MoMA comes to Melbourne

For its current “Winter Masterpieces”, Melbourne’s NGV International gallery is displaying around 200 works from MoMA’s permanent collection. And a finely selected, and well-curated exhibition it is. But this focus on the received canon of mainly 20th century European art has the inevitable effect of sidelining other eras/schools – and perhaps overlooks the importance of Australia’s own art movements.

Roy Lichtenstein (American 1923–97): “Drowning girl” (1963 – oil and synthetic polymer paint on canvas, 171.6 x 169.5 cm); The Museum of Modern Art, New York – Philip Johnson Fund (by exchange) and gift of Mr. and Mrs. Bagley Wright, 1971
© Estate of Roy Lichtenstein/Licensed by Copyright Agency, 2018

The NGV International display presents the work in a broad chronological sequence, but specifically collated by reference to key movements, themes and styles. It also takes in print-making, photography, industrial design, graphics and illustration, not just painting and sculpture.

Even though I have visited MoMA many times, and seen the bulk of these works in their usual setting (as well as when they have been on loan to other galleries), there were still some surprises – like Meret Oppenheim’s “Red Head, Blue Body”, which I don’t recall seeing before. And Salvador Dali’s “The Persistence of Memory” always feels like it is much smaller than the ubiquitous reproductions and posters imply.

Of course, one of the benefits of presenting a survey of modern art like this is that it affords us the opportunity to re-assess and re-calibrate the works within a contemporary context. Both to find new meaning, and to compensate for the over-familiarity that many of these images convey. While at times, we have to separate the artists’ lives and times from the legacy of their work – the changing conventions and social mores of our contemporary society cannot always be used to judge the behaviours, values or common prejudices that were acceptable 100, 50 or even 25 years ago.

Meanwhile, over at NGV Australia, there is a reconstruction of the exhibition that marked the opening of the gallery’s new building in 1968. In “The Field Revisited”, we have a fascinating opportunity to experience a slice of Australian art that feels over-looked and under-appreciated – ironic, given that at the time, this exhibition revealed the cutting-edge nature of young artists working in Australia, and divided opinion among established artists and the art establishment. “Where are the gum trees, where are the shearers, where are the landscapes, where are the figurative images?” might have been the refrain in response to this startling collection of bold colours, geometric designs, psychedelic undertones, modern materials, and unorthodox framing.

The fact that far more people are flocking to see the MoMA collection (and it is worth seeing), than are visiting the re-casting of The Field sadly confirms that Australia’s cultural cringe is alive and well….

Next week: Modern travel is not quite rubbish, but….

 

The new productivity tools

With every new app I download, install or have to use, I keep asking myself: “Do I feel more productive than I did before I downloaded it?” Comparing notes with a business associate the other week, I realised that the arsenal of daily tools I use continues to expand since I last blogged about this topic. At times, I feel like Charlie Chaplin in “Modern Times” trying to keep on top of this digital production line.

Image sourced from Wikimedia Commons

In particular, the number of communication tools (instant messaging and conferencing) keeps growing; document and file management continues to be a battle largely between operating systems; and most collaboration tools struggle to make the UI as seamless as it should be – so that the UX is all about the “process” for creating, updating and maintaining projects, and not the quality of outcomes.

So, as an update to my previous blog, here’s a few thoughts on recent experiences:

Meetings/Chat

Added to my regular list are Telegram, WeChat, UberConference, BlueJean and RingCentral. Meanwhile, Microsoft (Skype), Google (Hangouts) and Apple (FaceTime) all compete for our communications. (Even Amazon has its own conferencing app, Chime.) One of the biggest challenges I find is browser compatibility (when using via a desktop or laptop) – presumably because vendors want to tie you into their proprietary software eco-systems.

Project Management/Collaboration

Still looking for the perfect solution…. Products are either so hard-coded that they are inflexible, or so customisable that they can lack structure. I suspect that part of the problem is projects are still seen as linear (which makes sense from a progress and completion perspective), but we collaborate at multiple levels and tasks (with corresponding inter-dependencies), which don’t fit into a neat project timeline.

Document/File Management

I seem to spend most of my day in Google Drive (largely thanks to Gmail and Drive) and Dropbox (which continues to improve). I find Dropbox more robust than Google Drive for file management and document sharing, and it continues to expand the types of files it supports and other functionality. Whereas, with Drive, version control is a bit clunky, unless the document was first created in Google Docs.

Productivity

Overall, Google Docs is still not as good as MS Office (but does anyone use OneDrive, let alone iCloud/iWorks, for document sharing or collaboration?)

