The Lloyd’s A&B Innovation Prize is a new prize awarded to partnerships that ... Read more]]> Now that we’re all such skilled navigators of the culture / consumer / brand space, and since we’re so dextrous in bringing new technologies into this mix, it makes sense that our hard work should be rewarded.

The Lloyd’s A&B Innovation Prize is a new prize awarded to partnerships that have used innovative techniques to stand out from the crowd (possibly through the use of new technology?) and we are campaigning for an IntelligentNaivety reader to win… Next stop, IN reader for president. Click here for more info.

Art on the on the Underground has won global acclaim for the outstanding quality of contemporary commissions which surprise and delight the four million customers that use the tube every day.

The panel liked the way in which the artists who take part in the scheme not only ... Read more]]>

Art on the on the Underground has won global acclaim for the outstanding quality of contemporary commissions which surprise and delight the four million customers that use the tube every day.

The panel liked the way in which the artists who take part in the scheme not only build on London Underground’s heritage of art and design but are encouraged to collaborate with staff and members of the local community at all stages of their projects.

The London Underground’s iconic brand is what it is today because high quality art has made it so according to UITP - the International Association of Public Transport at the 58th UITP World Congress event in Vienna, Austria… Bet the rest of the convention was fun.

Last winter Jerry Saltz, senior art critic for New York Magazine, walked into a basketball court-sized gallery and found himself greeted by a chorus of actors. “Welcome to this situation,” they intoned in unison. “My urge was to run out because I was so scared,” he recalls. The six actors ... Read more]]>

Last winter Jerry Saltz, senior art critic for New York Magazine, walked into a basketball court-sized gallery and found himself greeted by a chorus of actors. “Welcome to this situation,” they intoned in unison. “My urge was to run out because I was so scared,” he recalls. The six actors then created a tableau based on a famous painting and began to recite quotes and discuss their meaning. Sehgal’s “constructed situations” elude easy categorisation. Whereas most artworks are silent objects that are meant to be regarded passively, these installations immerse gallery visitors in bewildering interactive experiences. Although carefully conceived and choreographed, Sehgal’s situations are often mutable, according to visitors’ responses. They are also completely ephemeral: the artist prohibits photographic or video documentation of his pieces, and no catalogues, fliers or press releases are printed. Despite such immateriality, his work is created to operate within the conventions of the art world, embracing its institutions and its market. “It is sold like most sculpture or photography, not as unique works but as editions,” Sehgal’s dealer Marian Goodman says. Last June, New York’s Museum of Modern Art bought his “Kiss” for a five-figure sum. His prices range from between €25,000, for private works, and €70,000. Sehgal’s motivation is, in part, political. Both economic and artistic production “could be much more immaterial than we think”, he says. His pieces propose an alternative by freeing art from the monopoly of objects.

http://www.mariangoodman.com/

http://marchstudio.com.au

http://www.blog.ni9e.com/archives/2009/02/available_onlin.html