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Bennett Miller, the Academy Award-nominated director behind Capote, Moneyball, and Foxcatcher, has always pushed the boundaries of cinematic storytelling. In this exclusive interview, he delves into the intersection of art, technology, and artificial intelligence, drawing fascinating parallels between the creative process in filmmaking and the advancements in AI-driven image generation, such as OpenAI’s DALL·E.

Bennett Miller’s Cinematic Vision

Miller has built a reputation for directing films that combine meticulous research, immersive storytelling, and profound character studies. His films have been critically acclaimed, earning multiple Academy Award nominations and redefining how true stories can be adapted for the screen. Throughout his career, he has explored the complexities of human ambition, deception, and the structures that shape creative expression.

The Intersection of AI and Filmmaking

One of the central topics in this interview is Miller’s perspective on the growing role of AI in creative fields. He reflects on how AI tools like DALL·E, which generate images from text descriptions, mirror aspects of the filmmaking process. Much like a director guiding a film crew, AI responds to prompts and iterates on ideas, leading to unexpected and sometimes profound results.

Miller discusses how AI is shifting the landscape of artistic creation, raising questions about authorship, originality, and the role of the human artist in an age where machines can produce visually compelling works.

The Evolution of Creativity in the Digital Age

Despite concerns over automation and the role of AI in art, Miller sees these technological advances as a continuation of artistic evolution. He compares it to historical shifts in art and cinema—just as photography transformed painting and digital technology reshaped filmmaking, AI presents both challenges and new possibilities.

He emphasizes that AI should be seen as a tool for artists rather than a replacement, allowing for new forms of storytelling and artistic experimentation.

A Philosophical Perspective on AI and Human Creativity

Throughout the conversation, Miller takes a thoughtful, almost philosophical approach to AI and its implications for cinema, art, and the human imagination. He highlights the need for artists to engage with these tools, understanding their potential while also questioning their limitations.

As AI-generated imagery becomes more sophisticated, Miller suggests that the role of the artist remains essential, even in an age of machine-generated content.

The Future of AI and Art

Bennett Miller’s insights provide a compelling glimpse into the future of art and technology. While AI continues to evolve, the human capacity for storytelling, interpretation, and emotional depth remains irreplaceable.

As filmmakers and artists navigate this new landscape, Miller’s perspective serves as a reflection on what it means to be creative in an era of technological transformation.

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Renowned British painter Glenn Brown has redefined the boundaries of contemporary art by merging Surrealism, Photorealism, and historical references into a unique visual language. Born in 1966 in a small mining village in northern England, Brown grew up surrounded by literature and music rather than visual arts. His work is celebrated for its meticulous detail, complex appropriations, and evocative distortions that invite viewers to question the meaning of art and originality.

The Early Foundations of Creativity

Brown’s formative years were marked by a love of books and music, fostered by his parents in rural Norfolk. He recalls his unexpected introduction to visual art through pop music:

“My first introduction to Henri Fantin-Latour’s paintings was by an album cover designed by Peter Saville for New Order.”

Programs from the Open University further expanded his education in art and film, giving him a rich cultural foundation before he ever set foot in an art college.

At art school, Brown’s education varied from academic life drawing to modernist theories of color and abstraction. He was influenced by the German and American art movements of the 1980s, including Gerhard Richter and Sigmar Polke, both of whom shaped his approach to the “death of painting.” As Brown explains:

“You build upon tradition, you play with it, and you break it whenever you want to.”

Painting in a Mediated World

Brown’s career has been deeply influenced by the concept of appropriation, drawing inspiration from artists like Sherrie Levine and Salvador Dalí. He reflects on the process of reinterpreting images:

“I loved Sherrie Levine’s photographs… where you become dizzy because you don’t know what to look at.”

This fascination led to his unique practice of creating “paintings of paintings,” using mediated images as his subject. His work bridges the gap between Photorealism and Surrealism, as seen in his pieces based on Dalí and science fiction illustrator Chris Foss. Brown notes:

“The idea of making photorealist paintings of photorealist paintings… seemed so mind-numbingly boring that I couldn’t bear to do it.”

