Art Here and Now » Visual

Zoom Into Every Brush Stroke of Art History’s Masterpieces

Trout Monfalco — Sat, 05 Feb 2011 03:34:39 +0000

Google Art Project launched this week, putting the work of art museums around the world online in a consolidated place. Using Google’s Street View technology, you can walk around the galleries and look at the art on the walls. At launch, museums include Tate Britain, MoMA, the National Gallery, the Van Gogh Museum and many more. For me though, the best part of this is the high resolution images of the artwork. You can zoom in on paintings like Van Gogh’s Field with Flowers near Alrles so far that you can see every brush stroke. Seeing images in a text book or in a standard Google search lets you get the layout of a picture. But looking at the work close up lets you see how the art was really made. That’s what I love most when I get to see art in person. Google Art Project recreates that experience when you can’t see the art in person – or when the museum is so crowded you can’t see it once you get there.

A preview of Google Art Project.

Behind the Scenes.

Google Art Project
Tate Britain’s experiences launching their collection in Google Art Project, and why they did it.

Color Photographs of Russia – Before Color Film Exists

Trout Monfalco — Tue, 31 Aug 2010 06:16:13 +0000

Today, photographs are taken from devices in our pockets, then beamed to a worldwide audience in a matter of moments. At the dawn of photography, the equipment was large and cumbersome, developing glass plates to reveal images was an intense process, and color, of course, didn’t exist. To take photos required an expedition of many to haul all this equipment, often at great expense. Simple black and white photos involved lots of labor to produce.

So add to this a great invention – shooting in color, before the invention of color film. This was accomplished by shooting three images, one quickly after the other, each with a red, blue and green filter over the lens. After the film was developed, they could be projected using three magic lanterns, also with red, green and blue filters, overlapping to recreate the color image. This is the screen plate color process. Prokudin-Gorskii had studied the technology in Germany, but invented his own camera and projectors for his photographs.

From 1909 to 1915, before the invention of color film, photographer Sergei Mikhailovich Prokudin-Gorskii won the support of Tsar Nicholas II to set out on an expedition to photograph the Russian Empire. By 1918, the Empire had fallen, and Prokudin-Gorskii was living in Paris. In 1948, after his death, the Library of Congress bought the entire collection from Prokudin-Gorskii’s heirs.

Here are some examples of the collection. To view the entire collection, visit The Library of Congress – The Empire that was Russia, The Prokudin-Gorskii Photographic Record Recreated.

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Haiti’s Only Film School Keeps Filming

The Electrical Colossus Ascends Icelandic Peaks

Trout Monfalco — Wed, 25 Aug 2010 15:02:21 +0000

From the moment we began pumping electricity out to homes and businesses, we chose a completely utilitarian path. The designs for cables and towers were great invention and engineering. But what they looked like was solely based on use, not the people who had to live with them. How would a mass of cables look against the sky? How would electrical poles line the streets? How would electrical pylons break across the landscape?

A design competition was held by Landsnet, the national power company of Iceland, in cooperation with the Association of Icelandic Architects. Choi and Shine Architects proposed a new design for Icelandic electrical pylons so beautiful, yet so natural, you wonder why we didn’t build them this way to start with. And they cost no more than what we’ve built before.

These electrical pylons are in human form, the human arms and hands holding the electrical lines they carry. The human figures can be posed in different ways depending on the landscape they live on. Figures on the sides of mountains can appear to be climbing. Scaling down, they may appear to carefully side step, keeping balance. When two figures pass each other, they can look back to each other, even sharing glances. These human forms and poses are created using duplicated components and scaffolds similar to those used in traditional pylons.

“Like the statues of Easter Island, it is envisioned that these one hundred and fifty foot tall, modern caryatids will take on a quiet authority, belonging to their landscape yet serving the people, silently transporting electricity across all terrain, day and night, sunshine or snow.”

Telegraph UK – Chain of human pylons planned for Iceland
bustler – Choi+Shine wins BSA Unbuilt Architecture Award for Land of Giants
Wired – Iceland Considers Humanoid Pylon Design to Carry Electricity

Update on Art and Artists in Space

Trout Monfalco — Sun, 22 Aug 2010 21:59:25 +0000

In a post several years ago, Artist Astronauts, Artist Cosmonauts, Artists in Space, we covered a lot of history of art and artists in space. Lately this topic has re-entered the news.

