Wear your clothes backwards and learn cartooning: artists share lockdown tips | Art and design- Tempemail – Blog – 10 minute

The doors of the world’s finest museums, galleries and art fairs may now be firmly closed for who knows how long. But art can still reach us in dazzling detail, via the now essential gateway of social media. Large organisations were the first to get involved, with MoMA in New York and the Tempemail Portrait Gallery and the V&A in London jumping on the #MuseumFromHome campaign. Yet, as the big institutions were dreaming up ways for us to ogle their collections while stretched out on our sofas, artists themselves were coming up with some slightly more altruistic ideas.

“Artists are well practised in self-isolation,” says Matthew Burrows, “often working that way on a daily basis in their studios and so have plenty of creative solutions.” Burrows has created Artist Support Pledge (@artistsupportpledge) and Isolation Art School (@isolationartschool) on Instagram.
With oversight from artist Keith Tyson, who won the Turner prize in 2002, this new “school” invites the pros to host inspiring workshops on social media for free. In less than a week, the account has gathered more than 6,000 followers eager to learn how to make Calder-influenced mobiles, paint landscapes from the comfort of the kitchen, and hear direct from the likes of Urs Fischer, Quentin Blake and Mat Collishaw.

Martin Parr, pictured at his Only Human exhibition in 2019. Photograph: Nils Jorgensen/Rex/Shutterstock
Artist Support Pledge, meanwhile, offers artists a framework to generate finance after the decimation of their traditional incomes. Participants can upload up to 10 works costing no more than £200 to social media using the hashtag #artistsupportpledge. For every £1,000 made, the artist pledges to buy a piece from another member of the scheme.
Nottingham-based artist Yelena Popova signed up after finding time to tidy her studio: “My four pledged paintings were from before I started to work with natural pigments, so I thought I should free up some space. The response was so positive – it cheered me up no end!”
In a bid to keep people occupied and indoors, Canadian artist, author and curator Danielle Krysa of @thejealouscurator came up with the 30 Day Art Challenge to provoke a month of making. “Outside of global pandemics I always encourage people to create every day,” Krysa comments, from her already isolated location four hours east of Vancouver. “Creativity is a bit like exercise. I figured since everyone is stuck inside, why not use this time to play around with ideas or materials you’ve always wanted to experiment with. I’m trying clay later today for the first time ever.”

30 Day Art Challenge, collage by Danielle Krysa @thejealouscurator. Photograph: Danielle Krysa
Martin Parr is announcing photographic challenges that must be completed within the home. Launched on the Martin Parr Foundation Instagram account (@martinparrfdn), the purpose of the project is “to keep thinking creatively about photography during this difficult time”. Fittingly, the first topic is “isolation” and snappers are invited to submit using the hashtag #MartinParrPhotoChallengeOne. Parr (presumably short of things to do himself) will judge the entries, awarding a Martin Parr colouring book to the best shot.
Pete McKee, who was due to open a large exhibition of new work in Sheffield this week, has turned his attention to producing cartoon-drawing tutorials on YouTube. “I wanted to help ease the boredom, give parent-teachers and kids a bit of fun that’s easily achievable without needing to splash the cash,” says McKee, who has presented his first “classes” on how to draw cartoon faces, ageing and bodies. The inaugural lessons – which have only been live for a couple of days – already have over 17,000 views.

Dispatches, a new series of online exhibitions and experiences by Hauser & Wirth gallery. Photograph: Hauser & Wirth
Martin Creed’s approach to his live Instagram performance that kicked off Hauser & Wirth’s Dispatches programme was less classroom and more cabaret. The 2001 Turner prize winner’s 11-minute act featured everything from juggling to backwards guitar playing and existential musings on time. Dressed in a back-to-front outfit, Creed proclaims: “These are my staying-in clothes. They are basically the same as my going-out clothes – I just wear them the other way around. It helps me to know where I am.”
Tutorial or not, we could all benefit from a more creative approach to these long, hollow days – whether that is learning to draw or just dressing more eccentrically. “A superpower that artists have is using their art to turn lemons into lemonade,” says Krysa. “Or in this case, self-isolation into art.”

