Successfully reported this slideshow.
We use your LinkedIn profile and activity data to personalize ads and to show you more relevant ads. You can change your ad preferences anytime.
From Browser to    Gallery  (and Back):      TheCommodificationof Internet Art
Some ideas…Do as you would in the old days1. Spatialization2. Commissions3. CommercializationMonetize online1. Just make t...
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               P...
Oliver Laric, Kopienkritik, 2011.      Skulpturhalle Basel
Postinternet Survival Guide from Survivaltips.tumblr.com,curated/compiled by Katja Novitska, 2010
Spatialization
Success in net art               Success in                               Contemporary Art• Winning a webbie          • Wi...
Teo Spiller-Megatronix (1997)   sold to Municipal Museum ofLjubljana 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...
Rafael Rozendaal 2011www.artwebsitesalescontract.com              /             Specifies sale by:             - a disc wi...
Commissions/SupportTurbulence.orgRhizomeDaniel Langlois Foundation ($$$)Whitney Museum Artport (gone)TATE (gone)Guggenheim...
John F. Simon, Every Icon (1997)http://www.numeral.com/eicon.html Given: An icon described by a 32 X 32 grid. Allowed: Any...
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 collec...
LUCY CHINEN & EMILIE GERVAIS   ARTOBJECTCULTURE.NEThttp://artobjectculture.net/PastArt             Objects/
“Our “art object tax” is alogistical term for makingsomething more expensivebecause its art…We areplayful with the idea of...
“I prefer to use technology when it is mainstream, when everyone has it,because I want to reach a large audience. If you w...
Kim Asendorf & Ole Fach     Gif Market 2011http://www.gifmarket.net
Jonas Lund, thepaintshop.biz/,              2012“The Paintshop Rank™ is calculating the price by analyzing a set ofcriteri...
Commodity Critique!http://history.etoy.com/
Conclusion• Emerging artists more willing to adapt work to  sell/exhibit in offline spaces• Nothing wrong with selling wor...
“Hyperbranding”           -Brad Troemel 2012  Everything you post can be seen as a  performance contributing to a persona-...
Thanks for listening!• You can find the first manuscript of this article  on:www.jennifer-chan.comPool Postinternet Critic...
The Commodification of Net Art
Upcoming SlideShare
Loading in …5
×

The Commodification of Net Art

33,592 views

Published on

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.

The Commodification of Net Art

  1. 1. From Browser to Gallery (and Back): TheCommodificationof Internet Art
  2. 2. Some ideas…Do as you would in the old days1. Spatialization2. Commissions3. CommercializationMonetize online1. Just make the workabout money: Create “alternative economies”for work to exist in2. Adapt to online shopping/virtual museum…etc.
  3. 3. Artie Vierkant,Monochrome Arc, 2010.
  4. 4. Ryan Trecartin, Any Ever, PS1, 2011.
  5. 5. Vuk Cosic, Documenta X, part of the exhibition Net-art per me at the Slovenian Pavilion of the Venice Biennial, 2001Documenta X,Kassel, 1997
  6. 6. Oliver Laric, Kopienkritik, 2011. Skulpturhalle Basel
  7. 7. Postinternet Survival Guide from Survivaltips.tumblr.com,curated/compiled by Katja Novitska, 2010
  8. 8. Spatialization
  9. 9. 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
  10. 10. Teo Spiller-Megatronix (1997) sold to Municipal Museum ofLjubljana for 85000 SIT ($500 USD) Image not available :[
  11. 11. 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
  12. 12. Rafael Rozendaal 2011www.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
  13. 13. Commissions/SupportTurbulence.orgRhizomeDaniel Langlois Foundation ($$$)Whitney Museum Artport (gone)TATE (gone)Guggenheim (gone)Walker Arts CenterArs ElectronicaInstitute of Networked Cultures
  14. 14. John F. Simon, Every Icon (1997)http://www.numeral.com/eicon.html Given: An icon described by a 32 X 32 grid. Allowed: Any element of the grid to be colored black or white. Shown: Every icon.
  15. 15. Eduardo Kacs, Genesis, Ars Electronica, 1999 /2001
  16. 16. Various platforms made just for selling the artz• Art.sy (domain name change pending?)• VIP Artfair (just for collectors/dealers)• Art Micro Patronage (buy credit/membership and pay for art)• S-editions by Rafael Rozendaal• Kickstarter• Deviantart.com• Artobjectculture.net (previously artobj-cult.biz)
  17. 17. LUCY CHINEN & EMILIE GERVAIS ARTOBJECTCULTURE.NEThttp://artobjectculture.net/PastArt Objects/
  18. 18. “Our “art object tax” is alogistical term for makingsomething more expensivebecause its art…We areplayful with the idea ofmoney and buying.Art commerce is a culture initself.”Artobjectculture.net 2012
  19. 19. “I prefer to use technology when it is mainstream, when everyone has it,because I want to reach a large audience. If you work with brand new techyour audience is limited.” Rafael Rozendaalhttp://www.youtube.com/watch?v=f2nKns9_fM8
  20. 20. Kim Asendorf & Ole Fach Gif Market 2011http://www.gifmarket.net
  21. 21. Jonas Lund, thepaintshop.biz/, 2012“The Paintshop Rank™ is calculating the price by analyzing a set ofcriteria, such as Artfacts ranking and Google Ranking of the author,the quality ranking in relation to the amount of views, the amount ofFacebook likes and Tweets. The underlying assumption is that twogeneral things matter for the price, the reputation of the artist and thepopularity of the painting itself.”Jonas Lund, 2012
  22. 22. Commodity Critique!http://history.etoy.com/
  23. 23. Conclusion• Emerging artists more willing to adapt work to sell/exhibit in offline spaces• Nothing wrong with selling work. It’s time net artists got some $$$ 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
  24. 24. “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.
  25. 25. Thanks for listening!• You can find the first manuscript of this article on:www.jennifer-chan.comPool Postinternet Critical http://pooool.info/• Ofluxo.net volume 1• jennifer7chan@gmail.com

×