Instead, he introduces distortions and layers that amplify fantasy and escapism.

A Dialogue Between Paintings – In the Altogether

For his exhibition In the Altogether, presented at Galerie Max Hetzler in Paris, Brown created a series of interconnected works over two years. He explains:

“Nothing was finished, but all the paintings were started, and they were all talking to each other.”

The paintings feature vibrant colors, dynamic contrasts, and intricate glazing techniques that add depth and complexity. For instance, Brown uses Indian yellow—a pigment derived from ox urine—to create unique tones:

“You apply this yellow over the top of a blue, and it turns this very peculiar green.”

One standout piece, The Untitled, is based on an Albrecht Dürer drawing. Brown manipulates the figure to blur gender distinctions, explaining:

“In my mind, it’s both Christ and Mary at the same time.”

The work includes a blank rectangle at the bottom, inviting viewers to title the piece themselves, an interactive gesture that encourages personal interpretation.

Humor, Depth, and the Role of Titles

Brown’s use of humor is central to his work, influenced by the deadpan wit of Marcel Duchamp. Titles like Dirty Little Seahorses and When the Satellite Sings are meant to provoke both laughter and deeper reflection. He describes the importance of titles:

“The title of a work is like adding an invisible color to the painting.”

Through this playful yet intellectual approach, Brown invites viewers to engage with his art on multiple levels, finding meaning and amusement in equal measure.

Glenn Brown’s Artistic Vision

With In the Altogether, Glenn Brown continues to push the boundaries of painting by combining meticulous technique with rich cultural references. His work reimagines the history of art while challenging viewers to question their perceptions. Whether through surreal landscapes or appropriated brushstrokes, Brown’s paintings create a dialogue between the past and present, offering a thought-provoking and playful exploration of humanity and creativity.

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David Reed is a prominent American contemporary painter known for his abstract works that emphasize color, movement, and light. With a distinct approach that blends traditional techniques with modern influences, his paintings often evoke a cinematic quality, mixing expressionist brushwork with a digital sensibility. In this interview, Reed discusses his artistic journey, from his early influences to his latest exhibition, Whirlpool.

Early Influences and Path to Art

Reed’s early life in San Diego, California, was shaped by modernist architecture, thanks to his uncle, architect John August Reed. This influence, combined with family members involved in art, created a foundation that would eventually lead Reed to pursue painting. He reflects on how McLaughlin’s minimalist work, often dismissed by others, piqued his curiosity and shaped his approach to space and composition.

The Impact of the New York Studio School and Milton Resnick

While studying at the New York Studio School, Reed encountered Milton Resnick, who challenged him to view paintings as a whole rather than focusing on isolated parts. Resnick’s unconventional advice helped Reed develop a more integrated approach to painting.

Color, Emotion, and Freedom in Painting

One of the defining features of Reed’s work is his use of color to evoke emotion. For Reed, color serves as an opening, offering an unarticulated yet powerful emotional resonance. He believes color in painting can liberate the viewer, creating personal connections that transcend commercial uses of color in media.

“Painting can fight back against [advertising] by using color in a way that’s free, that lets people experience in a different way and frees them up rather than trying to control them.”

Whirlpool: The Endless Possibilities of Painting

In Whirlpool, Reed seeks to create paintings that feel open-ended, inspired by an Edgar Allan Poe story about a whirlpool with simultaneous inward and outward motion. This dynamic interaction, where paintings pull viewers in before pushing them out, captures the essence of Reed’s recent work.

“I want these forms to be open… to think that the painting can open up sideways, above and below, and maybe be repeated in certain ways.”

Homage to Barnett Newman and the Use of Stencils

Reed’s experimentation with stencils has given him new freedom in manipulating color and form. In his homage to Barnett Newman, Reed uses red, yellow, and blue to invoke Newman’s abstract yet culturally resonant approach. This piece reflects Reed’s respect for Newman’s ability to blend intellectual depth with popular culture, a quality Reed aspires to in his own work.

