Dotty Currency Art Makes As Much As Bitcoin

Dotty Currency Art Makes As Much As Bitcoin

The Art of Making Money Currency might be the title of a book you’ll find in an airport bookstore. Damien Hirst, a young British artist, has taken the title more literally.

Hirst’s latest artwork project, The Currency, consists of 10,000 pieces of handmade paper A4-sized covered in similar, but not identical, coloured spots. Each piece is signed and numbered by Hirst with an artistic title. Each note is numbered and signed by the artist, just like actual banknotes. Hirst made this an interesting experiment in highly irrational economics with collectibles, and blockchain technology.

Every painting comes with a digital certificate of ownership, a non-fungible token (NFT). The electronic token is only available to those who have purchased each painting for US$2,000. They must trade in their token by July 21 2022 if they wish to purchase the actual artwork. The token will be destroyed if they don’t do this. The artwork will be destroyed if they choose to keep the token. They can’t have one or the other.

NFTs Adds To The Excitement

The secondary trade in NFTs adds to the excitement. This shows how much of the art market is driven more by money than love. All 10,000 works were sold for $US20million. Since the artworks were put up for sale on March 1, there have been over 1,800 resales. This amounts to almost US$40million. No. No. 6272, entitled Yes.

We already know from secondary sales whether the buyers will view artworks as being essentially homogeneous or fungible in economic terms. There are still other questions. What percentage of buyers would prefer the digital token or the artwork? This preference will be different between art enthusiasts and speculators. Will buyers be able to wait until the last days to decide whether they want to convert in order to keep the optional value? We can be confident in the answer to one question. These artworks, despite their name, don’t have a lot of currency.

What Is A Currency?

They are not divisible, for one. It would be difficult to find something that is worth less than the one you have with them. You could easily rip a sheet in half, but it is unlikely that anyone would value the two pieces as much as the original.

While Hirst’s work has many of the characteristics of currency, it still lacks critical attributes that make it viable as currency. They are very similar to cryptocurrencies in this respect. Because few merchants accept Bitcoin and Dogecoin as cryptocurrencies, even the most well-known can’t be used to purchase anything. Even more ineffective for payments are the thousands of lesser-known cryptocurrencies.

The Market For The Currency

The initial sale of the original artworks was a public offering of shares. Prospective buyers could register to indicate how many they would like, but not the work. Over 30,000 people requested more than 60,000. This increased demand has led to a secondary electronic market managed and operated by HENI, which was responsible for the initial sales. These sales are shown in the graph below.

There are approximately 500 currently for sale. The majority of recent sales were for US$50,000 or more, which is over 20 times the original asking prices. What makes a work more valuable than another? It’s difficult to say. However, titles seem to play an important role. One of the few works that has a single-word title is Yes, which was purchased for US$120,000.

Valuing Collectables

The bizarre economics of pricing collectables already emerges from Hirst’s experiment. The standard valuation method in economics discounts future value. This assumes that a bird in a hand is worth more then one in a bush.

Art works and other collectables can be very different. While some people buy art for their love, others buy it for the money. They assume that the value of the item will increase in the future. This is the greater fool theory, which basically means that they hope to sell their assets to another speculator for a higher price. The buyer must then expect that someone else will pay more. It continues like this. This graphically has been demonstrated by Hirst’s experiment.

This can lead to a speculative bubble that often ends in tears. The price could collapse. After losing PS20,000 in South Sea Bubble, Isaac Newton regretfully observed, I can’t calculate the movements of heavenly bodies. But I can’t figure the madness and people. Coincidence, Hirst artworks currently trade at the same price per Bitcoin.

The paintings are, at the very least, pretty. There is also the possibility to convert the NFT into something that the owner can hang on their walls. It is possible to swap the NFT into a physical form to give this artful “currency” some fundamental value. This is not true for cryptocurrencies.

Barbara Hanrahan Women Australian Feminist Artist

Barbara Hanrahan Women Australian Feminist Artist

Barbara Hanrahan has a large cast of women in her oeuvre. They are often joined by their daddys, sweethearts and valentines. It is not surprising that the matriarchy rules, given her father’s death the day after her first birthday. Hanrahan (1939-91) was left to raise Hanrahan with her maternal grandmother. Great aunt, and mother in Adelaide’s working-class suburb The barton.