History Detectives on PBS covers a story trying to prove the fabled Moon Museum true or false.

Watch the full episode. See more History Detectives.

History Detectives online only interview with astronaut and artist Alan Bean.

Watch the full episode. See more History Detectives.

Alan Bean, astronaut and artist, appears on The Colbert Report.

Buy related work: In the Stream of Stars: The Soviet-American Space Art Book (by Alexey Leonov and others), Apollo : An Eyewitness Account By Astronaut/Explorer Artist/Moonwalker by Alan Bean, Baghdad Journal: An Artist in Occupied Iraq, by combat artist Steve Mumford, They Drew Fire – a documentary about combat artists in World War II; and work by Laurie Anderson.

Artist Astronauts, Artist Cosmonauts, Artists in Space

Ten Contemporary Indian Artists

Trout Monfalco — Wed, 03 Feb 2010 15:57:54 +0000

At this Ted Talk, Ravin Agrawai presents an overview of 10 upcoming contemporary Indian artists. Below is the talk, and more in depth information about each artist.

More about the artists

Bharti Kher at Hauser & Wirth
Alwar Balasubramaniam
Chitra Ganesh
Excerpt from Rabbithole
Jitish Kallat
Perspectives on contemporary art, interview with The Economist
N.S. Harsha
Dhruvi Acharya
Raqib Shah
A group show including the work of Raqib Shah where ornamentation is given voice.
Raqs Media Collective
Subodh Gupta
Show from the Jack Shainman Gallery, New York
Ranjani Shettar

Indian culture found in the artist’s work

amar chitra kathas – “Immortal Captivating (or Picture) Stories”, is one of India’s largest selling comic book series, with more than 90 million copies sold in 20 Indian languages. Founded in 1967, the imprint has more than 400 titles that retell stories from the great Indian epics, mythology, history, folklore, and fables in a comic book format. (wikipedia)
bindi (as used by Bharti Kher) – is a forehead decoration worn in South Asia (particularly India) and Southeast Asia… Traditionally it is a dot of red colour applied in the center of the forehead close to the eyebrows, but it can also consist of a sign or piece of jewelry worn at this location. The bindi has become a decorative item and is no longer restricted in colour or shape. Self-adhesive bindis (also known as sticker bindis) are available, usually made of felt or thin metal and adhesive on the other side. These are simple to apply, disposable substitutes for older tilak bindis. Sticker bindis come in many colors, designs, materials, and sizes. Fancier sticker bindis are decorated with sequins, glass beads, or rhinestones. (wikipedia)

City Hostel, Seattle – Every Room by a Different Artist

Trout Monfalco — Tue, 02 Feb 2010 08:21:48 +0000

City Hostel, in the Belltown neighborhood of Seattle, features 54 rooms, each designed and decorated by 47 Seattle artists. The hostel also features a 20 seat movie theatre, with frequent art events, screenings and openings. In 2008, City Hostel was voted the top hostel in the United States by Hostelworld.com.

Artists were asked to volunteer their efforts instead of being paid outright, which caused some controversy in the Seattle art community. As some artists pointed out, when artists work on spec or for free, it devalues all artist’s work, making it likely future jobs to any artist will be for free as well. Hostels are however usually operated less for profit than passion. Hopefully in the future artists will be paid for their work. If the capital isn’t there for up front payment, then give them a royalty – 1% of the proceeds from each room stay goes to the artist who designed it.

Even without payment, the artists are largely excited about the project and the exposure it has actually brought after the hostel opened. The artists were uncensored and allowed free reign to the final outcome of each room, and have formed a community from the experience. Several reported commissions and buyers from the exposure even before the hostel opened.

Like other Art accommodations, this one is a unique, creative place to stay, celebrating local artists.

City Hostel site
Hostel Art Collective, a blog by the hostel’s artists
A list of all City Hostel artists
Hostel Art Collective Flickr Photostream
Lynn Shirmer’s Blog, thoughts on her experience working on her room
It Was the Best of Times, It Was the Worst of Times, The Stranger Slog. Includes comments by many artists who argue the benefits they received from working on the project, even though for free
City Hostel Seattle – Some Actual Information, from Belltown People
Hostel in Seattle Voted Best in US from ABC News

Conan O’Brien’s Portrait Made From Cheetos

Trout Monfalco — Mon, 01 Feb 2010 08:33:21 +0000

Here is a timelapse video of cheesy art posted by Eclectic Asylum Art. The portrait is made from 4 varieties of Cheetos (much like this more traditional agriculture art is made from 4 varieties of rice), using 2,000 individual Cheeto.

