https://harrietflavel.com Harriet Flavel Sun, 04 Oct 2026 22:33:58 +0000 https://harrietflavel.com en https://harrietflavel.com/Harriet-Flavel Tue, 26 Apr 2022 14:04:22 +0000 Harriet Flavel https://harrietflavel.com/Harriet-Flavel Harriet Flavel Contact Read The Artist is Not Present [Forthcoming] The Surface of Time [Forthcoming] Screen Test [Forthcoming] Love is Resistance Jenny Holzer: Sign of the Times Art in the (Post-)Digital Age Art &amp; Artificial Intelligence NFTs: the Future is Here Ackroyd &amp; Harvey Viewing Art in the Time of COVID-19 © 2026 Harriet Flavel Ltd https://harrietflavel.com/The-Artist-is-Not-Present-by-Harriet-Flavel Thu, 01 Oct 2026 10:56:10 +0000 Harriet Flavel https://harrietflavel.com/The-Artist-is-Not-Present-by-Harriet-Flavel The Artist is Not Present ︎ <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/bffed72e65ceb9c355b01a8d8444cb09b6d5454885d56efe461db46c543ccd28/The-Artist-is-Not-Present-by-Harriet-Flavel-Cap-Green.png" data-mid="252797701" border="0" src="https://freight.cargo.site/w/1000/i/bffed72e65ceb9c355b01a8d8444cb09b6d5454885d56efe461db46c543ccd28/The-Artist-is-Not-Present-by-Harriet-Flavel-Cap-Green.png" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b43351d0520bb753edc48b4d791ac399a6e3bd9420727a3460259546dbee93d9/The-Artist-is-Not-Present-by-Harriet-Flavel-Cap.png" data-mid="252793583" border="0" src="https://freight.cargo.site/w/1000/i/b43351d0520bb753edc48b4d791ac399a6e3bd9420727a3460259546dbee93d9/The-Artist-is-Not-Present-by-Harriet-Flavel-Cap.png" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/721aa5d1b3be5b2af0223c8e04d8f1ad9665b2da608ff9518395bf3d4767156d/The-Artist-is-Not-Present-by-Harriet-Flavel-Cap-Peach.png" data-mid="252797703" border="0" src="https://freight.cargo.site/w/1000/i/721aa5d1b3be5b2af0223c8e04d8f1ad9665b2da608ff9518395bf3d4767156d/The-Artist-is-Not-Present-by-Harriet-Flavel-Cap-Peach.png" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/cb0d248ad65006d319f75dde936d4fd893c36f73b1aae13db1722974afe794b1/The-Artist-is-Not-Present-by-Harriet-Flavel-Cap-Red.png" data-mid="252797704" border="0" src="https://freight.cargo.site/w/1000/i/cb0d248ad65006d319f75dde936d4fd893c36f73b1aae13db1722974afe794b1/The-Artist-is-Not-Present-by-Harriet-Flavel-Cap-Red.png" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/d3aaa19132ae219fe14ecde50a7f4d60230c3decfe5cfd3076e3edb80049e4a3/The-Artist-is-Not-Present-by-Harriet-Flavel-Cap-Mint.png" data-mid="252797702" border="0" src="https://freight.cargo.site/w/1000/i/d3aaa19132ae219fe14ecde50a7f4d60230c3decfe5cfd3076e3edb80049e4a3/The-Artist-is-Not-Present-by-Harriet-Flavel-Cap-Mint.png" />   1. Harriet Flavel,&nbsp;The Artist is Not Present, forthcoming. &nbsp;Official Website The Artist is Not PresentForthcoming non-fiction book by Harriet Flavel “What willl we accept instead of each other?” © 2026 Harriet Flavel Ltd https://harrietflavel.com/Caline-Aoun-The-Surface-of-Time Sun, 04 Oct 2026 22:33:58 +0000 Harriet Flavel https://harrietflavel.com/Caline-Aoun-The-Surface-of-Time Caline Aoun: The Surface of Time ︎ <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e53ea61d711c8993a6632d847bea188e76168710aeedb9d29747a6eb3c3d15d3/85.jpg" data-mid="252914470" border="0" src="https://freight.cargo.site/w/1000/i/e53ea61d711c8993a6632d847bea188e76168710aeedb9d29747a6eb3c3d15d3/85.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/016e8bf512a2fd7b91ab526aafba724f7627363c262c4a8849dde6aafefa0828/86.jpg" data-mid="252914471" border="0" src="https://freight.cargo.site/w/1000/i/016e8bf512a2fd7b91ab526aafba724f7627363c262c4a8849dde6aafefa0828/86.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/f24258eb59f62133ff321626862c05649f5cb914ce890338ec71c0cd4f82b916/87.jpg" data-mid="252914472" border="0" src="https://freight.cargo.site/w/1000/i/f24258eb59f62133ff321626862c05649f5cb914ce890338ec71c0cd4f82b916/87.