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Originally shared by Ward Plunet
This AI Can Spot Art Forgeries by Looking at One Brushstroke

A new system can break a work down into individual brush or pencil lines and figure out the artist behind it. Detecting art forgeries is hard and expensive. Art historians might bring a suspect work into a lab for infrared spectroscopy, radiometric dating, gas chromatography, or a combination of such tests. AI, it turns out, doesn’t need all that: it can spot a fake just by looking at the strokes used to compose a piece. In a new paper, researchers from Rutgers University and the Atelier for Restoration & Research of Paintings in the Netherlands document how their system broke down almost 300 line drawings by Picasso, Matisse, Modigliani, and other famous artists into 80,000 individual strokes. Then a deep recurrent neural network (RNN) learned what features in the strokes were important to identify the artist. The researchers also trained a machine-learning algorithm to look for specific features, like the shape of the line in a stroke. This gave them two different techniques to detect forgeries, and the combined method proved powerful. Looking at the output of the machine-learning algorithm also provided some insight into the RNN, which acts as a “black box”—a system whose outputs are difficult for researchers to explain.

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“Alice’s Restaurant,” Arlo Guthrie’s beloved musical ode to garbage, small town policing, and military conscription, celebrates many anniversaries.

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The National Portrait Gallery kicks off its 50th anniversary with the exhibition "The Sweat of Their Face"

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Locals call the building “the Grudge” and rightly so. This extremely narrow building standing on a mere 120-square-meter piece of land in Beirut was built specifically so that one man can block another man’s view of the ocean.

According to the prevailing lore, these two men were brothers, who each inherited a plot, but were unable to arrive at a mutual agreement on how to develop their respective properties. One of the brothers owned a minuscule plot of land, and was bitter for receiving the short end of the stick. Unable to build anything useful on his property, the jealous brother erected a narrow building, which was more or less a wall, so that his brother’s view of the sea was blocked in the hope that this would cause the value of his land to decrease.

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The set of cement benches are covered with tile mosaics and stone designs. At the base of each bench, you can read a quote from world-famous artist Pablo Picasso, which says, “Art washes from the soul the dust of everyday life.”

The benches are a pleasant surprise for anyone expecting the usual cold, dreary bus shelter furniture. They’re enough to make you stop and realize that art is everywhere, even in the most everyday places, should you choose to seek it out.

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The restaurant and JJ’s Building, the owner of the structure, sued Time Warner for negligence. The jury found Time Warner 98 percent responsible and assessed damages at $5.9 million — $3.5 million for the restaurant and $2.4 million for JJ's Building.

The trial court, however, reduced the judgment to $3 million after offsetting settlements the plaintiffs had reached with Missouri Gas Energy, the utility that owned the natural gas line, and Heartland Midwest, the contractor that did the drilling.

JJ’s Restaurant and JJ’s Building filed their own appeal challenging the offset, but the appeals court found it was proper.

In upholding the damage award against Time Warner, the appeals court ruled that the trial court properly instructed the jury that the trenchless technology used to install the fiber optic fiber was “inherently dangerous.”

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A lot of commentary about Elizabeth Murray has connected her to feminism, graffiti art, her schooling in Chicago and acquaintance with the Hairy Who and the Imagists, all of which is true. But when it comes right down to it, she concocted something all her own, and that is really what we should be paying attention to.
Elizabeth Murray: Painting in the ’80s continues at Pace (510 West 25th Street, Chelsea, Manhattan) through January 13, 2018.

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Beth Cavener ...creates large animals that each appear to wrestle against their implied captivity. The works can be viewed as animals in the throes of domestication, however beneath the surface lies a peek into our own human psychology. Cavener projects these emotions onto her sculpted clay figures, showcasing the primitive animal instincts that lie beneath our own exteriors.

“Both human and animal interactions show patterns of intricate, subliminal gestures that betray intent and motivation,” said Cavener in an artist statement. “The things we leave unsaid are far more important than the words spoken out-loud to one another. I have learned to read meaning in the subtler signs; a look, the way one holds one’s hands, the incline of the head, and the slightest unconscious gesture. I rely on animal body language in my work as a metaphor for these underlying patterns, transforming the animal subjects into human psychological portraits.

Cavener’s solo exhibition The Other open[ed] on November 15th at Jason Jacques Gallery in NYC, and runs through December 5, 2017. You can view more of the artist’s work on her website. (

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Like a mad hybrid of Where’s Waldo meets Dr. Seuss— with healthy doses of absurdity and science fiction—Swedish illustrator +Mattias Adolfsson fills his sketchbooks and canvases edge to edge with his manically dense drawings of… well, just about anything you can imagine. Around the framework of a known destination such as a small village or the interior of a church, the artist populates nearly every square inch with bands of unruly characters, Rube Goldberg-esque contraptions, and overly complex spacesuits. The purpose of everything seems to be a mystery, but the time spent trying to understand it all is always rewarding, a first-glance view can turn into minutes of exploration as each piece slowly unravels like a story.
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