Art can instill inspiration in employees. Yes, even those working remotely.

by Joy Bernard

It has long been postulated by psychologists and scientists alike that a work environment which provides employees access to art inspires higher productivity rates and a better emotional climate. Countless studies conducted in recent years have indicated that workers who were surrounded by artworks in their office spaces were more incentivized to immerse themselves deeply in their professional commitments. 

An avid example of such research is one that was published in Britain in 2016 by a team of researchers led by Dr. Craig Knight, who has been studying the psychology of working environments for over a decade at the University of Exeter. Dr. Knight told the Guardian at the time that he has noted that there is a “tendency to opt for sanitized, lean workspaces” that are “designed to encourage staff to avoid distraction.” However, the results of the study he had carried out with a group called Identity Realisation (IDR) revealed that “if you enrich a space people feel happier and work better; a very good way of doing this is by using art.” 

Deutsche Bank London’s reception features art by Anish Kapoor and Damien Hirst. The bank has 60,000 artworks across 40 countries. Photograph: Deutsche Bank (Originally published by the Guardian)

Knight reached this conclusion while he attempted to understand what would make a work environment effective. He asked a group of participants to complete an hour’s worth of work in four different types of office spaces: Lean (containing only the necessary elements to do a task), enriched (including art and plants arranged in advance), empowered (same art and plants but participants could select where to place them) and disempowered (participants could arrange the art and plants but the experimenter then undid these personal touches). 

What Knight discovered is that the individuals who worked in the enriched offices were 15 percent quicker than those employed in the lean office, and reported less health complaints. The figure doubled for those who worked in the empowered space.

Moving Image Artwork by Zeitguised at Meet In Place, London. Photo by Tom Mannion.

Numerous companies, including those generating the most revenues and interest in markets worldwide today, have implemented the conclusions of studies such as Knight’s into their design of the work space. Some of the most well-known examples that come to mind are the offices of Apple, Facebook and Google. These corporations have famously hired esteemed architects to create beautiful work spaces for their employees and filled them with gorgeous artworks to inspire enjoyment and efficiency.

One example for a prominent brand that decided to make new media art a core aspect of its design is SalesForce, the U.S. cloud-based software company. The company invited media artist Refik Anadol to enhance its headquarters in California with his public art project, “Virtual Depictions: San Francisco.” The stunning work, composed of a series of parametric data sculptures that depict the story of the urban environment sprawled outside SalesForce’s offices, was displayed on a large LED screen visible to passersby walking near the building. Thus, both workers of the company and residents of the metropolitan were able to enjoy the art that was inspired by their lives and reflected to them a visual narrative they could connect with. 

The incorporation of art into the work sphere doesn’t just benefit the business sector. It also helps support the creative community, whose members often struggle financially and depend on their galleries and collectors for inconsistent incomes. Another important advantage inherent in the integration of art into the business space is the impact it provides for both artists and businesses that want to cultivate their own unique statement. 

So while it’s clear that there are more pros than cons to the inclusion of art in the work surroundings, a new question now arises: How can this be accomplished at a time when most of us are still shuttered in our homes since the outbreak of the coronavirus?

The arts and culture industry has already started making the leap from physical to digital, or attempts to connect the two where possible. Large events that brought people together are now offering an online alternative, such as the Burning Man festival that is taking place in cyberspace this year instead of its usual location in Nevada’s Black Rock Desert. Companies like Netflix are taking advantage of the current circumstances that have imposed a partial or complete isolation on most of us. The U.S. production company and streaming service has recently introduced a feature especially adequate for our times – the Netflix Watch Party, whereby users can join group chats and enjoy a synchronized video playback so the viewing experience can be shared. 

Exhibition spaces are also harnessing the technological means at their disposal to continue providing art connoisseurs a personal viewing experience even if they can’t engage with the artworks face to face. Creative ventures like Bitforms Gallery have rendered digital art exhibitions accessible online, like the most recent solo show by American artist Claudia Hart, “The Ruins,” in which she presents her aesthetic interpretations of ruminations on an apocalyptic and disjointed world. Animation, augmented wallpapers, three-dimensional sculptural objects and other projects crafted by the esteemed creator and curator and presented on screens powered by Niio, would not have enjoyed viewership in the days of the pandemic had the gallery not opted for the online presentation mode. 

The Ruins by Claudia Hart. Virtual Exhibition.