One thing I have noticed is that my use of native iOS productivity tools has dropped off completely – if anything, I am now using more MS Office iOS apps (e.g., Lens, OneNote), and some Google Docs apps for iOS. Plus the DropboxPaper iOS app.

CRM

I’m starting to use Zoho (having outgrown Streak) – and I’ve heard that there is even a Zoho plug-in that connects with LinkedIn, which I shall soon be exploring. But as with Collaboration tools, getting the right balance between rigidity and flexibility is not easy.

Next week: The first of three musical interludes….

 

MoMA vs SFMOMA

As regular readers of this blog may have come to realise, any opportunity I have during my overseas travels, for business or pleasure, I always like to visit the local public art galleries. Apart from providing a cultural fix, these institutions can reveal a lot about current fashions, curatorial trends and even technology adoption in the elite world of marquee museums. Earlier this month, I was fortunate enough to visit MoMA in New York, and SFMOMA in San Francisco.

Mario Bellini – Olivetti TCV 250 Video Display Terminal (1966) – MoMA New York (Gift of the manufacturer) – Photo by Rory Manchee

Both museums are housed in contemporary buildings which, in keeping with a noticeable trend among modern galleries and museums, emphasise their vertical structure. Compared to say, the 18th/19th century museums of London, Paris and Berlin (with their long, languid and hall-like galleries), these 21st century constructs force us to look upwards – both physically, and perhaps metaphorically, as they aspire to represent “high” art in a modern context?

Although I have been to MoMA many times before, there is always something new to discover among the touring exhibitions and permanent collections. On this latest visit, there were four standout displays: Thinking Machines: Art and Design in the Computer Age (see illustration above); Louise Bourgeois: An Unfolding Portrait; Max Ernst: Beyond Painting; and Stephen Shore.

Apart from the latter, there is clearly a statement being made within the format of “Title/Name – colon – concept/context/subtext”. Stephen Shore is obviously an exception to this curatorial technique. Here is a photographer, whose name I was not familiar with, but whose work seemed both familiar (everyday images and popular icons) and exotic (otherworldly, outsider, alien); yet also pedestrian (repetitive, mundane) and alienating (elements of the macabre and voyeuristic).

The Thinking Machines display threw up some interesting juxtapositions: most of the devices and the works they produced were artisanal in approach – one-off pieces, requiring detailed and skilled programming, and not the mass-produced, easily replicated works we associate with most digital processes these days. Plus, even when the outputs were generated by a computational approach, the vagaries of the hardware and software meant the works were more likely to produce chance results, given the large role that analog processes still played in these systems-defined creations.

Louise Bourgeois’ work can still challenge our sensibilities, especially when conveyed through her lesser-known works on paper, even though many of the images are familiar to us from her sculptures and installation pieces (the latter represented here in the form of one of her giant spiders).

The exhibition of works on paper by Max Ernst also reveal another aspect of the artist’s oeuvre, although unlike Bourgeois, I feel there is greater affinity with his more formal paintings because, despite the different media in which he worked, there is a consistency to his image making and his visual language.

Across the country in San Francisco, this was the first time I had been to SFMOMA, so in the available time, I tried to see EVERYTHING, on all 6 levels. But I still manged to miss one entire floor, housing the late 19th century/early 20th century permanent collection.

The main exhibitions were Robert Rauschenberg: Erasing The Rules; SoundtracksWalker Evans; Approaching American Abstraction; and Louis Bourgeois Spiders.

So, less of the colon-delineated concepts compared to MoMA, and more literal titles – and you have to think that photographers, like Shore and Evans, don’t merit these sub-textual descriptions, because with photographers, what you see is what you get?  On the other hand, with Bourgeois’ Spiders, it contains what it says on the tin – giant spider sculptures.

I’d seen the Rauschenberg exhibition earlier this year at the Tate Modern in London, as it’s actually a touring show curated by MoMA itself. Seeing these (now familiar) works in another setting revealed aspects that I hadn’t appreciated before – such as the similarities between Rauschenberg’s collages and combines, and the mixed media works of Max Ernst and other Surrealists, for example.

The Evans exhibition was an exhaustive (and at times exhausting) career retrospective. In addition to many of his iconic images of crop farmers during the Great Depression, there were more urbane/mundane images of shop window displays, merchandising and branding – not too dissimilar to some of Shore’s serial photo essays.