Charles Clary’s Deep Paper Sculptures

Trout Monfalco — Wed, 27 Jan 2010 05:46:04 +0000

Artist Charles Clary creates organic sculptures from deep layers of cut colored paper.

From Wired:

Artist Charles Clary says he wants his constructions to appear ever-expanding — overwhelming exhibition spaces like replicating viruses or reverberating sound waves. Inspired by microorganisms, anthills, and auditory phenomena, he layers colored paper to build up the variegated textures and sinewy shapes of his room-sized installations.

Charles Clary’s Massive Paper Cuts, image gallery from Wired
Charles Clary’s blog Percusive Art
Interview with Charles Clary from Design Milk

Paintings from Living Rice – Inakadate, Japan

Trout Monfalco — Sat, 23 Jan 2010 06:23:00 +0000

Back in 1993, people of Inakadate in northern Japan began planting four types of rice in patterns, which when mature, would form huge images when viewed from above.

Here’s a timelapse of several of the paintings growing into place.

Farmers use computer-aided plotting to design images and determine where the different varieties of rice should be planted.

A close up view

In the years since, other regions of Japan (and people in other countries) have joined in the practice. Meanwhile, Inakadate’s creations have become much more complex and sophisticated. Agreements between farmers have also allowed the artworks to span multiple farms.

View from a paraglider:

Photographers Produce Onè Respe to Benefit Haitian Relief

Trout Monfalco — Thu, 21 Jan 2010 06:44:37 +0000

San Francisco Bay Area photographer Lane Hartwell gathered photographers to publish a special magazine titled Onè Respe to benefit Haiti. The images celebrate life in Haiti, all taken before the earthquake. Other participating photographers include Mary Ellen Mark, Chet Gordon and Peter Pereira. The magazine was printed through HP’s MagCloud service. HP has decided to donate printing costs to the effort. All proceeds will be donated to the Red Cross.

Order Onè Respe.

Learn more

Photographers Unite for Haiti Fundraising from Wired
Lane Hartwell Photography
Mary Ellen Mark photography
Chet Gordon, photographer
Peter Pereira, photojournalist
MagCloud, print on demand by HP

Nichitsu Ghost Town, Haikyo of a Mining Town

Trout Monfalco — Sat, 31 Oct 2009 17:39:43 +0000

Nichitsu was a mining town in Saitama Prefecture, about three hours from Tokyo. At it’s peak in 1965, there were about 3,000 people living there. Now the town is completely abandoned.

Here the Tokyo Times blog posts many Haikyo photographs (廃墟写真, usually meaning photographs of modern ruins) of the ghost town.

Other photographers have also visited Nichitsu, including Michael John Grist, producing these photos of an abandoned Firehouse.

Read more about the history of Nichitsu (Google translation).

Two books by haikyo photographer Shinichiro Kobayashi:
Deathtopia and Ruins.

“Please Don’t Touch the (Touchable) Art.”

Trout Monfalco — Sat, 24 Oct 2009 16:00:57 +0000

I’ve had friends who collected Star Wars toys and kept them in the original packaging to protect their value. This certainly protects the monetary value, but doesn’t it deprive you of getting everything out of that toy it was created for? If you want to spark your imagination, have a fun afternoon, and play with your friends, you need to rip open that package and start shooting storm troopers and levitating x-wings. It’s almost impossible to experience all the joy, fun, creativity and bonding with friends those toy-makers intended if you leave the toys in their package.

For much of the art in the world, you can look at it or listen to it and get everything the artist intended. It doesn’t matter if most paintings are behind glass, you can still see it just fine and get the full effect. Like a baseball card collector who keeps his cards in plastic sleeves, you can still see the cards just fine and enjoy them to their full effect. Their monetary value is still protected too.

But more and more contemporary art is created by artists who intend you to play with it. The full meaning and experience of the work requires you to interact, contributing your ideas and sometimes even physically building what the work becomes. This work needs to be touched for it to have any significant form, emotion and meaning.

