First I want to thank Jon Ippolito for letting me know about this discussion list. I interviewed him about preservation of media art Tecnoartenews, Portuguese website about media art and contemporary culture. Interview link is: http://tecnoartenews.com/news-in-english/preservation-of-media-arts-interview-with-jon-ippolito-by-karina-de-freitas-2/. I’m researcher in media art market and I write articles about this theme.
I was reading here the interesting discussion about art market. I have my reservations about initiatives such as [s]edition. I believe these initiatives are important because it is a step toward to establish a market for digital art but at the same time they are midway between tradition and what’s new. So selling versions of artworks that takes place in process makes it familiar for the collector used to collect paintings or photographs.
In this case, being copies of an original work we can continue saying that the collector is buying a digital artwork? I believe that this is causing misperception of media art when trading takes place especially by intermediates (the galleries), which contributes to create the illusion of being in the digital medium and having a certificate of author is indeed digital art or that this an inexpensive art.
On the other side, as remembered by Domenico, the artist Rafael Rozendal found an interesting way to sell his net.art, keeping all its features, without turning them into physical objects or digital versions of a static moment of its process.
He sold more than half of his work to known and unknown collectors attracted by its peculiar and particular contract of sale of the artworks on websites.
As Rozendal other artists also took the initiative to sell their works without intermediates, offering certificate of copyright and, in most cases, maintenance of the work.
Also interesting is SoftwareArt (www.softwareart.com), an online gallery dedicated to sell software art. After the buy, the work arrive at home in the package with the technical instructions for the collector.
I believe that at present existing initiatives are a starting point but new ways must be found so that media art is not limited to specific formats aimed at validating its entry and acceptance in the art market.
In this case, maybe would be important to think in educating the public and specially the collectors to consume the media art as it is and formalize this market, developing strategies for it inclusion in the art market. Would be important that habits of consumption and enjoyment of art could be transformed, bringing the audience to appreciate the art so that in future we can have digital paintings on our walls and also to interact with multi-users works from our homes, helping to its realization.
I apologize for any error in the text.
Greetings from Brazil/Spain.
Karina de Freitas
Founder and Creative Director of Tecnoartenews
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