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PAU | PAU WAELDER SELLING AND COLLECTING ART IN THE NETWORK SOCIETY NETWORK THE IN ART COLLECTING AND SELLING PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY Information and Knowledge Society INTERACTIONS Doctoral Programme AMONG Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) CONTEMPORARY ART NEW MEDIA AND THE ART MARKET Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà PhD Dissertation SELLING AND COLLECTING ART IN THE NETWORK SOCIETY INTERACTIONS AMONG CONTEMPORARY ART, NEW MEDIA, AND THE ART MARKET PhD candidate Pau Waelder Thesis Directors Dr. Pau Alsina Dr. Natàlia Cantó Milà Thesis Committee Dr. Francesc Nuñez Mosteo Dr. Raquel Rennó Information and Knowledge Society Doctoral Programme Internet Interdisciplinary Institute(IN3) Universitat Oberta de Catalunya (UOC) Barcelona, October 19, 2015 To my brother David, who taught me what computers can do. Cover image: Promotional image of the DAD screen displaying the artwork Schwarm (2014) by Andreas Nicolas Fischer. Photo: Emin Sassi. Courtesy of DAD, the Digital Art Device, 2015. Selling and collecting art in the network society. Interactions among contemporary art, new media and the art market by Pau Waelder is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. ACKNOWLEDGEMENTS The present dissertation stems from my professional experience as art critic and curator, Sassoon, Shu-Lea Cheang, Lynn Hershmann-Leeson, Philippe Riss, Magdalena Sawon as well as my research in the context of the Information and Knowledge Society Doctoral and Tamas Banovich, Kelani Nichole, Jereme Mongeon, Thierry Fournier, Nick D’Arcy- Programme at the Internet Interdisciplinary Institute (IN3) – Universitat Oberta de Fox, Clara Boj and Diego Díaz, Varvara Guljajeva and Mar Canet, along with all the artists Catalunya. I want to express my gratitude to Josep Lladòs and Joan Pujolar, directors of who participated in the survey, and all those who kindly agreed to be interviewed. Martin the programme during the period of my study, for the possibility of developing a doctoral John Callanan’s perspective as an artist helped me in shaping the questions of the survey, research with the support of outstanding experts beyond geographical constraints. while his unconditional support for my project $8,793 Worth of [Art] made it possible to add this publication to Merkske’s catalogue. I am thankful to him for his generosity. I am, as well, indebted to the persons who helped me in this process. I owe the initial inspiration for this dissertation to artist Carlo Zanni, whose work has My thesis directors, Dr. Pau Alsina and Dr. Natàlia Cantó, have provided staunch support focused on Internet art, with a particular attention to the art market. The process of my and guidance since the early stages of this research. I wish to thank them further for research has been supported by our continuous exchange of reflections and comments, sharing their different perspectives on the subject, enriching my own approach to the which started when I published on Rhizome a brief post about his work Altarboy. Since interactions among contemporary art, new media, and the art market. Moreover, I am then, I have been fortunate to count on him as an interlocutor and a friend. particularly obliged to Pau Alsina for his counseling during the many years in which we have explored how art intersects with science, technology, and society, and the energizing The final stages of this research have been facilitated by several other professionals whom I discussions we have had while attending festivals and symposia. am grateful to call friends. Lorena Fernández helped me fight my Spaniard instincts when writing in English (any left mistakes are entirely my fault), while Jordi Cerdà assisted me Dr. Raquel Rennó has been enormously generous in her assistance to this research, firstly in the layout of this document with his expertise in graphic design. by enabling me to present part of my findings in a seminar organized by the Grupo de estudos em práticas artísticas, espacialidade e ciências da vida at the Universidade Federal I have dedicated this dissertation to my brother David. A computer engineer, he convinced de Juiz de Fora (Brazil) and secondly by her constructive reading of my thesis. For this, I our family to buy a Sony MSX computer in the eighties, then a Mac Classic and newer am deeply grateful to her, as well as to Dr. Francesc Nuñez, who, as a member