Wandering through (or approaching…) the American Abstraction display was like immersing oneself in a who’s who of modern US art: Brice Marden, Sol Le Wit, Robert Motherwell, Clyfford Still, Cy Twombly, Adolph Gottlieb, Morris Louis, Sam Francis, Ellsworth Kelly, Lee Krasner, Agnes Martin, Sean Scully, Frank Stella, Joan Mitchell…. It struck me that despite the differences among these artists, and their individual mark making and contrasting visual languages, the collection was very much of a whole – the familiarity of many of these works, in close proximity, felt very comforting, even though the original intent was potentially to shock, challenge or disrupt. That’s not to say the works no longer have any impact, it’s just that our tastes and experiences have led us to adapt to and accommodate these once abrasive images.

Finally Soundtracks was probably the weakest of all the exhibitions I saw, pulling together a mish-mash of mostly sculptural and installation works embodying some form of audio element. My interest in this vein of work probably started when I saw the exhibition, “Ecouter Par Les Yeux” many years ago in Paris.

Despite a few banal pieces (too literal or pedestrian in their execution) this current incarnation had some individually engaging and landmark pieces: namely, Celeste Boursier-Mougenot’s “Clinamen”, a version of which has been on display at Melbourne’s NGV in recent times; and Brian Eno’s “Compact Forest Proposal”, which I only know of through its audio component – so here was a chance to walk through the fully realised, and dream-like installation.

As 2017 draws to a close, Content in Context will be taking a (much-needed) break for the holidays. Having made 8 overseas trips in the past 12 months, the author is looking forward to spending some down-time closer to home. Many thanks to all the people who have made 2017 such a truly memorable year for me – for all sorts of personal and professional reasons. You know who you are. Normal service will resume in January, and have a safe, peaceful and uplifting festive season.

 

 

 

 

 

 

 

Token ring – a digital ID solution

The latest event organized by DIG ID (the Melbourne Digital Identity Meetup) featured a Q&A with Steve Shapiro, CTO of Token, moderated by Alan Tsen, General Manager of Stone & Chalk Melbourne. Given the current level of interest in solutions to address online fraud, ID theft, data protection, privacy and personal security, the discussion covered a lot of conceptual and technical topics in a short space of time, so here are some of the key points.

First off, Steve spoke about his start-up and tech journey, that took him from IM (Digsby, Tagged, Bloomberg IB), to cryptocurrency and digital wallets (Case), to digital ID with the Token ring. The pivot towards an ID solution came about after working on Case, where he realized that most consumers don’t understand private key management and the issue of permanence (as compared to the internet, where password re-sets are relatively easy, and often regularly enforced upon users).

If the goal is to provide fool-proof but highly secure end-user authentication, the solution has to focus on the “signing device”, by making it much easier than the status quo. Hence the combination of two-factor authentication (2FA) and bio-metrics to enable Token ring users to live key-less, card-less and cashless, and without having to constantly remember and update passwords. In short, the Token ring works with anything contactless, as long as the relevant permission/authentication protocol layer (challenge and response process) is compatible with the ring’s circuitry.

In assessing the downside risk, gaining consumer adoption is critical, to ensure that users see the benefits of the convenience combined with the credentialing power. Equally, success will depend on the ability to scale as a hardware manufacturer, and the potential to drive traction through virality.

There is still a lot of design work to do on the hardware itself (to enable assembly, customization and distribution as locally as possible). And the platform needs to bring on more partner protocols, especially in key verticals. At the end of the day, this is still a Blockchain solution, with a UX layer for the cryptographic component.

When asked about the future of ID, Steve felt that in the medium term, consumers will no longer have to carry around multiple cards or have to remember multiple passwords. Longer term, governments will no longer be the central authority on managing ID: unlike today, a driver’s license will no longer be the gold standard – instead, solutions will be based on decentralized, contextualized and user-defined ID.

This led to a discussion about Sovereign IDe-government and digital citizenship (e.g., Dubai and Estonia) – and the break up of big government in favour of more city-states. (Which could result either in a “small is beautiful” approach to self-governing and sustainable communities, or a dystopian nightmare of human geo-blocking, as in a film like “Code 46”).

For the tech buffs, the Token ring’s IC hosts a total of 84 components, including the main secure element (as with mobile phones and other devices), finger print reader, optical scan, Bluetooth, NFC, accelerometer, MCU, Custom inductive charging etc.

Finally, there was a discussion about the risk of cloning, mimicking or breaching the unique and secure ID attributes embedded in each Token ring. While it is possible for users to encrypt other knowledge components as part of their individual access verification and authentication (e.g., hand gestures), there is still a need to rely upon trusted manufacturers not to corrupt or compromise the secure layer. And while the public keys to core protocols (such as credit cards and swipe cards) are maintained by the protocol owners themselves and not stored on the device or on Token’s servers, it will be possible for other third parties to on-board their own protocols via a SDK.

Next week: Startup Vic’s EdTech Pitch Night