A replica of the work sold for $1.7 million in 1999. In the book, he uses the example of the urinal that Marcel Duchamp purchased from a plumbing store, then labeled “Fountain” and sent to an art show. At one end of the spectrum are individual sports, where performance is the key to success (you can’t be a tennis star unless you know how to win matches, no matter how connected you are).įine art is at the other end of this spectrum, he said. What he found was that the less accurately the quality of a person’s performance can be measured, the more position in the network shapes the course of a career. How, he wondered, do these influence the trajectories of our lives?
As a physicist, he’d been interested in the science of networks in nature, and eventually became fascinated by human networks and their patterns of well-connected nodes. I soon discovered that one of the paper’s authors, Albert-Laszlo Barabasi, has just published a popular book on success more broadly: “The Formula: The Universal Law of Success.” He told me that people think the Science paper is about art, but it’s really about the way networks separate the stars from the also-rans in many areas. The findings, while not counterintuitive, run counter to that secular American gospel of hard work as the one true road to success. The answer, which was derived by a collaboration of physicists, social scientists, data experts and an art historian, is a scientific formulation of the old adage that it’s not what you know, but who you know, but also who the people you know, know, and who those people know. Yet a paper in the journal Science this month promised to explain why some talented artists become rich and famous, and others can’t quit their day jobs.
Neither the congresswoman nor James’ Brooklyn store Brother Vellies immediately returned The Post’s request for comment.With its $2 million urinals and other puzzling valuations, the pricing of fine art might seem too arbitrary, too opaque, too wildly jostled by randomness to submit to scientific investigation. The Democratic rep later said she was comped by the museum, sparking a conservative group to call for a Congressional ethics probe.ĪOC was also lampooned for touting James, 36, as a “Black woman immigrant designer” who got her fashion start at a NYC flea market, after it was revealed that the couturier grew up in a wealthy Toronto suburb. The artist asked her followers to tag the pol and designer, saying, “they need a female street artist working on their team.”ĪOC caught heat from critics for attending the $35,000-a-ticket “Fashion Oscars” while wearing the polarizing message earlier this week. “I admire both of these women greatly, and I would love nothing more than to collaborate with them in some way,” the self-described “full-time lunch lady and single mom” continued. Kevin Mazur/MG21/Getty Images For The Met Museum/Vogue Alexandria Ocasio-Cortez shows off her “tax the rich” dress with Aurora James (right) at the 2021 Met Gala. The Velvet Bandit didn’t seem particularly upset however, noting that she is a fan of both the Democrat and the designer, Aurora James, who was Ocasio-Cortez’s plus-one to Monday’s Upper East Side event. Alexandria Ocasio-Cortez of plagiarizing her “tax the rich” font scheme. And low and behold, this dress bears the same likeness as my handwriting.” California designer Velvet Bandit accused Rep. “All of my pasteups are handpainted, and after my Tax the Rich I put up in Sausalito went viral on Tiktok, I began selling stickers and shirts. out at the Met Gala wearing a dress designed by looks hella similar to my design.” “Look familiar?,” The Velvet Bandit wrote on Instagram Wednesday. The street artist known as the Velvet Bandit posted a comparison of AOC’s dress, which featured the phrase “tax the rich” scrawled in red letter, and her own design, which also features the phrase drawn in a similar font and color on a facemask worn by Abe Lincoln. Alexandria Ocasio-Cortez’s provocative Met Gala dress was a ripoff of her work.
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