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In Rare 'Antiques Roadshow’ Misfire, High School Art Gets Valued at $50,000

PBS Screenshot
PBS Screenshot

PBS's Antiques Roadshow is a television show where people have their furniture, art, and other collectibles appraised by a panel of experts to the delight of the at-home audience. The experts look over each piece and give their best estimate on its origin and value. Since it's just for entertainment, the appraisals are considered “verbal approximations of value” and not necessarily entirely accurate. Past appraisals will even sometimes get updates on the show's website with more exact values, but for the most part, the panel generally lands somewhere in the ballpark of the actual worth of the item. That is, until they accidentally appraised a high schooler's art project for $50,000.

As Hyperallergic reports, last year, PBS aired an episode of Antiques Roadshow where an Oregon man named Alvin Barr brought in a "grotesque face jug." The jug had six different contorted faces on it along with a variety of scales and patterns. Barr found it covered in feathers and mud at an estate sale in a barn in Eugene, Oregon. He bought it for a mere $300.

Expert appraiser Stephen L. Fletcher examined the piece and estimated that it was from either the late 19th century or early 20th century. He assigned the jug a hefty value of $50,000. Understandably, Barr was floored. It didn't come to light until later that the jug had actually been made in the 1970s by an Oregon high school student named Betsy Soule.

Soule was alerted to her artwork's television premiere by a friend who saw the episode in January. “You’ve got to get on the internet and look up Antiques Roadshow; that weird pot you made is on there,” the friend said, according to The Bulletin.

The artist contacted the show and let them know about their mistake. She accompanied the story with a picture of herself as a student surrounded by the various jugs she created. Roadshow admitted their error and added the correction to their website. They also included a tidbit from Fletcher, who explained that he started to feel doubts after his initial estimate:

"After a couple of decades of Roadshow seasons, I note that each city presents new opportunities for discoveries and learning experiences. The grotesque glazed redware pot I saw and admired in Spokane is unlike any other example I have seen. We have sold at auction several examples from the 19th century — all of which are from the eastern half of the United States, and have a single grotesque face — some for five figures. This example, with its six grotesque faces, was modeled or sculpted with considerable imagination, virtuosity and technical competence. This mysterious piece was reportedly found at an estate sale, covered with dust, straw, and chicken droppings, and purchased for $300. As far as its age is concerned, I was fooled, as were some of my colleagues. Alas, among the millions of people who watch Antiques Roadshow faithfully was a woman who identified herself as being a friend of the maker, a lady named Betsy Soule! She created this in [1973 or ’74], while in high school! The techniques of making pottery, in many ways, haven’t changed for centuries. Obviously, I was mistaken as to its age by 60 to 80 years. I feel the value at auction, based on its quality and artistic merit, is in the $3,000-$5,000 range. Still not bad for a high schooler in Oregon.”

You can watch the whole episode on the PBS website.

[h/t Hyperallergic]

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iStock
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Art
The Simple Optical Illusion That Makes an Image Look Like It's Drawing Itself
iStock
iStock

Artist James Nolan Gandy invents robot arms that sketch intricate mathematical shapes with pen and paper. When viewed in real time, the effect is impressive. But it becomes even more so when the videos are sped up in a timelapse. If you look closely in the video below, the illustration appears to materialize faster than the robot can put the design to paper. Gizmodo recently explained how the illusion works to make it look like parts of the sketch are forming before the machine has time to draw them.

The optical illusion isn’t an example of tricky image editing: It’s the result of something called the wagon wheel effect. You can observe this in a car wheel accelerating down the highway or in propeller blades lifting up a helicopter. If an object makes enough rotations per second, it can appear to slow down, move backwards, or even stand still.

This is especially apparent on film. Every “moving image” we see on a screen is an illusion caused by the brain filling in the gaps between a sequence of still images. In the case of the timelapse video below, the camera captured the right amount of images, in the right order, to depict the pen as moving more slowly than it did in real life. But unlike the pen, the drawing formed throughout the video isn't subject to the wagon-wheel effect, so it still appears to move at full speed. This difference makes it look like the sketch is drawing itself, no pen required.

Gandy frequently shares behind-the-scenes videos of his mechanical art on his Instagram page. You can check out some of his non-timelapse clips like the one below to better understand how his machines work, then visit his website to browse and purchase the art made by his 'bots.

And if you think his stuff is impressive, make sure to explore some of the incredible art robots have made in the past.

[h/t Gizmodo]

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Tessa Angus
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Art
Surprising Sculptures Made From Fallen Feathers
Kate MccGwire, Orchis, 2012
Kate MccGwire, Orchis, 2012
Tessa Angus

Kate MccGwire is a British sculptor with an unusual medium: feathers. Her surreal, undulating works often take the form of installations—the feathers spilling out of a drain, a stove, a crypt wall—or stand-alone sculptures in which antique bell jars, cabinets, or trunks contain otherworldly shapes.

MccGwire developed her obsession with feathers after moving to a studio barge on the Thames in 2006, as she explains in a video from Crane.tv recently spotlighted by Boing Boing. The barge was near a large shed full of feral pigeons, whose feathers she would spot on her way to work. "I started picking them up and laying them out, collecting them," she remembers. "And after about two weeks I had like 300 feathers." At the time, concerns about bird flu were rife, which made the feathers seem "dangerous as well as beautiful."

When not supplied by her own next-door menagerie, the feathers for her artwork come from a network of racing pigeon societies all over the UK, who send her envelopes full every time the birds molt. Farmers and gamekeepers also send her fallen feathers from birds such as magpies, pheasants, and roosters.

The cultural associations around birds are a big part of what inspires MccGwire. “The dove is the symbol of peace, purity, and fertility," she told ArtNews in 2013, "but it’s exactly the same species as a pigeon—which everyone regards as being dirty, foul, a pest.”

The same duality is present in her own work, which she frequently shares on her Instagram account. “I want to seduce by what I do—but revolt in equal measure. It’s really important to me that you’ve got that rejection of things you think you know for sure.”

You can see some pictures of MccGwire's work, and watch the video from Crane.tv, below.

Kate MccGwire's installation "Evacuate"
Evacuate, 2010
J Wilde

Kate MccGwire's sculpture "Convolous"
Convolous, 2015
JP Bland

Kate MccGwire's installation "Gyre"
Gyre, 2012
Tessa Angus

Kate MccGwire's sculpture "Gag"
Gag, 2009
JP Bland

Kate MccGwire's sculpture "Writhe"
Writhe, 2010
Tessa Angus

Kate MccGwire's sculpture "Quell"
Quell, 2011
Tessa Angus

Kate MccGwire's sculpture "Taunt"
Taunt, 2012
Tessa Angus

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