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The New World of Net Art. The New World of Net Art. Will S[edition] Become the App Store of Digital Art? Elmgreen & Dragset’s “Powerless Structures, Fig. 101″ (ed. of 5,000) is one of the works available on the s[edition] digital platform. (GIF’d by Hrag Vartanian for Hyperallergic) CHICAGO — The stories we experience online, the people we meet, and the information we discover, offer us new ways to fall in love with the image, the autograph, and even the art object. But what of purchasing art that really only does exist on the internet or in a digital format? Today, a new expanded version of s[edition] launches and it will allow artists working with a wide range of digital technologies, including moving image, motion graphic, photography, generative art, illustration, and design, to be able to upload their work to the s[edition] platform and start selling their works to people around the world.

Angelo Plessas. “Portrait #3.” (screencapture via seditionart.com) Artists who sell work receive 50% commission on works, which is congruent to the artist-dealer rate. Preservation of Digital Art Poses Challenges. Journal/wp-content/uploads/2013/10/mucinskas.pdf. F*ck yeah netart. Art Internet, anatomie de l'echange - Eric Le Maillot. Jean-Pierre Balpe, Contextes de l'art numérique. KIM LAUGHTON | O Fluxo. ENG: Some extraordinary 3D design here from Shanghai-based artist Kim Laughton. Kim consider himself a little impatient because he usually don’t like anything that isn’t finished in a day or two. You may recognize his work from some of Kingdom‘s visuals or from TIMEFLY (his personal clothing label). TIMEFLY is where Kim puts most of his energy, where he can enjoy the sense of collaborating with the artists who produce designs to go on the clothes through the renders, even if the collaboration is very one sided.

There are some exciting new artists lined up for TIMEFLY, giving a lot of potential to play with the whole thing. “Most people don’t realise that it’s a physical brand with products to buy, which is bad for sales, but interesting.”- says Kim. PT: Sediado em Xangai, o artista Kim Laughton apresenta um repertório extraordinário no que toca a projetos 3D. [#DIGART] Rafaël Rozendaal On The Magic And Value Of Domain Names. This week we’re exploring the Digital Arts Market (or lack thereof).

We’re asking the tough questions: What will it take for a sustainable digital arts market to form? Is that even a possibility? Can the digital arts make money? And will they ever be incorporated into the contemporary arts dialogue? I sell websites for a living. I started using domain names because I felt files are just files. Much like web startups, artists start by building an audience first and then figure out the money part.

Jello Time .com (2007), collection of Sébastien de Ganay I present my works out in the open. The nice thing about domain names is that they actually are scarce. Unlike The Rest .com (2007) In business, good domain names are traded for a lot of money. Collectors are used to exclusivity—you buy a precious object and guard it safely behind closed doors. I sell my websites with a contract. Into Time .com (2010), collection of Nur Abbas Inner Doubts .com (2012) @newrafael. Raphaël Rozendaal: le Monsieur « Neen Art » A 33 ans, Rafaël Rozendaal est sans doute l'artiste le plus "partagé" du net, attirant à lui seul 40 millions de visiteurs par an. Son dada? Des animations pixelisées online et des adresses Internet "psyché", manipulables à souhait, mais cryptées au nom de leur acheteur.

On a eu la chance de l'intercepter entre un départ pour Amsterdam et un voyage à Tokyo. Rafaël Rozendaal est un migrateur. "Je voyage tout le temps, j'adore arriver dans une nouvelle chambre d'hôtel, un nouveau quartier, une vue différente à ma fenêtre", raconte-t-il d'emblée. En ce moment l'artiste est sur un projet de catalogue qui regrouperait toutes ses images et ses textes. Des créations qui s’inscrivent dans le mouvement du "Neen art", né au début des années 2000. Colorflip (cliquez sur le lien pour découvrir le clip animé) - 2006: On change d'univers chromatique à chaque mouvement de souris. Colorflip, DR Rafaël Rozendaal Internet comme toile Hotdoom - DR Rafaël Rozendaal Falling falling - DR Rafaël Rozendaal. CRUMB Interviews: An interview with Christiane Paul. Digital Art And Culture: A 21st Century Paradigm Shift | AD MAG. Max Eternity for Truthout | News Analysis & Feature Podcast – At a time when extreme, economic austerity measures are being considered and/or enacted by a number of Western governments – Greece, Spain, Germany, the US, and elsewhere – one has to wonder why, in the UK, a collective of government agencies in England have just allocated $815,000 for digital art and culture.

In speaking to this massive public works project, Alan Davey, CEO of the Arts Council England says, “How the cultural sectors engage with emerging and existing digital technologies in the next few years will have far reaching effects on our creative, social and economic lives, as artists and audience members.” Commenting as well on the new program, the Minister for Culture, Communications and Creative Industries, Ed Vaizey, said: Our lives are increasingly defined by how we engage and interact with the world digitally and cultural organizations can’t afford to be left behind. “Factory” by Andrew Reach. Www.museomix.org/wp-content/uploads/2013/06/rapport-inmediats.pdf. Www.flong.com/storage/pdf/press/2003_paul_digitalart.pdf. Side_B_Magazine_Side_B_Magazine_Seven_Days_in_the_Art_World.

Entretiens du NEF - Jean-Pierre Balpe. Le Marché de l'art: MONDIALISATION ET NOUVELLES TECHNOLOGIES - Raymonde Moulin - Google Books.