In the business sector, matters are more complicated. Even if some countries have eased the social distancing measures that were initiated earlier this year, many workers are now still partially working from their homes and only venturing into their offices part-time. Online meetings have become the new norm overnight, and our living rooms have quickly transformed from places of repose to areas of work. 

The good news is that employers can still cultivate pleasant surroundings for their workers, even if they are not all sharing the same space as before. All they require are the suitable digital tools that will assist in keeping their clients and employees connected. One way to do it is for business owners to digitally share with their workers art that will enhance their creativity and reduce their stress levels, a welcome feeling at such a period of intense uncertainty. 

While bosses can go the old-fashioned way and send their staff static images of visual art, a more compelling medium that could draw their attention is digital art, namely moving image creations. Easier to transfer online and often more communicative and relatable than the average abstract painting, digital art was having its moment well before the pandemic upended our lives earlier this year. 

Artwork by Claudia Hart.

The era we live in is indisputably inundated with screens and surfaces, making video art one of the most adaptable and relevant forms of art. If video art was only an emerging artistic phenomenon in the 1960s and the 1970s, today it is an inseparable part of the curriculum in major academic art institutions around the globe, a creative medium of choice for young artists and a central component of the collections of leading museums and galleries

If you are wondering how to make your workers engage with video art and are not sure how to start, our platform is the first step on the way. If you are an employee or a business owner looking to enrich your online meetings, you are welcome to try out our selection of free Zoom backgrounds. The collection, which features carefully curated options crafted by talented international artists, can make it seem like you are in an aesthetic mansion with video art collections decorating the walls. You can also boost a digitized conference by installing in the background a single video artwork of the various creations we have on offer. 

Niio’s digital art solutions are an easy way to increase your brand’s equity, make it memorable and expose it to as many viewers as possible. We have recently collaborated with various powerhouse companies, both in the realm of art as well as in marketing, to ensure that the artworks of the creators we team with will reach diverse viewers. One such joint venture has led to our campaign with Uber; various video ads, decorated by moving image artworks from our platform, are now displayed on screens installed atop Uber’s fleet of cars in major U.S. cities. 

Another cooperative venture that has given voice to the work of artists throughout the world is the open call competition we launched with Samsung. Out of hundreds of submissions, three winning artworks selected by our panel of judges will be screened in select locations globally on Samsung’s The Wall, a top-of-the-line microLED display that will enhance the viewing experience these oeuvres deserve.

It is our mission to provide you with the most technologically advanced means to grace your companies or offices with art that will inspire and move you. Our display solutions have been developed and customized to showcase moving image art in the best conditions. Usable on both dedicated and shared screens and easy to install on existing screens, they are designed to ensure the optimal presentation. If you are not sure that you would like to commit to a year-round plan, our affordable subscription model, which comes in various options, will enable you to sample the services we provide. 

Niio is rapidly becoming the equivalent of Spotify in the art world. We are the leading platform for connecting thousands of artists and galleries from all over the world that specialize in digital art. We turn screens on walls into digital art canvases that display beautiful moving artworks, which transform spaces and inspire audiences globally. 

We began partnering with leading artists and galleries well before the pathogen emerged in order to create and sustain an alternative platform for the distribution and display of art. Our vision has now become more relevant than ever: Showcasing quality art online is not plan B or an undesired recourse. It is the natural next step to take for artists, exhibition spaces and businesses that want to display art that communicates and transcends geographical and cultural barriers.



Innovation Fusion: Art x Technology

A discussion that is focusing on the Intersection of Art and Technology with keynote speakers, renowned artist innovator, Janet Echelman and Rob Anders, Co-founder and CEO of Niio, an Israeli startup company holding one of the biggest names in “new media art” and aspires to become the Spotify of visual art. The conversation also includes an update about how the tech eco-systems in both Florida and Israel are thriving despite the pandemic. Jamal Sowell, Florida Secretary of Commerce and the President & CEO of Enterprise Florida provides updates on Florida’s tech ecostyem and Ori Kaufman-Gafter, Head of International and Tech banking at Bank Leumi USA, provides insights on how the Israeli tech ecosystem weathered the pandemic. Keeping with FIBA’s tradition of featuring success stories of Israeli companies thriving in Florida, this year’s event featured Israeli company, Aviv Clinics, that recently launched its hyperbaric clinic in The Villages. David Globig, CEO of Aviv Clinics explains why Aviv chose Florida as its first site outside of Israel and how the technology works.

