CAN AI BE TRAINED AS AN ARTIST
Interviewed by Megan Dematteo
Leaps, May 16, 2023
Muriel Quancard a New York-based fine art appraiser with 27 years of experience in technology-driven art, places the Botto experiment within the broader context of our contemporary cultural obsession with projecting human traits onto AI tools. “We're in a phase where technology is mimicking anthropomorphic qualities,” said Quancard. “Look at the terminology and the rhetoric that has been developed around AI — terms like ‘neural network’ borrow from the biology of the human being.
Image: Botto by Mario Klingemann
FROM BIRTH TO BLOCKCHAIN: THE EVOLUTION AND FUTURE OF DIGITAL PROVENANCE
Interviewed by Megan Dematteo
NFT Now, April 20, 2023
“Appraising is based on a methodology,” said Quancard. “Provenance is a big part of that,” she added but cautioned collectors against assuming that financial metrics like floor price and trading volume provide enough information.
ECONOMIC PROVENANCE AND THE AUDIT PROBLEM
How can expertise from time-based media art conservation help appraisers vet NFTs?
By Muriel Quancard & Amy Whitaker
Outland, July 8, 2022
This is the second part of a two-part essay on developing appraisal standards for NFTs. Find part one, on digital wallets and establishing provenance, below.
Image: Jennifer & Kevin McCoy, Quantum Leap, 2021
DIGITAL PROVENANCE AND THE WALLET PROBLEM
The blockchain promises an immutable record of provenance, but the custodial wallets and shared contracts used by some marketplaces make it difficult to verify authorship, complicating the work of appraisers and historians.
By Muriel Quancard & Amy Whitaker
Outland, June 17, 2022
Image: Joanie Lemercier, Polyblock - Platonic Solid, 2020
NICOLAS BAIER’S FIRST U.S. SOLO SHOW AT ARSENAL CONTEMPORARY
This is Baier’s first solo exhibition in the United States, continuing his work with exploring technology’s evolution and its influence on human life. Featuring both existing and new work, the show, curated between the artist and Muriel Quancard, is anchored by a striking sculptural installation—Vanitas (Artist Desk) (2012).
By Eliza Jordan
Whitewall, April 2019
THE SOLUNA MUSIC & ARTS FESTIVAL
OPENS IN DALLAS
“As cultural producer I have been interested in transversal approaches that privilege dialogue between disciplines. Confronting multiple point-of-views in collaborative creative processes allows to breach controlling forms and ideas. Music and sound have been recurring elements in my past curatorial work and I was introduced to Anna-Sophia Van Zweden who was developing a new format with the Dallas Symphony Orchestra to bring visual arts within the music realm.”
Muriel Quancard
interviewed by Kristine Roome
Artfuse, May 2016
SOLUNA
“This year’s edition of Soluna will feature a number of newly commissioned works and world premiere performances, which Curator-At-Large Muriel Quancard refers to as “a central part of the festival’s mission.”
Quancard says she deliberately sought artists known for experimenting with music and sound, “creating a contemplative, ethereal and sometimes cosmic experience.”
By Dave Muscari
Dallas Magazine, June 2017
It’s Not Wagner Anymore
In New Work Gonzalo Lebrija Updates Composer’s Classic with All-Women Mariachi Band
By Kellylouise Delaney
ArtNews, June 5 2018
These 5 events elevate Soluna to the next level
By Kendall Morgan
Culturemap, May 12 2017
Notes of Fly
By Muriel Quancard
Resource Magazine, Fall 2008
![Liaison_fall07[1] (2).jpg](https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546034891969-XBR2EP64HXVANK108V4I/Liaison_fall07%5B1%5D+%282%29.jpg)
Mathieu Briand at Tate Modern
By Muriel Quancard
Resource Magazine, Fall 2007
![Liaison_fall07[1] (4).jpg](https://images.squarespace-cdn.com/content/v1/54089f43e4b0d384103d17fc/1546035190728-WW50USVEY0YVM4YM9NDG/Liaison_fall07%5B1%5D+%284%29.jpg)