—a role that had me obsessively thinking about the provenance, ownership, distribution, and control of artworks. Seven on Seven was modeled after tech-industry hackathons, in which people stay up all night to create a working prototype that they then show to an audience. This was around the peak of Tumblr culture, when a raucous, wildly inspiring community of millions of artists and fans was sharing images and videos completely devoid of attribution, compensation, or context. As it turned out, some of the McCoys’ works were among those being widely “reblogged” by Tumblr users. And Kevin had been thinking a lot about the potential of the then-nascent blockchain—essentially an indelible ledger of digital transactions—to offer artists a way to support and protect their creations.
By the wee hours of the night, McCoy and I had hacked together a first version of a blockchain-backed means of asserting ownership over an original digital work. Exhausted and a little loopy, we gave our creation an ironic name: monetized graphics….