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/61519f00821f080192d275b0692077e4a9e571ee54e50ab5da213abf4827bcbd/91.jpg" data-mid="252914476" border="0" src="https://freight.cargo.site/w/1000/i/61519f00821f080192d275b0692077e4a9e571ee54e50ab5da213abf4827bcbd/91.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/0bddedad28ccf023762f97494289aeec3bfa41ea6297f97fa5077ab1e07bfefb/92.jpg" data-mid="252914477" border="0" src="https://freight.cargo.site/w/1000/i/0bddedad28ccf023762f97494289aeec3bfa41ea6297f97fa5077ab1e07bfefb/92.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c653746931cb28cc026f4c17ce899f8c17c23df06f3e2cfe704f632bdecba430/90.jpg" data-mid="252914475" border="0" src="https://freight.cargo.site/w/1000/i/c653746931cb28cc026f4c17ce899f8c17c23df06f3e2cfe704f632bdecba430/90.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/f3b2ce1d0f41fc8c3896a26db2243beb4f946eb7ba2cc3db1e3494fcf89c2dff/89.jpg" data-mid="252914474" border="0" src="https://freight.cargo.site/w/1000/i/f3b2ce1d0f41fc8c3896a26db2243beb4f946eb7ba2cc3db1e3494fcf89c2dff/89.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/8a7820450e9c3512cbf083683b946090865c8ad148b67a0472930c7059b98fac/88.jpg" data-mid="252914473" border="0" src="https://freight.cargo.site/w/1000/i/8a7820450e9c3512cbf083683b946090865c8ad148b67a0472930c7059b98fac/88.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/09141364a2ae85d19c975a73435bb11e13184b2c60911e707145bafe46559aca/93.jpg" data-mid="252914478" border="0" src="https://freight.cargo.site/w/1000/i/09141364a2ae85d19c975a73435bb11e13184b2c60911e707145bafe46559aca/93.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/9ef3bbe657c1622f8d530e7b9b9067ce9a5d7340ae5e9684ecd2ab26eb4ae526/98.jpg" data-mid="252914483" border="0" src="https://freight.cargo.site/w/1000/i/9ef3bbe657c1622f8d530e7b9b9067ce9a5d7340ae5e9684ecd2ab26eb4ae526/98.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/1122fcc9c27756e23808138c38bd522b0f9434f43308e675e3c94c9fa2d19194/97.jpg" data-mid="252914482" border="0" src="https://freight.cargo.site/w/1000/i/1122fcc9c27756e23808138c38bd522b0f9434f43308e675e3c94c9fa2d19194/97.jpg" />   1. Caline Aoun, Colliding Forces (detail), 2026, copper, brass, aluminum, bronze, and zinc, dimensins variable. Copyright Caline Aoun, courtesy Caline Aoun, Marfa Projects, and Kunstmuseum &amp; Kunsthalle Appenzell. / 2-3. Caline Aoun, After the Water (or Evaporation Field), 2026, white cement and limestone powder, 3 metres (di). Copyright Caline Aoun, courtesy Caline Aoun, Marfa Projects, and Kunstmuseum &amp; Kunsthalle Appenzell. / 4-5. Caline Aoun, The Surface Remembers, 2026, paper pulp cast, EVA, magnets, and steel bars, 200 x 300 cm each. Copyright Caline Aoun, courtesy Caline Aoun, Marfa Projects, and Kunstmuseum &amp; Kunsthalle Appenzell. / 6. Caline Aoun, Electric Dew, 2026, sandblasted stainless steel, aluminum, forex, copper pipe, compressor, 120 x 170 cm and 120 x 170 cm. Copyright Caline Aoun, courtesy Caline Aoun, Marfa Projects, and Kunstmuseum &amp; Kunsthalle Appenzell. / 7. Caline Aoun, Dreaming of Electric Dew (detail), 2026, freezer compressor, copper pipes, aluminum plate, stainless steel, FOREX foam board, 120 x 170 cm each. Copyright Caline Aoun, courtesy Caline Aoun, Marfa Projects, and Kunstmuseum &amp; Kunsthalle Appenzell. / 8. Caline Aoun, Emanating Ground, 2026, museum lights and copper sheets, installation dimensions variable. Copyright Caline Aoun, courtesy Caline Aoun, Marfa Projects, and Kunstmuseum &amp; Kunsthalle Appenzell. / 9. Caline Aoun, Pine Needles (detail), 2018, copper casts, installation dimensions variable. Copyright Caline Aoun, courtesy Caline Aoun, Marfa Projects, The Museum of Fine Arts, Houston, and Kunstmuseum &amp; Kunsthalle Appenzell. / 10. Caline Aoun, Infinite Energy, Finite Time (detail), 