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Spotify launches music relief project to help artists – Finance- Tempemail – Blog – 10 minute

Spotify Technology said on Wednesday it had launched a COVID-19 music relief project to raise funds for musicians as the coronavirus pandemic grounds life to a halt in most countries, while taking a toll on the economy.
The music streaming platform, which has about 124 million paid subscribers, also partnered with non-profit organisations such as MusiCares and Help Musicians, a UK-based charity for musicians, it said in a statement.
Spotify said apart from donating funds to those charities, it would match donations made through the music relief page for up to US$10 million.
Countries across the world have been asking people to stay at home to slow the spread of the coronavirus pandemic, which has killed nearly 19,000 people and infected about 421,000 globally.
The company said it was also working on a separate feature to help musicians raise funds directly from fans either for themselves or for other artists.

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Why AI music will let human artists be less like machines- Tempemail – Blog – 10 minute

“Music inspires us. We believe in the power of music to inspire”… so proclaims the new Apple Music for Business landing page. As a concept, music for business is booming, but when brands talk about ‘music’ can we take them at face value? Is it really ‘music’, stripped of all context, that allows brands to build emotional connections and affinity – or is it the people who make that music?
As a lover and creator of music myself, I see musicians as creatively equal to filmmakers. Their purpose is not only to be synced to film or video. Unfortunately, a lot of the time when brands use music it is relatively anonymously and without proper compensation for the artist. The rise of AI music will place the value of human musical compositions back on its story-telling ability, rather than its ability to provide a neutral backdrop for others’ work.
Content needs a soundtrack to truly bring it to life. But the proliferation of storytellers on YouTube and TikTok and ever-growing need for safe-to-use, contextually relevant music to accompany online content has left us wanting; not only is there now far too much content, but also devices, and both physical and virtual spaces, that need accompanying music, and the choices out there don’t always deliver in the way we want them to. Content creators don’t have enough time—or money—to license or to commission backing soundtracks for every video they post. YouTube hasn’t succeeded in creating a fully ‘royalty-free’ music library, though they’ve tried. So creators and brands resort to stock music.
Although it can be of an incredibly high quality, composed by very talented people who would probably rather be focusing on writing the next rock opera rather than for a commercial incentive, stock music is a quick fix.
This is where AI composed music truly shines. Despite concerns about AI stealing the jobs of real artists, in this space, it offers a huge benefit to musicians. Rather than creating music for royalty-free music libraries, musicians will be given free rein to create, compose, distribute, and perform in a way that is meaningful to them and not some faceless brand or playlist. AI music will never achieve the majesty of Bohemian Rhapsody, not for its sonic attributes, but for its iconic cultural status that is innately human.
And even if AI did create a sonically “perfect” track in a vacuum, it can never replace or recreate the cultural significance of a song that has been written by a human. Cultural currency and sonic currency can and should be measured separately now that AI can create and most likely commoditize purely acoustic “filler” stock music.
It has been said that the invention of the washing machine changed the world more than the internet. By freeing up time that would have otherwise been spent doing hours and hours of laundry, the revolutionary new tech allowed women to enter the labour market and fundamentally change society forever.
This is how I see AI music’s role in the creative ecosystem; rather than taking jobs, it frees up huge amounts of time – time that can now be spent by musicians to put their abundant talent and expression towards songwriting, symphonies and storymaking.
Taishi Fukuyama is the co-founder and chief operating officer at Evoke Music

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Apple Music for Artists comes out of beta with an iOS app and Shazam data – gpgmail


Apple Music launched its data dashboard for musicians more than a year ago. Today, the company is taking that product — Apple Music for Artists — out of beta, and adding some new features in the process.

For one thing, it’s no longer a web-only product, because Apple is releasing an iPhone app. On both web and iOS, Apple Music for Artists allows musicians and their teams to see how often a song has been played, how many listeners it’s reaching and how many times it’s been purchased.

There’s also an “insights” section designed to highlight noteworthy data at any given moment, like how the first week of a new song compares to the first weeks of previous songs, or when the popularity of a song is spiking, or if they’ve hit a big milestone like 1 million plays.

Apple is also introducing data from Shazam, the music-recognition app it acquired last year. The idea is to capture listener behavior that’s very different from seeking out an artist or a specific song — it’s more about a moment of spontaneous connection, when you hear a song and think, “Whoa, what’s this?” (This also provides a window to behavior beyond Apple Music listeners.)

One of the goals is to give musicians the data they need to actually guide their decisions. For example, they might see that a song that’s not many plays compared to their big singles, but it’s doing surprisingly well on Shazam — so maybe it’s time to shift promotion.

And the data is also browsable by city, on a map. So if someone’s planning a tour, they can use this to data to choose which cities or visit, or to find the correct venue size in a given market.

Apple says all the data (including Shazam data) goes back to the launch of Apple Music in 2015. Any artist can claim their account for free.


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