of thesis models of Apple computers ever since. To our parents, Juan and Sofía, I will always be committee, has provided useful suggestions that have helped me enhance the final output. thankful for teaching me two different ways of seeing life, both equally interesting. Ian, The continuous conversation and mutual support with fellow researcher Vanina Hoffman Teo and Gina complete our modern family: each in their own way have contributed to has also provided a critical feedback to pursue this dissertation. this research. Finally, my deepest gratitude goes to Dory and Max. They make me smile every day, and without them, nothing could be possible. Writing for several online and print publications has been an important part of the development of this thesis. It has given me the opportunity to contact numerous professionals, whom I have interviewed over the last years. Through these interviews, I have been able to contrast the testimonies of those involved in the subject under study. This has been possible thanks to the trust put on me by Fernando Galán, director of art. es contemporary art magazine; Isabelle Lelarge, director of ETC Media art magazine; and Mónica Bello, director of the VIDA Art and Artificial Life International Awards. To all of them I wish to say thank you. It has been a pleasure and a privilege to talk to so many outstanding artists and other professionals of the art world. Most of them have been remarkably unsparing with their time, engaging in long and fruitful conversations. For this reason I am particularly indebted to Manfred Mohr, Rafael Lozano-Hemmer, Wolf Lieser, Mauro Ceolin, Steve Sacks, Jonathon Carroll, Christa Sommerer, Aram Bartholl, Evan Roth, LIA, Nicolas CONTENTS 2.2 Survey: are you a new media artist? 109 2.2.1 Census of new media artists 109 2.2.2 Elaboration of the survey 112 2.2.2.1 Objectives 112 INTRODUCTION 10 2.2.2.2 Elaboration and distribution 113 2.2.2.3 Response 122 I. Preface 11 2.2.3 Survey analysis 125 II. Context and objetives of the dissertation 13 2.2.4 Conclusions 147 III. Research question 16 2.3 Career options: academy, advertising and the art market 150 IV. Methodology 17 2.3.1 Academic research 151 2.3.2 Art market 153 1. CONTEMPORARY ART AND NEW MEDIA 22 2.3.3 Industry 156 1.1 New Media Art: an unfortunate term 23 3. NEW MEDIA AND THE ART MARKET 160 1.1.1 A taxonomical tradition 23 1.1.2 Art of the future 27 3.1 Art versus commerce 161 1.1.3 The role of award categories 31 3.2 Artworks as commodities and digital files 167 1.2 The artification of new media art 38 3.3 White cubes and black boxes 171 1.2.1 What (and when) is artification? 38 3.4 Net art and the art market: no to maybe to yes 177 1.2.2 From graffiti to Street Art 41 3.5 Strategies for selling online art 182 1.2.3 Ten processes of artification in new media art 44 3.5.1 Transfer 183 1.2.4 Rise of the YouTube cam-girl 52 3.5.2 Access 191 1.3 Digital divides 55 3.5.3 Adaptation 196 1.3.1 Divergent discourses 55 3.5.4 Crowdfunding 200 1.3.2 Controversies and blind spots 61 3.6 Art for mobile platforms 207 1.3.3 A matter of habitus 65 3.7 New media art galleries 215 1.4 Art after the Internet 69 3.7.1 Seasoned galleries 220 1.4.1 From post-media to digital culture 69 3.7.1.1 Postmasters (New York) 220 1.4.2 Post-Internet Art 72 3.7.1.2 bitforms (New York) 223 1.4.2.1 Towards a definition of Post-Internet art 72 3.7.1.3 DAM (Berlin) 229 1.4.2.2 The artwork on the Internet and in the gallery 76 3.7.2 Emerging galleries 232 1.4.2.3 Promoting Post-Internet 81 3.7.2.1 Carroll/Fletcher (London) 232 1.4.2.4 Post-Internet as a professional network 87 3.7.2.2 XPO Gallery (Paris) 235 1.5 The newcomers 95 3.7.2.3 Transfer (New York) 238 3.7.3 Converging paths 240 2. THE NEW MEDIA ARTIST’S PERSPECTIVE 98 3.8 The online contemporary art market 244 3.8.1 Saatchi Online 249 2.1 Patterns of recognition 99 3.8.2 VIP Art Fair / Artspace 251 2.1.1 Artists as pawns 99 3.8.3 Sedition 256 2.1.2 Four circles of recognition 101 3.8.4 Artsy 261 2.1.3 After the award ceremony 104 3.8.5 Paddle8 264 3.8.6 Amazon Fine Art 269 LIST OF TABLES 3.9 Digital art frames 271 3.9.1 FRAMED* 272 TABLES 3.9.2 Electric Objects 275 Table 1. Obstacles and facilitators in the process of artification 40 3.9.3 Meural 278 Table 2. The ten constituent processes of artification applied to Street Art 43 Table 3. Obstacles and facilitators in the recognition of new media art 50 3.9.4 Depict 280 Table 4.
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