“I think of that painting as an homage to Barnett Newman… he was so intellectual, but still so involved with pop culture.”

Conclusion: The Emotional Journey of Painting

David Reed’s dedication to exploring the emotional and visual language of color and form has cemented his place in contemporary art. His work continues to offer viewers a unique, open-ended engagement, revealing the transformative potential of painting in a world where color is often commercially driven. Reed’s exhibition Whirlpool serves as a testament to his belief in the enduring relevance of painting as an expressive medium.

Watch David Reed’s full interview to learn more about his journey and philosophy.

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Tony Cragg, one of the most influential sculptors of our time, has consistently redefined the boundaries of contemporary sculpture. Born in 1949 in Liverpool, Cragg’s work explores the dynamic interaction between materials, shapes, and meanings. Over the course of his five-decade career, his innovative approach has garnered international acclaim, including the prestigious Turner Prize.

In this exclusive interview, Cragg dives into his early influences, his fascination with science and geology, and how these elements have shaped his artistic vision.

Early Influences: From Geology to Art

His early exposure to geology provided Cragg with a foundation for manipulating physical materials in his art. He saw sculpture as a way to communicate deeper truths about the natural and man-made worlds.

“I’ve always been fascinated by the way the Earth forms and changes materials over time,” Cragg explains. “This understanding became crucial when I transitioned to sculpture, where I could experiment with form and push the physical limits of materials.”

The Power of Material: A Key Theme in Cragg’s Work

Cragg’s work is renowned for its use of diverse materials. Over the years, he has incorporated bronze, steel, wood, and even glass into his sculptures. Each material presents its own set of challenges, but Cragg sees these as opportunities for innovation rather than obstacles.

“Every material speaks differently,” Cragg says. “You don’t just impose a form onto a material; you need to have a dialogue with it. That’s what creates the tension, the life, in a sculpture.”

This approach is evident in his famous series “Early Forms” and “Rational Being,” where forms seem to grow organically, twisting and morphing in ways that challenge the viewer’s perception of materiality.

Science, Emotion, and the Meaning of Sculpture

Cragg often emphasizes the intellectual and emotional impact that sculpture can have. He sees sculpture not just as an artistic form but as a medium through which to explore the interaction between human perception and physical reality.

“Sculpture is about making sense of the world, not just visually, but emotionally and intellectually,” Cragg reflects. “I want my works to resonate on many levels, to provoke thought, and to challenge the way people see the world around them.”

His interest in science also plays a significant role in his process. Cragg explains that his scientific understanding of materials and forces allows him to manipulate them in new and innovative ways. In many ways, his work bridges the gap between art and science, creating sculptures that are both visually compelling and thought-provoking.

New Sculptures

Cragg’s latest exhibition, “New Sculptures,” demonstrates his continued evolution as an artist. In this new body of work, Cragg returns to his roots of experimenting with form, focusing on the interaction between man-made materials and the natural world.

“The new works are very much about form and the energy of shapes,” he says. “I’m still exploring how different materials can convey different emotions and ideas, but I’m also thinking more about how my sculptures interact with space and their surroundings.”

The exhibition showcases Cragg’s ongoing curiosity and willingness to push boundaries, proving that even after decades in the field, his creative spirit remains vibrant and undiminished.

Sculpture in Modern Culture: Cragg’s Broader Reflections

Beyond his personal practice, Cragg also reflects on the role of sculpture in modern culture. He believes that sculpture can offer insights into how the material world shapes our emotional and intellectual experiences.

“In modern society, we are constantly surrounded by objects and materials, but we often overlook how deeply they affect us. Sculpture makes us pause and think about those relationships,” Cragg notes.

For him, sculpture serves as a bridge between the material and the intangible, providing viewers with a new way of understanding the world around them.

