Donnovan Andrews on how visual artist Shantell Martin braves the intricate dynamics linking creativity, ownership and fast-moving tech
Perfection is rarely achieved in movies, but this heaven-sent concert doc hits the sweet spot. Over two days in January 1972, the Queen of Soul, Aretha Franklin — she was 29 at the time — sweeps into the New Temple Missionary Baptist Church in Watts in front of a congregation and testifies to God in song. The blessed thing took nearly half a century to come out because director Sydney Pollack failed to sync the image with the sound.
Additionally, her contemplation on licensing voice and AI in performance art introduces exciting avenues for creative expression — with the caveat of meticulous attention to attribution and compensation. Looking ahead, Martin’s upcoming projects — including the Los Angeles gallery show “Intimate Whispers” and a collaboration with British bicycle maker Brompton — evoke the boundless artistic and technological possibilities at the intersection of art and AI.
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