Most museums and galleries are the stewards of the art in their collections. All objects are treated as historic artifacts, and must be maintained, restored, protected and studied. Museums must also protect all the money they’ve invested in building and maintaining the collection. Insurers, donors and the community, also understandably want to protect their own investments. Insurance rates may go up if art isn’t thoroughly protected from accidents, wear and theft. Many museums and galleries sometimes borrow work from other organizations. Obviously they want to return any work leant to them in the same condition it arrived, and want the same for their own work that’s been let out into the world.

Unfortunately, for that growing collection of contemporary artwork that gets its primary meaning, emotion and significance from interacting with it, keeping it locked behind glass isn’t good enough. Most museums and galleries have not caught up to this idea, even though this type of work has existed for almost a hundred years. All objects, regardless of the artist’s intent, are treated the same.

I first noticed this when I attended a Yoko Ono retrospective in the ’90s. In most of her work, Yoko gives direct instructions to be completed, sometimes completely in the reader’s imagination, other times interacting with objects she’s made. In this exhibition, though, there were guards and watchers in each room who would stop anyone from touching anything, even when Yoko’s instructions told you to. One example is Play It By Trust, a long table with 10 completely white chessboards. In Montreal, 2009, it happened as it should:

Yoko Ono’s idea of license, the setting up of a situation where others could complete a work of art instead of the artist, was a radical departure from the existing concept of the role of the artist. – Jon Hendricks

Yoko Ono’s work continues to cause interaction problems for museums. In August of this year, the Seattle Art Museum fired a security guard who interacted with Painting to Hammer a Nail In, a piece which asks you to hammer a nail into the painting. On the wall next to the painting was this text placed by the museum, along with a box of nails:

Museum visitors are invited to pound a nail into this painting. Like so
much of the work in this exhibition, while the idea might at first seem a
destructive, physically aggressive act against the accepted traditions of
painting and museums in general, in the end the concept opens up new
potentials for painting, and for bringing others besides the artist into
the creative act.

Yoko Ono herself poetically states her intentions.

What I’m trying to do is make something happen by throwing a pebble into the water and creating ripples…I don’t want to control the ripples. – Yoko Ono

In 1957, Paris, a group of “reactionary nihilist intellectuals” stormed a Dada exhibition and grabbed Man Ray’s piece titled Object to Destroy. They threw it on the ground and shot it with a pistol before police arrived and arrested them for doing just as the title commanded. Time Magazine wrote about the incident at the time in The Theater: Battle of the Nihilists.

How do we know what’s allowed and what isn’t? Should we do what the artist tells us or follow the rules of a museum? Who gets to decide? A simple, direct solution is presented by The Onion in Struggling Museum Now Allowing Patrons To Touch Paintings:

“Though it contains more than two million pieces and represents a profound legacy of artistic achievement, most people remain completely indifferent to our museum,” Met director Thomas P. Campbell said. “So we decided to try something a little different and give visitors a chance to experience our timeless works of art up close and personal.”
“You can’t grasp the brilliance of a great painting just by looking at it,” said Phil Brehm, 32, who acknowledged that he hadn’t set foot inside a museum since a mandatory field trip in high school. “To truly appreciate fine art, you need to be able to run your fingers over its surface and explore its range of textures.”
“Or just rub your face all over it, like I do,” Brehm added.

Of course, In the real world, I hope for a middle ground. Museums need to determine which pieces derive a large part of their meaning and significance from interaction. For these pieces, the museum’s primary purpose should no longer be to simply protect their objects. They must protect the full artistic experience, so that people can feel for themselves the art’s purpose and meaning.

One museum that gets this is the Tate Modern. I visited several years ago and found the five-story swirly-slide by artist Carsten Höller. Laughter echoed around the large room as people slid down the tubes.

In 1971, the Tate exhibited a very interactive artwork, Bodyspacemotionthings, by artist Robert Morris. After only four days, and many splinters and bruises, the artwork was broken by all the interaction and then closed. Last May, a new version of the work was exhibited, and this is what it looked like:

Even knowing the potential for destruction, possibly higher insurance rates and injured patrons, Tate did it anyway.

So what’s the answer? And why should we care?

I forgot to mention that I had lots of Star Wars toys when I was growing up. I played with them all the time. They ended up with broken arms, unrecognizable dog-chewed heads, peeling paint and caked-in mud. Every dent and scrape added more to their made-up history in my imagination, making them even more fun and interesting. Today, I no longer have them. If I did, I certainly couldn’t sell them for any money. No one would want them.

