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COURTESY ACUTE ART<br />
But for artists like American Michael<br />
Takeo Magruder, VR is more than just a way<br />
to capture attention; it is a medium that is well<br />
suited to his subjects, which include media,<br />
data and digital archives. “I think of myself<br />
as a visual artist who happens to use digital<br />
technologies,” he says, and indeed his latest<br />
project, Imaginary Cities, synthesizes the realtime<br />
actions of visitors with historical maps of<br />
New York City to generate a new experience<br />
for each visitor—a conceptual roundness that<br />
makes use of VR’s unique properties in a way<br />
most other mediums could not.<br />
Magruder’s piece was first exhibited at the<br />
British Library in London this spring and is<br />
currently on display at Gazelli Art House, a<br />
private gallery, as part of its exhibition Enter<br />
Through the Headset 4, a shortlist of the latest<br />
VR art works on the market. Although already<br />
in their fourth year, Gazelli Art House CEO<br />
and Founding Director Mila Askarova is<br />
conscious that her annual VR exhibitions are<br />
just a beginning: “We hope with these shows<br />
we will continue building on a market for VR<br />
works,” she says.<br />
There is indeed a growing market, with<br />
pieces selling from a few thousand euros<br />
up to over €100,000, but VR art’s tenuous<br />
relationship with the market is where it<br />
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