Conclusion: Tony Cragg’s Enduring Influence on Contemporary Sculpture

Tony Cragg’s contributions to contemporary sculpture have left an indelible mark on the art world. His innovative use of materials, combined with his intellectual approach to form and meaning, continues to challenge and inspire viewers around the globe.

“All an artist is doing is taking the time and the reflection to see what forms can mean anything.”

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Alex Katz: A Master of Contemporary American Art and Printmaking

Alex Katz, born in Brooklyn, New York City in 1927, is a celebrated American artist known for his distinctive style that merges abstraction and realism. His work primarily focuses on portraiture, landscapes, and scenes of everyday life especially with his friends and wife Ada who is also his muse. Katz’s art, characterized by its bold colors, flat surfaces, and simplified forms, has made a significant impact on the world of contemporary art. In addition to his paintings, Katz is also highly regarded for his contributions to printmaking. His exhibition at Thaddaeus Ropac, 60 years of Printmaking, following his retrospective at the Guggenheim Museum in New York, is an occasion to explore this aspect of his work.

Early Life and Education: The Foundation of an Artist

Born to Russian immigrant parents, Katz was surrounded by creativity and perseverance from a young age. His father’s ability to thrive in competitive environments and his mother’s artistic background influenced Katz’s future path.

His introduction to art was informal, he recalls doing watercolors with his father and being influenced by modern art books such as the Bauhaus principles of Piet Mondrian.

Katz’s formal education in art began at the Cooper Union in New York City, where he enrolled after going to a trade school. His background in antique drawing and the pouncing technique (spolvero), which he learned during his teenage years, gave him a strong foundation that allowed him to excel in modern art studies. Katz’s time at Cooper Union enabled him to master the principles of Cubism and other modern art methods. He emerged as a top student, earning a scholarship to the prestigious Skowhegan School of Painting and Sculpture in Maine, where he discovered plein air painting and painted directly from nature. 

The Evolution of Katz’s Artistic Style

While everyone was doing abstract expressionist paintings, Katz turned to a blend of realism and modernism, characterized by flat, simplified forms and vibrant colors. Embracing the flatness and graphic quality, he  developed what would become his signature style. Katz’s portraits, particularly those of his wife, Ada, are some of his most iconic works. These portraits are known for their clarity and simplicity, capturing the essence of the subject with minimal detail.

Katz’s landscapes are equally important in his oeuvre. He often paints scenes from Maine, where he has spent much of his time. His landscapes, like his portraits, are characterized by their bold use of color and flatness, creating a sense of immediacy and directness. Katz’s work bridges the gap between abstract expressionism and pop art, making him a unique figure in the contemporary art world.x

Printmaking: A Crucial Medium for Katz

Printmaking has played a crucial role in Alex Katz artistic career. His interest in prints began in the 1950s, when he experimented with stencils. This exploration laid the groundwork for his later work in printmaking, particularly with silkscreen prints, which became popular in the 1960s.

Katz, emphasizes the importance of collaboration with skilled printers. He worked with several master printers, each contributing to the evolution of his technique and the quality of his prints. Katz admired printers who could take his ideas and elevate them, producing works that often exceeded his original vision.

Katz’s work with Aldo Crommelynck, a renowned printer who also worked with Pablo Picasso, is particularly noteworthy. Katz recalls how Crommelynck’s mastery of techniques like aquatint and his ability to push the boundaries of printmaking had a profound impact on his work. Katz also worked with other legendary printers, including Doris Simmelink and Hiroshi Kawanishi, who brought their own unique skills and sensibilities to Katz’s projects.

Katz’s Impact and Legacy

Katz has spent his life experimenting with different ways of representing reality, from the detailed antique drawings of his youth to the flat, simplified forms of his mature work. Katz’s work continues to be relevant, as he remains active in the art world, producing new work that resonates with both contemporary and traditional audiences. This ongoing exploration has kept his work fresh and innovative, ensuring his contributions to the history of art.