2019, plexiglass, aluminium, pump, water-based inkjet ink, pipes, solenoid valves, and timer, installation dimensions variable. Copyright Caline Aoun, courtesy Caline Aoun, Marfa Projects, and Kunstmuseum &amp; Kunsthalle Appenzell. / 11. Caline Aoun, Contemplating Dispersion, 536 ml (detail), 2018, unique inkjet print on Hahnemühle rice paper, installation dimensions variable. Copyright Caline Aoun, courtesy Caline Aoun, Marfa Projects, and Kunstmuseum &amp; Kunsthalle Appenzell. &nbsp;Forthcoming “Across Caline Aoun’s The Threshold of Impermanence at Kunstmuseum and Kunsthalle Appenzell, these questions are surfaced. Water condenses and evaporates; heat moves; metals oxidise; pigment accumulates and disperses. To cut, to redden, to die, to grow: things come together and fall apart, again and again. There is no stable state from which these processes depart or to which they return, nor necessarily a stable present in which they simply exist. The threshold of impermanence is not a threshold we cross from permanence into impermanence. It is the recognition that we perceive through the surface of time, and that permanence may not exist at all.” © 2026 Harriet Flavel Ltd https://harrietflavel.com/Jenny-Holzer-Sign-of-the-Times Mon, 11 Sep 2023 19:47:53 +0000 Harriet Flavel https://harrietflavel.com/Jenny-Holzer-Sign-of-the-Times Jenny Holzer: Sign of the Times ︎ <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/f73d2072dcffaa52dcbd7022584f8b182901b295a86397385f70ab5547b3cf32/Jenny-Holzer_Ready-for-You-When-You-Are_Hauser-Wirth-Los-Angeles-West-Hollywood.jpg" data-mid="190419874" border="0" src="https://freight.cargo.site/w/1000/i/f73d2072dcffaa52dcbd7022584f8b182901b295a86397385f70ab5547b3cf32/Jenny-Holzer_Ready-for-You-When-You-Are_Hauser-Wirth-Los-Angeles-West-Hollywood.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a842312dbefd432b8c584762c85e9f8a024c21a8ed4661b2cd4c6633ca859e11/25.jpg" data-mid="200149625" border="0" src="https://freight.cargo.site/w/1000/i/a842312dbefd432b8c584762c85e9f8a024c21a8ed4661b2cd4c6633ca859e11/25.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/1aed70585927614b3d1d41fb3f46d5eccfcffd78b1ca2ad831a02403e1bcf413/29.jpg" data-mid="200149628" border="0" src="https://freight.cargo.site/w/1000/i/1aed70585927614b3d1d41fb3f46d5eccfcffd78b1ca2ad831a02403e1bcf413/29.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b14d1ce8b913abd5bffa78f3c9a747caea581021e776b8d4ee518a435fdbea0a/28.jpg" data-mid="200149627" border="0" src="https://freight.cargo.site/w/1000/i/b14d1ce8b913abd5bffa78f3c9a747caea581021e776b8d4ee518a435fdbea0a/28.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/3e99d08f88e61682363a40d44107e0aa30898bb056f174d6c818867cfc88b415/26.jpg" data-mid="200149626" border="0" src="https://freight.cargo.site/w/1000/i/3e99d08f88e61682363a40d44107e0aa30898bb056f174d6c818867cfc88b415/26.jpg" />   1-2. Installation views: Jenny Holzer, READY FOR YOU WHEN YOU ARE, 2023, Hauser &amp; Wirth, West Hollywood. Copyright Jenny Holzer, courtesy Jenny Holzer and Hauser &amp; Wirth. All rights reserved DACS, London/ARS, New York, 2023. Photograph: Collin LaFleche. / 3. Jenny Holzer,&nbsp;READY FOR YOU, 2023&nbsp;(detail), leaf and oil on linen, 80 x 60 x 1/2 inches. Copyright Jenny Holzer, courtesy Jenny Holzer and Hauser &amp; Wirth. All rights reserved DACS, London/ARS, New York, 2023. Photograph: Collin LaFleche. / 4. Jenny Holzer,&nbsp;COMPELLANCE (detail), 2023, red gold leaf and oil on linen, 80 x 60 x 1 1/2 inches. Copyright Jenny Holzer, courtesy Jenny Holzer and Hauser &amp; Wirth. All rights reserved DACS, London/ARS, New York, 2023. Photograph: Collin LaFleche. / 5.