Claudia Hart: The Ruins

Solo Exhibition at bitforms gallery, NYC // Powered by Niio

September 10–October 25, 2020

View The Ruins online, presented on Mozilla Hubs

The Ruins implements still lifes, the classical form of a memento mori, to contemplate the decay of western civilization. In this exhibition, Hart revises the canons of modernist painting and the manifestos of failed utopias. Exhibited works are meditations on the flow of history, expressed as a cycle of decay and regeneration. The Ruins is an antidote to a world in crisis, navigating from a Eurocentric paradigm of fixed photographic capture into a reality of malleable and inherently unstable computer simulations and systemic collapse. The exhibition presents a different notion of time, a present that viewers experience through the possibility of simulation technologies that use scientific data to model natural forces, the crystallization of past, future and present into a perpetual now.

The Ruins , the central artwork from which the exhibition gains its title, is an audiovisual animation tracking through a claustrophobic game world from which there is no escape. As the three-channel maze unravels, Hart introduces her newest interpretation of still lifes—low polygon models. These models, hearkening to the idea of a poor copy or image popularized by Hito Steryl, are computer-made replications of copyright-protected paintings. Taken from works by Matisse and Picasso, patriarchs of the Modernist canon, these forms cover The Ruins in flirtatious copyright infringement. Copyright marks the beginning of Modernism as a response to the emerging technology of photography. Music composed by Edmund Campion furthers the ethos of modernism through the tactical mixing of failed Utopian ideologies: Thomas Jefferson On American Liberty ; The Bauhaus Manifesto by Walter Gropius; Fordlandia , Henry Ford’s failed suburban rubber plantation in the Amazon rainforest; and Jim Jones’s sermon, The Open Door . Campion has processed and mixed each recording read by the artist, using Hart’s voice as an instrument that serves as the soundtrack to both the animation and the exhibition itself.

The Still Life With Flowers by Henri Fantin-Latour exists as a three-dimensional sculptural object made from walnut, bleached basswood, and maple, with blossoms in burnished resin. It is a copy of a copy of a copy of a copy—and therein lies its unique character. Hart created this work first through production with a computer model, developed in fastidious imitation of the 1881 original. She then transitioned the digital rendering to a physical object with a CNC router and rapid-prototype printer. Later returning to the model, she dissolved the source into a low polygon model to be placed within The Ruins . Together in the exhibition, the poor copy and sculptural form incite an allegory on the passage of time, decay, and obsolescence.

The third component in The Ruins is Hart’s custom augmented wallpapers. Borrowing motifs that also appear inside her animations, the artist telescopes time and space from her virtual world to real life. Using The Ruins App , visitors can see animations embedded in the wallpaper that combine written allegories, animated abstract patterns, and heraldries of collapsed corporate empires, made visible only through the camera of a smart device.

The final part of this exhibition comes as a series of three monumental animations, The Orange Room, Green Table, and Big Red . In continuation of her study of copyright-protected twentieth-century painting, these video animations were prompted by the significant collection of the Art Institute of Chicago and her work there as a professor at the School of the Art Institute. Hart imports the compositional structures of The Red Paintings by Henri Matisse to propose a paradigm shift in painting practice, creating monumental animations at real painting scale. These works are constructed as images-within-images, architectures that open onto windows and doors, and lead into simulated landscapes bestowed with animated paintings, carpets and wallpapers. The digital, pictorial clockworks turn at different rates and temporal schemes to mesmerize viewers, ushering them into a state of contemplation.

Music and software programming for the custom algorithmic sound engine by Edmund Campion, Director, Center for New Music and Audio Technologies, UC Berkeley. Original spoken voice recording by Claudia Hart. This piece utilizes the CNMAT “Resonators~” synthesis object designed by Adrian Freed. Special thanks to Jeremy Wagner and CNMAT for support with sound installation.

The Ruins is live as a virtual exhibition for Mozilla Hubs, designed and supported by Matthew Gantt. It is featured in Ars Electronica ’s 2020 festival hub, along with a video interview with Claudia Hart about the project.

Screens generously provided by Samsung. Video powered by NIIO.

Founded in 2001, bitforms gallery represents established, mid-career, and emerging artists critically engaged with new technologies. Spanning the rich history of media art through its current developments, the gallery’s program offers an incisive perspective on the fields of digital, internet, time-based, and new media art forms. For press inquiries, please contact [email protected] or call (212) 366-6939.