I don’t want irreplaceable, important parts of our history destroyed. But in the museum’s Star Wars collector zeal, preserving every piece of art behind plastic and glass, we lose the art’s spirit, we lose it’s importance, the very reason it’s worth collecting to begin with. And the people visiting this work are disconnected from it. They don’t get it, shrug and move on. This is the very work that has the most potential to deeply connect with people in our modern world.

I think there must be a middle way.
Maybe museums can have artists build two copies of each work. One to protect for value and history, the other to take out of the box, to get dirty and broken. That’s what the most passionate toy collectors do.

Time Magazine, The Theater: Battle of the Nihilists, April 1957
Yoko Ono’s Official Site
More about Man Ray
What is Conceptual Art?
The Seattle Art Museum
The Stranger Slog, Dear Yoko: This is an Intervention
Tate Modern, Bodyspacemotionthings
BBC, What Closed Tate’s 1971 Art Show?
Artists Robert Morris and Carsten Höller

Buy stuff:

Conceptual Art – Not a Good Investment

Trout Monfalco — Wed, 21 Oct 2009 03:54:42 +0000

Conceptual Art relies on ideas (concepts) and audience participation for it’s effectiveness, where many other kinds of art rely more on the object, and the skill the artist used to create it.

The New York Times asks Has Conceptual Art Jumped the Shark?

…conceptual art after Duchamp reminds me of paging through old New Yorker cartoons. Jokes about Cadillac tailfins and early fax machines were once amusing, and the same can be said of conceptual works like Piero Manzoni’s 1962 declaration that Earth was his art work, Joseph Kosuth’s 1965 “One and Three Chairs” (a chair, a photo of the chair and a definition of “chair”) or Mr. Hirst’s medicine cabinets. Future generations, no longer engaged by our art “concepts” and unable to divine any special skill or emotional expression in the work, may lose interest in it as a medium for financial speculation and relegate it to the realm of historical curiosity.

I think the premise of the story – that conceptual art doesn’t have good resale value – is sound. It’s hard to determine a piece’s monetary value when the object itself isn’t where the value lies. Because the artistic merit of something as etheral as an idea is very subjective and changes through time, how will you have any idea what it’s worth? This is in contrast to an object, good idea or not, that is created with a great deal of skill and effort. Even if the idea is a bad one, or whose merit fades over time, the high level of craft will likely still be appreciated.

This really raises the question – how should conceptual artists make a living? Those New Yorker cartoonists still get paid to create cartoons, even though the cartoons might not have the same impact 20 years from now. I’m sure some are understood to have a cultural lifespan. Yet their current value is still understood, and artists are paid. If this is true, that some conceptual art has concepts which have a lifespan, how can artists pay for their livelihood and efforts just like those cartoonists?

I have some ideas, but what do you think?

Books on conceptual art.

David Hockney’s Advice for iPhone Painting

Trout Monfalco — Sat, 17 Oct 2009 10:03:03 +0000

For about a year now, as many stories have covered, painter David Hockney’s new medium is the Brushes application on his iPhone. He’s had a gallery show with this work, with more scheduled. He is certainly not the first. For painters he has this advice: use your thumb, not your index finger.

The thing is,” Hockney explains, “if you are using your pointer or other fingers, you actually have to be working from your elbow. Only the thumb has the opposable joint which allows you to move over the screen with maximum speed and agility, and the screen is exactly the right size, you can easily reach every corner with your thumb.

Some video of Hockney’s work, and his thoughts on what is unphotographable.

Hockney has a history of using technology to create artwork. Here he is in 1985 using the Quantel Paintbox to create computer art.

Read the complete interview, David Hockney’s iPhone Passion at The New York Review of Books.

Visit David Hockney’s official site.
Get the work of David Hockney.

Medici Bank Minister Pleads “No More Art, Please” in Newly Discovered Letters

Trout Monfalco — Fri, 02 Oct 2009 16:30:53 +0000

In these recently uncovered fake letters, imagined to have come from the archives of the fake University of Italy School of the Arts at Florence (UISAF), the Minister of Medici Bank, Francesco Sassetti, pleads with the head of the Medici Family and defacto ruler of the Florentine Republic, Lorenzo de’ Medici, to stop spending the bank’s and family’s holdings on the arts.
Available exclusively on Art Here and Now.

