Painting Camera Application – I recently saw a framed painting at the Betty Cunningham Gallery on the Lower East Side: a naked woman hanging from a window, asleep, depicting the old New York Hotel and Empire State Building and fish hanging above it. I opened the smartphone app called Magnus, took a quick photo, and clicked Apply. After a few seconds I found this addictive, satisfying. The app is compatible
The painting was done by Philip Perlstein, who, according to the application, is known for updating the tradition of painting with realistic figures. It is titled “Model of Empire State Building”. In 1992, it measured 72 inches by 60 inches and sold for $300,000. It sold for $170,500 at Sotheby’s in New York in 2010, App told me. Magnus then puts this information into a folder called “My Art” for digital storage – and future reference.
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Magnus is part of a wave of modern apps that try to write in the physical world to provide instant information about songs, clothes, plants or photos. First came Shazam, an app that allows users to record songs in seconds. The wild success of Shazam – it has more than one billion downloads and 20 million users, and was bought by Apple last year for $ 400 million – has spawned endless imitations. Shazam of plants or Shazam of clothing, now Shazam of art.
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Art-oriented applications use image recognition technology, each with a unique twist. Magnus has built a database of over 10 million art images, mostly collectibles, and aims to help art buyers navigate the popular information space of galleries and fairs.
Other programs are aimed at museum-goers: for example, Smartify takes an educational approach, and integrates with museums and sometimes galleries to download digital versions of their collections, murals, and information about artists. Google Lens – Google’s advanced image recognition technology – is making a new splash in art. In June, Google Lens announced a partnership with the Young Museum of San Francisco to showcase parts of the museum’s collection. In July, Google partnered with Wescover, a site that focuses on design elements, public and local art, furniture, and artwork—allowing you to name a hidden painting in a WeWork space or coffee shop.
Helen Frankenthaler’s Scandals of Ms. Cohen at the Paris Museum of Art: left, “State Window” (1963-64); Top right, “State City” (1964); and lower right, “Summer View: Provincetown” (1961). / Artists for Social Rights (ARS), New York; By Vincent Tullow of the New York Times
There are few challenges to creating Shazam in art. Magnus Resch, founder of the Magnus App, wrote one: “There is more art in the world than songs.” It is very difficult to list specific works of art in specific areas.
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Copyright laws also pose challenges. Reproduction of artwork may violate the copyright of the owner. Magnus argues that because the images are created and shared by users, the app is protected by the Digital Millennium Copyright Act. Galleries and competitors, Mr. Resch said, they complained about uploading images and data to the app; In 2016, he was removed from the Apple Store for five months, but Apple reinstated Magnus after removing controversial content.
Another problem is that image recognition technology often lags behind when it comes to detecting 3D objects. Even a famous artist can make mistakes in its applications, resulting in an endless, infinite technology that thinks “infinite”.
A more obvious question in these areas then becomes: What information can the app provide that can enhance the art viewing experience? What can Shazam bring to art?
Answer Mr. Resh is simple: efficiency. Galleries rarely price and often don’t provide the original mural, so you should ask for the person’s name or even the artist’s name.
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Jelena Cohen, the brand manager of Colgate-Palmolive, bought Magnus his first artwork, a painting, from the refrigerator after he used it. Before testing the app, lack of information was a challenge, he said. “I used to go to these art shows and I was embarrassed or ashamed because nothing was on display,” said Ms. Cohen. “I liked that the app would take a picture of a piece and give me the exact date, when it was last sold, and what it was sold for. It helped me talk.”
Magnus doesn’t give you an art history lesson, or even a basic summary of the work. Like Shazam, it’s a little obscure. Smartify, on the other hand, wants to use an app that looks at audio guides. Stick with Gustave Caillebotte, as I did, and the app offers wall-to-wall information with the power to learn. Part of the app’s goal is ease of use. Blind people can use Smartify in their phone’s audio settings, and the app works with audio integration. The application is elegant and straightforward, and sources are generally cited and fact-checked.
Information about the painting Ms. Cohen’s post on the Magnus app shows the art’s price and sales history. Credit…Vincent Tullow of the New York Times.
Magnus has built a database of 10 million artworks. Mrs. Cohen uses applique in Frankenthaler’s other works from Paris, The Beach (1961), left, and Picture Square (1961), right. By Vincent Tullow of the New York Times
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The main limitation of Smartify is that since the app integrates directly with museums, it works well in many places. The National Gallery in London, which I tried, included; Not one painting left the permanent collection. But in Metta, where Smartify posted limited photos, I captured the mood of the afternoon with photos that even the facts I could read on the wall could not reproduce.
Perhaps even as these apps build their databases, some museums shy away from the apps themselves. The Metropolitan Museum of Art released its fan app in 2014, closing it last year.
“As the app does so many things, we wanted to do it better,” said Sophie Anderson, interim chief executive of the Met. It automatically translates downloaded content into your phone’s browser as a web page, no download required. Also, the Jewish Museum introduced new audio tours in July, all on the interface.
“Apps were a joke a few years ago, and now everyone in the museum industry is going through the motions of these apps,” said Jia Jia Fei, the Jewish Museum’s digital director. He said that most of the apps that people download are not used on their phones. “You use your email and Instagram.”
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After a few weeks of trying smartphone applications in museums, galleries, street corners, and the occasional coffee shop, I realized that they did not improve the quality of my visual experience. The volume of data is very high when working with Smartify – I was able to learn more about the unique figures of J.M.W. Turner’s Ulysses Mocking Polyphemus – The simple act of holding up my phone to take a picture turned it into a vivid portrait of a sprawling tyranny. Additional information should not be mediated by the Museum Experience screen.
And phones can be found in museums, turning a visit into a brochure. Ms. Fay calls it a “grey screen,” and that’s one reason why audio is so important to the Jewish Museum. Like Shazam itself, the app is best used for quick responses — a lifeline to a context-free scene. What is it? How much does it cost? Who did it? (Here, Magnus is the leader.)
The Shazamification of art is a product of an age where data supersedes perception. But the app shouldn’t be your only guide to the visual world. Walking through the new Magnus app museum, I flipped through old photos, not looking too hard at the details because the camera tracked me and the app knew more about me than I did. There was a little bit of addiction, and the satisfaction of recognition. It was hard to stop.
A copy of this article was published in Section C, page 1 of the New York edition: “Visual Applications in Art History”. Order reprint | In today’s edition of Syndication, we will continue to provide the community with the good things you expect. Click here to learn more
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