Date post: | 04-Jul-2015 |
Category: |
Education |
Upload: | jennifer-chan |
View: | 32,013 times |
Download: | 4 times |
From Browser to Gallery
(and Back):The
Commodification of Internet Art
Some ideas…Do as you would in the old days
1. Spatialization
2. Commissions
3. Commercialization
Monetize online
1. Just make the work
about money: Create
“alternative economies”
for work to exist in
2. Adapt to online shopping/virtual museum…etc.
Artie Vierkant, Monochrome Arc, 2010.
Ryan Trecartin, Any Ever, PS1, 2011.
Vuk Cosic, Documenta X, part of the exhibition Net-art per me at the Slovenian Pavilion of the Venice Biennial, 2001
Documenta X, Kassel, 1997
Oliver Laric, Kopienkritik, 2011. Skulpturhalle Basel
Postinternet Survival Guide from Survivaltips.tumblr.com, curated/compiled by Katja Novitska, 2010
Spatialization
Success in net art
• Winning a webbie award!
• Lots of traffic, Likes, Reblogs and sitehits?
• Mentioned on Rhizome, Furtherfield or VVork
• Klout score of over 50
• Winning Turner Prize• Interviews and good
reviews• Museum/festival
distribution• Gallery representation• Commissions. Art Fairs.• Nice documentary on
your life’s work• Your name in textbooks
Success in Contemporary Art
•Museum distribution•Going viral•Nice documentation•Net-famous but poor
Teo Spiller-Megatronix (1997)sold to Municipal Museum of
Ljubljana for 85000 SIT ($500 USD)
Image not available :[
Let’s talk about AURA• Linkrot and URLs on a unique domain name• Documentation of the internet exhibits
some “aura of the digital”, or “looks like it exhibited somewhere”
• Versions
Rafael Rozendaal 2011 www.artwebsitesalescontract.com
/Specifies sale by:- a disc with website, files and online content- five successive collectors-Rights to resell domain as long work is kept as a whole- transfer of domain name to collector
Commissions/SupportTurbulence.org
Rhizome
Daniel Langlois Foundation ($$$)
Whitney Museum Artport (gone)
TATE (gone)
Guggenheim (gone)
Walker Arts Center
Ars Electronica
Institute of Networked Cultures
http://www.numeral.com/eicon.html
John F. Simon, Every Icon (1997)
Given:
An icon described by a 32 X 32 grid.
Allowed:
Any element of the grid to be colored black or white.
Shown:
Every icon.
Eduardo Kacs, Genesis, Ars Electronica, 1999 /2001
Various platforms made just for selling the artz
• Art.sy (domain name change pending?)• VIP Artfair (just for collectors/dealers)• Art Micro Patronage (buy credit/membership
and pay for art)• S-editions by Rafael Rozendaal• Kickstarter• Deviantart.com• Artobjectculture.net (previously artobj-cult.biz)
LUCY CHINEN & EMILIE GERVAISARTOBJECTCULTURE.NET
http://artobjectculture.net/PastArtObjects/
“Our “art object tax” is a logistical term for making something more expensive because its art…We are playful with the idea of money and buying. Art commerce is a culture in itself.”
Artobjectculture.net 2012
“I prefer to use technology when it is mainstream, when everyone has it, because I want to reach a large audience. If you work with brand new tech your audience is limited.” Rafael Rozendaalhttp://www.youtube.com/watch?v=f2nKns9_fM8
Kim Asendorf & Ole FachGif Market 2011
http://www.gifmarket.net
Jonas Lund, thepaintshop.biz/, 2012
“The Paintshop Rank™ is calculating the price by analyzing a set of criteria, such as Artfacts ranking and Google Ranking of the author, the quality ranking in relation to the amount of views, the amount of Facebook likes and Tweets. The underlying assumption is that two general things matter for the price, the reputation of the artist and the popularity of the painting itself.”Jonas Lund, 2012
Commodity Critique!
http://history.etoy.com/
Conclusion• Emerging artists more willing to adapt work to
sell/exhibit in offline spaces• Nothing wrong with selling work. It’s time net
artists got some $$$ for free labor• Models that adhere to traditional art sales
processes are probably more problematic in an online environment
• I thought commodity critique was cool.• Sell stuff as long as you get to keep making it
the way you wanted it to be
“Hyperbranding”-Brad Troemel 2012
Everything you post can be seen as a performance contributing to a persona-as-brand on the internet!
So carefully curate your Facebook posts…
i.e. Man Bartlett, Petra Cortright, Ryder Ripps, Parker Ito, Netochka Nezvanova…etc.
Thanks for listening!• You can find the first manuscript of this article
on:
www.jennifer-chan.com
Pool Postinternet Critical http://pooool.info/• Ofluxo.net volume 1• [email protected]