Interview with Dev Harlan, the winner of Samsung The Wall x Niio Art Awards

Dev Harlan works in sculpture, installation and digital media. He has exhibited in solo and group shows internationally, including “Noor” at the Sharjah Art Museum, the New Museum’s “Ideas City” and the Singapore Light Festival. He has completed residencies at the Frank Lloyd Wright School Of Architecture and the School Of Visual Arts. He is a self educated artist with a studio practice founded on experience, self directed study and curiosity. 

As the winner of Samsung The Wall x Niio Art Award, Dev Harlan provides insight into his artistic practice and direction and the background of the Areo Gardens Series.

What We’re Reading Now: The Rise of Moving Image Art

As the current pandemic has forced many cultural events and spaces to close their doors, consumer appetite for online experiences has been booming. The unexpected situation is ushering in a golden age of virtual media, making good on the initial promise of digital, while offering new life and unprecedented access to some of the world’s cultural touchstones, some previously financially or physically inaccessible. While the world largely remains physically isolated, digital media is offering a bridge to an exciting range of experiences.

Discover what Forbes, The Guardian, Spear’s Magazine and others have to say on how moving image art is experiencing a breakthrough.

Art Credit: Joe Hamilton, Cézanne Unfixed

A Rising Demand For Video Art Redefines The Gallery Business

Originally published by Forbes

During the days of the global COVID pandemic, video art was suddenly everywhere: from major industry headlines to local news reports. The most expensive living artist, David Hockney has created video art for Telegraph Magazine while in lockdown in France. In North Carolina, Ian Berry artist presented a public video art piece celebrating the region’s textile heritage and essential service workers. As museums rushed to upgrade their virtual programming, the digitally-native art has been finally gaining momentum…

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‘It’s great if you’re bored with Netflix’: video art flourishes in lockdown

Originally published by The Guardian


Shana Moulton with Nick Hallett Act one from Whispering Pines 10, 2016. video-still Photograph: Courtesy of the artist and Galerie Gregor Staiger, Zurich

Video Art is experiencing a breakthrough- which started even before coronavirus quarantined culture online. “Coronavirus pandemic has made video art the most essential and accessible art form” – Barbara London, The former MoMA video art curator. As the art world has adapted to the reality of the pandemic lockdown with online exhibitions, video artworks started occupying the space once filled by physical exhibitions. Moving image art is flourishing…

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In Unusual Move, Top Collector Julia Stoschek Makes Essential Video Art Available for Free Online

Originally published by Artnews


Peter Fischli & David Weiss, Büsi, 2001.COURTESY THE ARTISTS

Few collectors have placed as great an emphasis on moving-image art as Julia Stoschek.  Julia has amassed more than 850 works that include many of the most important films, videos, and digital works of the past 50 years. With most of the art world moving online during the COVID closures, the German collector has taken some of her holdings digital too. “From the very beginning, film and video were driven by a democratic impulse and ideas of circulation that were supposed to enable access to art on a wider scale,” Stoschek told ARTnews

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Tired of Netflix? Stream experimental film and video art

Originally published by Hyperallergic


From That which identifies them like the eye of the Cyclops (2015), dir. Beatriz Santiago Muñoz (image courtesy the filmmaker)

The multidisciplinary artist Kate Lain started a simple Google spreadsheet called “Cabin Fever” in the hopes of gathering links to experimental films she could send to her students once classes were moved online due to the COVID-19 pandemic. Lain divided her “playlist” into sections, such as “For when you need to laugh or smile,” “For when you wanna sing & dance,” and even “For when you just want to scream or break something.” In less than two weeks, Lain’s spreadsheet has grown to include hundreds of experimental films and artists’ moving image works from around the world…

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Introducing ‘art for the digital age’

Originally published by Spear’s Magazine

“We live in a digital age, defined by technology and the growth of the online world, and that is altering the way we experience art. Increasingly, it means film and software have become the paint, the screen has become the canvas and a new destination for art…” – Rob Anders, Co-founder & CEO at Niio

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Virtual Exhibitions You Can Enjoy at Home

Social isolation is a challenge, beyond the effort for survival necessities like food and medicine.  When we’re stuck in our homes, it swells the need to fill an extraordinary amount of unstructured time.  Luckily, there’s a way to use this time to enrich yourself culturally in the comfort/ confinement of your own home.  Many of the most prestigious museums, galleries, and art fairs around the world are open to the public- at home! Iconic institutions such as the Musée D’Orsay in Paris, the Van Gogh Museum in Amsterdam, the Guggenheim in New York City and many more, are now open for everyone in the form of virtual tours.  Now we can all enjoy a long virtual walk through museums, from the comfort of home.

