Slides for a short lecture presentation I gave on selling internet art (both commercial and alternative economies). Salon 1 "The Art of Success" with co-presenters Jeff Stark and Zach Blas, Abandon Normal Devices Festival in Manchester, UK on August 30, 2012.
A Critique of the Proposed National Education Policy Reform
The Commodification of Net Art
1. From Browser to
Gallery
(and Back):
The
Commodification
of Internet Art
2. 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.
10. Success in net art Success in
Contemporary Art
• Winning a webbie • Winning Turner Prize
award!
• Interviews and good
• Lots of traffic, Likes, reviews
Reblogs and sitehits? • Museum/festival
• Mentioned on distribution
Rhizome, Furtherfield • Gallery representation
or VVork
• Commissions. Art Fairs.
• Klout score of over 50
• Nice documentary on
•Museum distribution your life’s work
•Going viral • Your name in textbooks
•Nice documentation
•Net-famous but poor
12. 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
13. 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
15. John F. Simon, Every Icon (1997)
http://www.numeral.com/eicon.html
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.
17. 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)
19. “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
20. “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 Rozendaal
http://www.youtube.com/watch?v=f2nKns9_fM8
21. Kim Asendorf & Ole Fach
Gif Market 2011
http://www.gifmarket.net
22. 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
24. 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
25. “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.
26. 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
• jennifer7chan@gmail.com
Hinweis der Redaktion
. Alexander Bassin, the buyer at Municipal Museum of Ljubljana, purchased the work for 85,000 SIT, or approximately $500 USD
Commissioned by Ars Electronica in 1999 Kac had written a synthetic gene that would translate a sentence from the Bible into Morse code, and then DNA base pairings. A computer that was connected to the internet broadcasted the development on the project and allowed remote viewers to comment on the growth of the bacteria. The installation first showed at the O.K. Center for Contemporary Art in Linz. Eventually priced at $150,000 by his gallerist in Chicago; meanwhile engraved sculptural objects which were parts of the installation ( Encryption Stones (2001)) sold for $13,000 per piece. Carly Berwick, “Net Gains: As interactive, computer-based artworks are collected and commissioned, are they losing their edge or gaining an audience?” ArteNews , December 2002. http://www.artnews.com/2002/12/01/net-gains/