From: Francesco Sassetti, Minister – Medici Bank
To: Lorenzo de’ Medici, The Magnificent

Dear Lorenzo,
Though your family has a long history of supporting artists, because of the recent financial and political difficulties, I must request that you consider abandoning this legacy of extravagance.
As I have been balancing this year’s expenditures, I can’t help but notice the exorbitant amounts it requires to not only pay for artworks, but to also house and feed these artists. Michelangelo Buonarroti has been living in your household for five years, in excess of $90,000 per year [currency adjusted to equivelant U.S. Dollars -ed.]. Surely he could rent his own apartment, and you could simply purchase any artwork from him you liked once completed? Must we be responsible for an artist’s entire livelihood and every material need?

We must protect the assets of The Bank and the Medici trust, for the bank’s members and the family, both current and future. These creative works and artist supports are a drain on these financial resources, deprive these members from larger profits, and serve no purpose except the pursuit of notoriety.

I plead with you. We must stop this reckless spending. The livelihoods of bank stakeholders and future Medicis depend on it.

Sincerely,
Francesco Sassetti, Minister – Medici Bank

Dear Francesco,
Your bold pleading is certainly brave. Perhaps you have a death wish.
Ah, ha, just a joke!
You have a long history with me, and my father before me. Only from someone so dedicated to our cause would these words be tolerated. Yet I am sure you are not the first to think them.

Even if I accepted your argument that art was wasteful, you act as though we aren’t losing money in more ridiculous, costly ways. May I ask, how many horses do you own? How many rooms are in your house? How many banquets have you held this year? How many guests have you fed? I’m sure you like to be questioned about your expenses as much as anyone. I mention this purely for example, not from any plan to deprive you of your lifestyle.

In contrast to The Bank’s and Family’s complete holdings, housing a few artists and funding their work is a handful of pebbles freed from a mountain. We could indeed just buy completed works, but if so, then where would the artist live and work to make them? Michelangelo’s last work took a year to complete. The Dome took almost a lifetime. By what means should they live to make this work we would later buy? If they took to the trades to sustain themselves, then when would they have time to make this work?

I find your logic faulty.
-Lorenzo

From: Francesco Sassetti, Minister – Medici Bank
To: Lorenzo de’ Medici, The Magnificent

Dear Lorenzo,
It is my wish to eliminate all waste, regardless of size, so that we may all realize our maximum profits and potential. You must agree that over time, these types of expenditures throughout your history add up to far more than pebbles from a mountain.
You righteously question my horses, even though we have never once questioned The Giraffe? How much did the buildings, heating, feeding and men cost for that one? And to what end?

It is not my concern, and should not be yours, where, when and how these artists produce the work. Men must choose their paths. If they cannot succeed to secure a living from one trade, they must pursue another. If the quality of their work cannot attract enough buyers to support more in the future, then perhaps their work is not of a quality worth making.

Please invest this money in important endeavors, instead of supporting those who cannot support themselves.

Sincerely,
Francesco Sassetti, Minister – Medici Bank

Francesco,

Enough. Go no further.

I am the highest power of this family, the Republic of Florence and places beyond.
In this area, we will continue in our family’s tradition.
I owe you no explanation or justification. As our Minister, you will do as I command you.

For future clarity, to end this discussion, and out of some respect of your long service, I will conclude with these thoughts.

You have gall to demand we not support those who in their trade cannot support themselves,
when for all of your life we have done the same for you.
Do you think counting our money is more important work than creating The Basilica?

When we are all dead and buried, very few people will remember you and I.

They will remember Michelangelo and Leonardo. They will remember Sandro and Brunelleschi.
They will remember Florence as the place those artists lived. And they will remember us, if at all, as the people who helped them.

From vague, unsure memory they may believe we were kings. In some ways we are kings, because we are wealthy and powerful.
And like kings, we have some duty to our country and its people. Through learning, engineering and art, this duty is fulfilled, bettering the people, and making Florence a destination for others who seek an enlightened life.

Without this impulse, our money and power amount to nothing.
The Bank is not important and will not be remembered. The money’s only real worth is the lasting affect it has on our country and our world.

Midas follows all the others:
Turns to gold the things he touches.
Where’s the joy in owning treasure,
If it doesn’t give you pleasure?
And where’s the sweet taste for a man
Who only feels his thirst forever?
Who’d be happy, let him be so:
Nothing’s sure about tomorrow.

The Medicis will one day be gone, but the art will remain forever.

- Lorenzo de’ Medici