Musée D’Orsay

Musée d’Orsay is the French national museum of fine and applied arts, located in Paris. The museum features works of French artists from the 19th century. Its collection includes painting, sculpture, photography, and decorative arts from artists such as Gustave Courbet’, Édouard Manet, and Pierre-Auguste Renoir. Take a virtual tour.

Guggenheim Museum

Solomon R. Guggenheim Foundation, located in New York, is committed to innovation, collects, preserves, and interprets modern and contemporary art, and explores ideas across cultures through dynamic curatorial and educational initiatives and collaborations. With its constellation of architecturally and culturally distinct museums, exhibitions, publications, and digital platforms, the foundation engages both local and global audiences. Take a virtual tour.

National Museum of Modern and Contemporary Art, Korea

The National Museum of Modern and Contemporary Art (MMCA) established itself as a representative institution of Korean modern art. The museum’s four branches, including Gwacheon, Deoksugung, Seoul, and Cheongju. MMCA Gwacheon is devoted to various genres of visual arts such as architecture, design, and crafts. MMCA Deoksugung showcases modern art from Korea and overseas. MMCA Seoul focuses on introducing global contemporary art. MMCA Cheongju fulfills the museum’s primary duty to collect, preserve, study, exhibit, and educate. Take a virtual tour.

The Van Gogh Museum

The Van Gogh Museum, located in Amsterdam is a Dutch art museum dedicated to the works of Vincent van Gogh and his contemporaries. The permanent collection includes over 200 paintings by Vincent van Gogh, 500 drawings and more than 750 letters. The museum also presents exhibitions on various subjects from 19th-century art history. Take a virtual tour.

Vincent van Gogh,Het Gele Huis (1888)

Uffizi Gallery

Uffizi Gallery, located in Florence, is famous for its outstanding collections of ancient sculptures and paintings (from the Middle Ages to the Modern period). The collections of paintings from the 14th-century and Renaissance period include Giotto, Simone Martini, Piero della Francesca, Beato Angelico, Filippo Lippi, Botticelli, Mantegna, Correggio, Leonardo, Raffaello, Michelangelo and Caravaggio, in addition to many precious works by European painters. Take a virtual tour.

Sala Caravaggio e Artemisia

New Museum

Founded in 1977, the New Museum is a leading destination for new art and new ideas. It is Manhattan’s only dedicated contemporary art museum and is respected internationally for the adventurousness and global scope of its curatorial program. Since 2013, the museum has been running “First Look: New Art Online,” a monthly exhibition series through which new digital artwork is commissioned from exciting artists and presented on the museum’s website. Take a look at the artworks.

Rachel Rossin, Man Mask,2016(still). Stereoscopic 360 Video. Courtesy the artist

Art Basel: 235 Galleries Showing in Online Viewing Rooms 

Art Basel Online Viewing Rooms are on view from March 20, 2020. Participating galleries have all risen to the challenge and have chosen a curatorial concept for their virtual rooms, with the added benefits of being unconstrained by the dimensions of a traditional white cube. From blue-chip paintings to outdoor sculptures, visitors can enjoy all. Visit the viewing rooms.

Alserkal Art Week

Alserkal Avenue is a renowned cultural district of contemporary art galleries, non-profit organisations, and homegrown businesses in the Al Quoz industrial area of Dubai. Spread across 500,000 square feet, Alserkal Avenue is a vibrant community of visual and performing arts organisations, designers, and artisanal spaces that have become an essential platform for the development of the creative industries in the United Arab Emirates. On view 23 – 28 March. Visit the Art Week.

Screen IT

Screen IT focuses on the impact of the “screen culture” on contemporary art. Visitors can discover artworks in many different genres, such as TV, video, internet or VR, and in many different topics, such as bitcoins, AI or fake news. Take a virtual tour.

Jennifer in Paradise by Constant Dullaart

The Kremer Museum

Founded in 2017 by Sotheby’s and Studio Libeskind, the Kremer Museum is a museum that exists solely in the realm of virtual reality. The museum’s collection includes pieces by Jan van Bijlert, Ferdinand Bol and other Dutch and Flemish masters of the craft. Access to this unique museum can be purchased on VR platforms like Steam for only $9.99. Visit the museum.