Her characters are innocent and bold, and they hum, quiver. And jostle in this important salon-hung survey at Flinders Museum of Art. 180 works on paper, including woodcuts and linocuts as well as screen prints and lithographs and etchings and rare drawings. Paintings, collage, and dry points, are a testament to Hanrahan’s bold visual language.

They are complex and require an embodied engagement. It is important to be close-up, stretch. And bend in order to breathe the same air as what you are seeing. This show should be enjoyed, and the time taken to take in. The spices of the corseted, conical-breasted, gartered, and corseted women, the torrential sadness; the bitter aftertaste society’s hypocritical expectations; and the sweetness of childhood fond memories.

An Independent Women

Hanrahan was inspired by her mother’s commercial art work in a department shop. She originally trained as an artist teacher. She graduated in 1960 and began night classes at South Australian School of Art. There she made her first lithographs, etchings, and linocuts.

Independently-minded and more influenced by the drama of German expressionism that Australian printmakers Margaret Preston. Adelaide Perry, and Ethel Spowers than Australian printmakers. Hanrahan moved to London to pursue her creative goals a few years later.

She discovered pop art and burlesque and was a fan of it. However, she wasn’t a strong advocate for the Women’s Art Movement. Instead, she worked parallel and questioned beauty, social convention, and sexual preferences. She visited Australia often to exhibit, until she returned to Adelaide in the late 1970s with her partner.

It is not hard to remember that Barry Stern, a Sydney art dealer. Refused to show Hanrahan at his family gallery. In 1964, Kym Bonython, an Adelaide gallerist, received legal advice to stop her from exhibiting her etchings depicting naked men. Charis and Pat Larter, both Australian women artists, used explicit imagery in drawing and collage. Hanrahan’s characters, however, are often unaware or naive.

Ironically, Hanrahan was also call risk while she was being describe as too decorative in form and image. It was as if her technical expertise was a weakness. This is a stunning display of her technical accomplishment, with etchings like Earth mother 1975. And perfectly registered multi-coloured screen prints such as Moss-haired Girl (77).

Death And Life

Hanrahan’s interspecies ecosystems are populate with celestial bodies, English and Australian fauna and flora. An intertwining woman becomes a tree, branches grow from human trunks and crevices. Vulvas filigree into plants, birds nest in fibrous locks, Adam and Eve frolic in the moon. Angels float Chagall like through turbulent skies, and women hover as Ophelia over the Serpentine in London’s Hyde Park.

Her work is as important as the buzz of bees and the fluttering of the dove. They are all part of the natural order and fecundity that nature provides and their cycles of life and destruction. Recurring themes include twining, mirroring and double-dipping. Hanrahan, like Frida Kahlo has a fascination about birth, giving birth and self-realisation.

Hanrahan’s bizarre linocut Birth (1986), which depicts women with fully formed children in their stomachs or clothing, celebrates the curious inner child we all carry.

Abounding Women Heart

Hanrahan’s adventurous, desiring and fragile dreaming self has been reveal in more than 400 images and 15 books over the past three decades. She would often return to Iris Pearl, her grandmother, in her work. Hanrahan continued to explore the psychological underbelly and diverse characters from her neighbourhood that impressed her as a child.

She dispelled the socially demonizing forces of propriety and freed herself from the constraints of gendered stereotypes. Finally, she was able to peacefully accept her terminal illness through eastern and western spiritual practices.

Barbara died in Melbourne with a heart full of joy. Girl with dogs (1989), and The Angel (1991), are two iconic Australian images that celebrate Barbara’s mastery of line, and her intelligence of touch. This ambitious survey will ensure Barbara Hanrahan is a household name.

Arts Is Our Voice Support Indigenous Arts

Arts Is Our Voice Support Indigenous Arts

This article includes mentions of the Stolen Generations. When organising an Aboriginal or Torres Strait Islander arts event, the golden rule is not to hold it simultaneously with a sporting event. If you have to choose between the two, it is likely that our mob will go to the footy game.

It is difficult to maintain support for the arts, and the COVID epidemic has made it more difficult. Many discussions take place about sports given preferential treatment during the pandemic. However, heavy restrictions are place on arts and cultural events.