&nbsp;Installation view: Jenny Holzer, READY FOR YOU WHEN YOU ARE, 2023, Hauser &amp; Wirth, West Hollywood. Copyright Jenny Holzer, courtesy Jenny Holzer and Hauser &amp; Wirth. All rights reserved DACS, London/ARS, New York, 2023. Photograph: Collin LaFleche. &nbsp;Print “GOOD and BAD are each composed of a vertical four-sided LED beam, suspended from the ceiling and rotating – in an unpredictable pattern, clockwise and counterclockwise – on a robotic axis. In shades of black, white, red, violet, and fuchsia, their AI-generated texts glide up and down each side of the LED beams. The vertical, angled, circular motion of the LED beams hints at incantation, while letters and words appear to rise from the floor, evaporate into the air, and materialise through crackling static. An excerpt from BAD reads: “The cloud of fear is over us. Alarm – suspicions grow. Do you believe in corrupt power? Do you fear a secret cabal? Trust us – we are in charge. Patriots. Wake up sheeple. The deep state tyrants are here. They will try to manipulate and take away our rights. We must stand united against this evil. We must fight back. We must defend our freedoms!” Flashes of red, violet, and fuchsia from the LED beams are reflected on the smooth concrete floor, bouncing off and onto the gallery walls and dancing across the mottled texture of nearby paintings. The effect is a digital sort of mystical or magical.” © 2026 Harriet Flavel Ltd https://harrietflavel.com/Art-in-the-Post-Digital-Age Fri, 10 Feb 2023 11:49:00 +0000 Harriet Flavel https://harrietflavel.com/Art-in-the-Post-Digital-Age Art in the (Post-)Digital Age ︎ <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/ba0b73a846887bbe7394320bd1362acdd737dc606c380a691f2a67c61e10e481/17.jpg" data-mid="167937026" border="0" src="https://freight.cargo.site/w/1000/i/ba0b73a846887bbe7394320bd1362acdd737dc606c380a691f2a67c61e10e481/17.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/363daeab6e69b03aaa9f348e8f63e35cea193114b603e549bf9b543f708f43e3/18.jpg" data-mid="167937027" border="0" src="https://freight.cargo.site/w/1000/i/363daeab6e69b03aaa9f348e8f63e35cea193114b603e549bf9b543f708f43e3/18.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/c9450b98341f4e90f05e7b9ae61dd81da9906325d6aec761b83ed689266144ee/16.jpg" data-mid="167937025" border="0" src="https://freight.cargo.site/w/1000/i/c9450b98341f4e90f05e7b9ae61dd81da9906325d6aec761b83ed689266144ee/16.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/856809d17de52ecb25ae3674b96d42ada40d59d8c64ee054e8074b8a4cde2a4d/15.jpg" data-mid="167937024" border="0" src="https://freight.cargo.site/w/1000/i/856809d17de52ecb25ae3674b96d42ada40d59d8c64ee054e8074b8a4cde2a4d/15.jpg" />   1. Kiron Robinson, If you want my mind, you can take my pain as well (still), 2023, online durational performance, wood, and acrylic paint, dimensions variable. Copyright Kiron Robinson, courtesy Kiron Robinson, Sarah Scout Presents, Melbourne, and National Gallery of Victoria, Melbourne. / 2. Rel Pham, Electric Dirge (still), 2021, moving image, 3 minutes 29 seconds. Copyright Rel Pham, courtesy Rel Pham and 4A Centre for Contemporary Art, Sydney. / 3. Georgia Banks, DataBaes (still), 2023, moving image, 11 minutes 12 seconds. Videography by David Meagher. Copyright Georgia Banks, courtesy Georgia Banks and National Gallery of Victoria, Melbourne. / 4. Amalia Lindo, Telltale: Economies of Time (render), 2022-23, 12-channel video, 12-channel panned audio, 6 hours 55 minutes, dimensions variable. Render by Tommaso Nervegna-Reed. Copyright Amalia Lindo, courtesy Amalia Lindo, Haydens Gallery, Melbourne, and National Gallery of Victoria, Melbourne. &nbsp;DigitalPrint “Life speaks in the present; so does art. Technology brings change, but it can’t provide answers to the questions or understanding of the transformation it brings about. Art is a way in which we come to terms with these changes, through these changes, using these changes. Artists place themselves in the work and sacrifice themselves to the work, in order to make sense of the changed and changing world around them, and to help us do the same. As Pham (who describes himself as “neither technophilic nor technophobic”) says, “I have to put myself into this technology in order to understand it.” In the same ways we write novels (themselves a consequence of the radical innovation of the printing press) in the first person and paint self-portraits, we now present, and examine, our selves and our lives in the post-digital age. This is the art we have, and this is the art we deserve: to have and to hold, for better and for worse, as long as we each may live – and maybe after.” © 2026 Harriet Flavel Ltd https://harrietflavel.com/Art-Artificial-Intelligence Tue, 25 Oct 2022 19:30:48 +0000 Harriet Flavel https://harrietflavel.com/Art-Artificial-Intelligence Art &amp; Artificial Intelligence ︎ <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/9472f0fa2761c662c9159772ac601226e45ca183305fdc3ddcc756960af77bb4/19.jpg" data-mid="167938517" border="0" src="https://freight.cargo.site/w/1000/i/9472f0fa2761c662c9159772ac601226e45ca183305fdc3ddcc756960af77bb4/19.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/fb493c1c07cfdb8b607a66db64f21adf6d490b81518caf3c2e0b6f3a8ebda3ab/20.jpg" data-mid="167938518" border="0" src="https://freight.cargo.site/w/1000/i/fb493c1c07cfdb8b607a66db64f21adf6d490b81518caf3c2e0b6f3a8ebda3ab/20.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/33c3505221801c78df2bf1c395e82c82f8bfd44c082f387003961da8efadefd5/21.jpg" data-mid="167938520" border="0" src="https://freight.cargo.site/w/1000/i/33c3505221801c78df2bf1c395e82c82f8bfd44c082f387003961da8efadefd5/21.jpg" />   1. Libby Heaney, Ent-, 2022, 360° immersive multimedia installation, installation dimensions variable. Installation view: Light Art Space, Berlin, Germany, 2022. Photograph: Andrea Rossetti. Copyright Libby Heaney, courtesy Libby Heaney, Light Art Space, Berlin, Germany &amp; Schering Stiftung, Berlin, Germany. /&nbsp;2. iida — ssi (iida jonsson &amp; ssi saarinen), Orpheus in the Metaverse (still), 2020, moving image, 3 minutes 54 seconds. Copyright &amp; courtesy iida — ssi. / 3. Arvida Byström, Untitled, 2022, from A Doll’s House, photographic print, dimensions variable. Copyright Arvida Byström, courtesy Arvida Byström &amp; Galleri Format, Mälmo, Sweden. &nbsp;DigitalOnlinePrint “Curiosity (and competitiveness) took us to the moon, and from the moon we saw the Great Wall of China. AI might be viewed in much the same way, in the driving forces behind its advancement, and that it offers to take us outside of ourselves, to see things anew. As it advances, AI forces us to ask ourselves what separates us from atoms, from inanimate objects, from nature, from other animals, from technology, and from machines. Is it consciousness, sentience, or conscience? Is it the ability to create? But if birds can sing, if dolphins and whales call each other by their names, if elephants dance, if monkeys take selfies, if dogs, pigs, penguins, and the machines we make can paint, then what? Do we say that our ability to create art, over and above simple creativity, lies in our ability to reflect on and convey the conditions of existence?” © 2026 Harriet Flavel Ltd https://harrietflavel.com/NFTs-the-Future-is-Here Tue, 26 Apr 2022 16:33:31 +0000 Harriet Flavel https://harrietflavel.com/NFTs-the-Future-is-Here NFTs: the Future is Here ︎ <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/726f2e65a06a23caf9d46c25c166c15ea998c4985057bf197d3023ade8ebd306/DOGROLL_MONTAGE-for-Postcard_.jpg" data-mid="140827489" border="0" src="https://freight.cargo.site/w/1000/i/726f2e65a06a23caf9d46c25c166c15ea998c4985057bf197d3023ade8ebd306/DOGROLL_MONTAGE-for-Postcard_.jpg" /> Eve Sussman, 89 Seconds Atomized (still), 2018, moving image; 2,304 corresponding Non-Fungible Tokens, 20 x 20 pixels each, 10 minutes duratione