The NAIDOC week celebrations cancel, but the football continues to operate. The complaining commentary about the incontinences that football codes have experienced is not only annoying, but it also causes anger at those who do not follow the restrictions. My social media accounts and emails flooded with information about cancellations and closures of theatres, festivals and museums from the local and state levels. Some temporary, some permanent.

Arts As Voice

Aboriginal art, a visual gift of culture that dates back to ancient times, is the first form of art in this nation. It conveys history, story, language. Recent recognition of rock art from the Drysdale River National Park, Kimberley, as Australia’s oldest-known rock paintings, has occurred.

Amazing are the 17,300-year old painting of a kangaroo, and 12,000-year-old Gwion figures. They are diverse in their artistic styles, identify different social groups and record ceremonies. They are more than just pictures, they are historical monuments to Aboriginal culture.

The cultural connections of dreaming and song lines continue through our art. Art teaches us how to live and relate to one another. Art is use to teach and maintain knowledge.

Aboriginal and Torres Strait Islander communities share a history that too often forgotten. Our art provides spaces for us as artists to remember, grieve, educate, and create social change.

Grant Paulson, Arts Community Development Worker

It is important for me to highlight something that directly refers to me and my culture. It is nice to see something that represents you and your mob in a world that often ignores you.

Art is our voice. In 1996, there was no louder voice than that of the Ngurrara people. They were integral to the creation and preservation of an 80-square-metre canvas. The complex and beautiful Ngurrara paintings I & II depict the country of the Walmajarri & Wangkajunga people, the Great Sandy Desert. They are a statement of sovereignty by the community.

The paintings were create by 19 traditional owners and are evidence of the Ngurrara People’s connection with country. They were submit as part their native title claim for 1996. They used art to express their rightful claim on land. It was a powerful sight to see each artist standing on the spot where the painting was create and speaking about their country connection. Their native title was finally recognize after ten years.

Another way to see the selflessness of Aboriginal people is through art. The work of the renown Yankunytjara, Pitjantjatjara artist, and Ngangkari, traditional doctor Betty Muffler was feature on Vogue’s September cover last year during NAIDOC week.

Betty brings motion, energy and vibration to her work by transferring her hands from her hands onto the canvas. This senior cultural woman has been walking across the country for years to provide healing for those in need https://107.152.46.170/togel-online/.

The History Of Silencing Aboriginal Arts

People of Torres Strait Islander and Aboriginal peoples have suffered discrimination since colonization and settler laws. The 1897 Protection and Restriction of the Sale of Opium Act, which was pass under the pretence of stopping the illegal drug trade in the United States, increase police freedoms. These freedoms allowed the removal of Aboriginal peoples from one reserve and the removal of Aboriginal children. They also made it possible to decide with whom these children would be place.

The Act also prohibited cultural practices, including no dancing, speaking or performing any kind of dance and no teaching children. These laws were in force until the mid-1970s. It was an attack upon our existence, identity, and being. As a result, intergenerational traumas developed. The lives of Aboriginal people were significantly affect by the removal of the practice of culture and art. It was harmful to the physical and spiritual disconnect from art.

Toni Janke, A Musician And Meriam

It’s about education, responsibility, and sharing through community identity and belonging. It’s about leaving a legacy and passing on our talents. Because of our rich cultural heritage, I believe that we all are artists in our own way.

Aboriginal art, in its current form, has allowed us to share our culture and is now world-famous. The power of art can help to revive Aboriginal culture. It has been made more popular by the rise of commerce, which has led to economic sustainability, which has allowed some Indigenous peoples to continue living in Country.

Art therapy is a field that acknowledges and documents the link between creativity and healing. Making art, which can be used as a creative tool to decolonize, can help with healing, resuscitation, and emotional well-being. Culture can be expressed and asserted.

Art conveys emotion, perspective, perspective, and attitude through visual media, performance and music, as well as the written word. Sport has also benefited from artistic inclusion through the use of First Nations artists’ designs on jerseys and merchandise and through performances at the being and of games.

Supporting Aboriginal people’s long-standing connections to art and culture is a simple way to improve their health and address other social inequalities. Both the government and society must prioritize support for the arts in these times, just as they do for sport.