each. Copyright &amp; courtesy Eve Sussman &amp; Snark.Art, New York. Digital Online Print “Individual artists engaging directly with the medium of NFTs, rather than simply recreating works as NFTs, are also breaking exciting ground. Eve Sussman’s 89 Seconds at Alcázar (2004), a moving image work based on Diego Valázquez’s painting Las Meninas (1656), was presented at the Whitney Biennial in 2004, and sold out its edition to the likes of MoMA. Using her final artist’s proof (AP), Sussman worked with Snark.Art to dissect the video into a grid of 2,304 squares, each an NFT of 20 x 20 pixels, 10 minutes in duration. The artist retained 804 of the 2,304 NFTs of 89 Seconds Atomized (2018), and sold the remaining 1,500 for USD 100 each. Maybe, just maybe, this fractured ownership model will deliver some of the accessibility promised by NFTs.” © 2026 Harriet Flavel Ltd https://harrietflavel.com/Ackroyd-Harvey Tue, 26 Apr 2022 16:41:37 +0000 Harriet Flavel https://harrietflavel.com/Ackroyd-Harvey Ackroyd &amp; Harvey ︎ <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/eec1d60d6154e4d124372224b638c6b1fa49e89ddcaa703a5ec4d92dd15fb9a0/IMG_1661.JPG" data-mid="140964088" border="0" src="https://freight.cargo.site/w/1000/i/eec1d60d6154e4d124372224b638c6b1fa49e89ddcaa703a5ec4d92dd15fb9a0/IMG_1661.JPG" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/87dbd205b17e625d9254271acfe58a2f2bf11f21d2101c17b7b457f3aa7ea2c0/3.jpg" data-mid="140966336" border="0" src="https://freight.cargo.site/w/1000/i/87dbd205b17e625d9254271acfe58a2f2bf11f21d2101c17b7b457f3aa7ea2c0/3.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b4955b5df94aa09f9b3a8ea280c67baaab0cc7b57f70b760c0c25088980666a2/2.jpg" data-mid="140966334" border="0" src="https://freight.cargo.site/w/1000/i/b4955b5df94aa09f9b3a8ea280c67baaab0cc7b57f70b760c0c25088980666a2/2.jpg" /> 1. Ackroyd &amp; Harvey, Face to Face, 2012, staygreen grass &amp; clay. Installation view: Domaine de Chamarande, France, 2012. Photo Ackroyd &amp; Harvey. Copyright &amp; courtesy Ackroyd &amp; Harvey. / 2. Ackroyd &amp; Harvey, Stranded (detail), 2006, minke whale skeleton &amp; alum crystals, 700 x 180 cm. Photo Ackroyd &amp; Harvey. Copyright &amp; courtesy Ackroyd &amp; Harvey. / 3. Poet Zena Edwards in the Cultura Declares Emergency launch procession to Tate Modern, London, July 17, 2019. Photo Kelly Hill. Copyright Kelly Hill, courtesy Kelly Hill &amp; Ackroyd &amp; Harvey. Print “In 1997, the artists embarked on their collaboration with Dr Thomas and Dr Ougham in Wales to develop a specialised new strain of grass, where they became deeply involved in research into photosynthesis and chlorophyll. Ackroyd &amp; Harvey’s living, dying photographs in grass are portraits of senescence – the process of leaf death and chlorophyll loss in plants. The artists have developed their own form of photography in which light-sensitive blades of grass replace light-sensitive paper, and the full tonal range of black through white is rendered in shades of yellow through green. In a sense, they are conceptual and material inversions of their crystal skeletons. Whereas the skeletons are rescued remains embalmed, spared from decay through time and the elements, the images in grass are transient, decaying and fading with every passing second. Both ways of working are meditations on past, present, and future, and on life and death. Above all else, they reflect the delicacy, vulnerability, and fragility of the natural world.” © 2026 Harriet Flavel Ltd https://harrietflavel.com/Viewing-Art-in-the-Time-of-COVID-19 Tue, 26 Apr 2022 16:50:22 +0000 Harriet Flavel https://harrietflavel.com/Viewing-Art-in-the-Time-of-COVID-19 Viewing Art in the Time of COVID-19 ︎ <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/e28ff2f8ed937d6750037fd5fbeaa5a7fd43cf61cab4a25ed2040ed8c8fc258a/9.jpg" data-mid="140966915" border="0" src="https://freight.cargo.site/w/1000/i/e28ff2f8ed937d6750037fd5fbeaa5a7fd43cf61cab4a25ed2040ed8c8fc258a/9.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/0e1dbd546b156f8af7a61fc8571bc374fc457f1a3d23ee3ba649c50c7c79cf1e/12.jpg" data-mid="140966918" border="0" src="https://freight.cargo.site/w/1000/i/0e1dbd546b156f8af7a61fc8571bc374fc457f1a3d23ee3ba649c50c7c79cf1e/12.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/bbb1e01c32c99ef2b41328ccce9e730d43a6561713000c843df9284aa8ddebe7/14.jpg" data-mid="140966919" border="0" src="https://freight.cargo.site/w/1000/i/bbb1e01c32c99ef2b41328ccce9e730d43a6561713000c843df9284aa8ddebe7/14.jpg" /> 1. Koo Jeong A, density, 2019, Augmented Reality. Installation view: Frieze Sculpture, London, 2019. Copyright &amp; courtesy Koo Jeong A &amp; Acute Art, London. / 2. Christo and Jeanne-Claude, The&nbsp;London Mastaba, 2016-18, 7,506 barrels, polyethylene cubes &amp; steel frame, 600 metric tons. Installation view: Serpentine Lake, Hyde Park, London, 2018. Re-released in 2020 in Augmented Reality. Copyright the Christo and Jeanne-Claude Foundation, courtesy the Christo and Jeanne-Claude Foundation, Acute Art, London &amp; the Serpentine Galleries, London.&nbsp;/&nbsp;3. Visitors reacting to Jordan Wolfson’s Real Violence at the Whitney Biennial, 2017. Photo: Therese Öhrvall. Copyright &amp; courtesy Therese Öhrvall &amp; the Whitney Museum of American Art, New York.&nbsp; Digital Online Print “Christo and Jean-Claude’s towering The London Mastaba was installed in the Serpentine Lake in Hyde Park in 2018. Acute Art worked with the artists to capture the sculpture, in situ, in order to present it in VR for audiences across the globe, via their own headsets, smartphones, tablets, and the associated Acute Art apps. But — perhaps piggy-backing on the wider spread of AR through everything from Instagram Stories and Snapchat filters to Pokémon Go — Acute Art has focused its efforts in AR, which sidesteps VR’s display hurdle by being viewable first and foremost through smartphones and tablets, making use of their inbuilt cameras to bring the artworks to life. VR must be adapted to be viewed outside of headsets; AR is designed to be viewed outside of headsets. AR is then (currently) not only set up to reach much wider audiences, but is also able to move with those audiences, offering up the potential for site-specific artworks, exhibitions, and experiences. In late 2019, Acute Art presented Koo Jeong A’s density in The Regent’s Park as part of Frieze Sculpture. Using a smartphone or tablet and Acute Art’s app, viewers located in the Park conjured the AR sculpture through their device. density, a shimmering, floating, opaque ice cube, moves with the viewer, reflecting and refracting the shifting surroundings in real-time. (Since the time of writing, The London Mastaba has been re-released in AR.) AR engages with viewers by asking them to play an active role in its materialisation, offering a degree of play and a dimension of audience engagement that is not commonplace in the art world. But XR offerings that take viewer experience further are those that engage with and reflect on the medium. These tend to be artworks, exhibitions, and experiences created for XR, rather than those simply created in XR. Perhaps the best example of this is Jordan Wolfson’s Real Violence, presented in 2017 at the Whitney Biennial. The 2-minute-25-second meditation on violence had the long lines that are a hallmark of VR headset experiences, with each headset acting as a one-person bottleneck. The long line, however, moved quickly, as few could bear the untraviolent, bloody work for even half a minute. As such, the artwork simultaneously demonstrated our collective disdain for violent action and the reflexive manner in which we look away.”© 2026 Harriet Flavel Ltd