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Reading Room

A continually evolving treasure trove capturing a few of the ideas which have directly inspired this programme

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When digital avatar Lil Miquela signed to the one of the world’s premier talent agencies

<Podcast>

Trevor McFedries (Brud / Lil Miquela) Interdependence, episode 3

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Collecting as practice

<Video>

The Evolving Collector: Collecting as a Beginning Art Basel conversation moderated by Rose LeJeune

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The alternative art market report

<Report>

The Future of the Art Market

Net art, just not on the web

<Article>

Michael Connor’s Decade in (the end of) the Internet Michael Connor for Rhizome

Brush up on the latest stats

<Report>

Art Intelligence Fall 2020

<Report>

Hiscox Online Art Trade Report 2020

<Report>

 The Impact of COVID-19 on the Gallery Sector

Inclusion isn’t enough

<Article>

FUCK THE POLICE, FUCK THE STATE, FUCK THE TATE: RIOTS AND REFORM The White Pube

Art elsewhere; is artworld art becoming increasingly irrelevant?

<Article>

Influencing The Void Caroline Busta for Kaleidoscope magazine

A scholarly subaltern critique on the historiography of the British Empire

<Book>

Capitalism and Slavery Dr Eric Williams

How can we appreciate, or even make art, in the present age?

<Book>

Duty Free Art: Art in the Age of Interplanetary Civil War Hito Steyerl

Art NFTs boom? What’s that about?

<Article>

The Quick: Nonfungible Tokens Cointelegraph magazine

A guide to the machinations of the finance sector

<Book>

The Heretic’s Guide to Global Finance: Hacking the Future of Money Brett Scott

Takashi Murakami; transforming the rules of the market

<MA Thesis>

Market Value Analysis of Takashi Murakami’s Artwork Under Howard Becker’s theory Lui Yi-Din

The era of data extraction

<Book>

Platform Capitalism Nick Srnicek

Are peer-to-peer networks prepared for an increasingly hostile online environment?

<Article>

Optimism and Emergency in the P2P Network  Cade Diehm

How online exhibitions can be more than a second rate substitute for the ‘real’ thing

<Article>

 Curating Online Exhibitions Michael Connor for Rhizome

Internet art is no longer determined by its existence on the web

<Book>

Expanded Internet Art: Twenty-First-Century Artistic Practice and the Informational Milieu Ceci Moss

Reimagining how, to what and to whom we ascribe value

<Article>

When the Money Runs Out, What Might a ‘Poor Art’ Look Like? Ben Eastham for Art Review

Can approaching art as information reveal new ways of collecting?

<Article>

Collecting in the Age of Digital Reproduction Casey Reas for Artnome

A different model for a VR sculptural installation – towards a new museology

<Case Study>

FACT/ Federation of International Museums (FIHRM) Lucia Arias & Neil Winterburn, on behalf of FACT

Net art can be sold too

<Interview>

Dispelling the Myth that Net Art is (Not) a Commodity: Olia Lialina Art Margins

Art as felt knowledge

<Article>

Making Art vs Market Research Ben Eastham for Art Review

Can crypto catalyse more equitable models of ownership?

<Article>

The Ownership Economy: Crypto & The Next Frontier of Consumer Software Jesse Walden

Blockchain should be about more than ‘banking the unbanked’

<Article>

Ethereum is a Casino Lane Rettig for Etherean.org

The end of the Blockbuster era?

<Article>

Is the Age of the Blockbuster Exhibition Over? A Perfect Storm of Challenges Suggests It May Be a Thing of the Past Kate Brown for Artnet

How big tech will emerge stronger from the Covid pandemic

<Article>

Big Tech Could Emerge From Coronavirus Crisis Stronger Than Ever Daisuke Wakabayashi, Jack Nicas, Steve Lohr and Mike Isaac for The New York Times

Why and how we need to improve the future of community arts organisations

<Report>

Space, survival and sustainability: the future of community arts organisations in the UK Zain Dada

Carving out a space in the sharing economy

<Article>

Art’s Role in the Sharing Economy: How Digital Art Can Help the Market Elena Zavelev for Observer

Local reckoning

<Article>

In a Post-COVID World, What Museums Do Outside Their Walls Will Become as Important as What They Put on Them Madeleine Grynsztejn for Artnet

On the relationship between gender, technology and identity

<Book>

Glitch Feminism: A Manifesto Legacy Russell

Supporting rather than owning art

<Article>

Can the art market thrive in a sharing economy? Melanie Gerlis for The Art Newspaper

A critical appraisal of the plantation economic model

<Academic Paper>

The Plantation Economy Model and the Caribbean Dennis Pantin

Sharing Economies; the basics

<Article>

 Sharing Economy Investopedia

Manifesting a sharing economy; a range of viewpoints

<Article>

What Would an Actual Sharing Economy Look Like? Arts Everywhere

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Public Submissions

Your suggestions to the Reading Room are welcome, please either submit your ideas via the comments form below or by email. Comments are held in moderation before being published, so there will be a short delay before they appear on the site.

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Americans for the Arts has created a resource center to better understand the economic impact of Covid 19 on the Arts and Cultural Sector in the United States.

This ongoing survey to capture coronavirus-related economic impact reports from artists, arts organizations, and arts agencies of all types, genres, sizes, and tax statuses. 

Although this is not an example of a “new idea” or new model, it is a extraordinary trove of information we can use to better understand vulnerabilities in the market / ecosystem and find new ways to understand, support and rebuild these critical parts of the infrastructure.
https://www.americansforthearts.org/by-topic/disaster-preparedness/the-economic-impact-of-coronavirus-on-the-arts-and-culture-sector

Future Art Ecosystems by Serpentine Galleries

The inaugural issue of FAE focuses on the new infrastructures being built around artistic practices engaging with advanced technologies. The view presented here is based on the Serpentine’s experience and desire to share insights from working with artists including Hito Steyerl, James Bridle, Cécile B. Evans, Ian Cheng and Jakob Kudsk Steensen, ongoing conversations across broader networks, and insights derived from a series of interviews conducted with artists Alexandra Daisy Ginsberg, Holly Herndon, Rebecca Allen and Refik Anadol; Ece Tankal and Carmen Aguilar y Wedge of Hyphen-Labs; journalist and technologist Jonathan Ledgard; Julia Kaganskiy, founding director NEW Inc; Kenric McDowell from the Artists + Machine Intelligence programme at Google Research; Liz Rosenthal, Power to the Pixel; futurist Noah Raford; Rachel Armstrong, Professor of Experimental Architecture, Newcastle University; Takashi Kudo of teamLab.

https://www.serpentinegalleries.org/whats-on/future-art-ecosystems/

After the Pandemic is an accelerator for change, incubating ideas and enabling communities to collaborate on creative projects that impact societies, cities and the climate for the better. http://afterthepandemic.scot/

comments
Subscribe
Notify of
3 Suggestions
Inline Feedbacks
View all comments

Americans for the Arts has created a resource center to better understand the economic impact of Covid 19 on the Arts and Cultural Sector in the United States.

This ongoing survey to capture coronavirus-related economic impact reports from artists, arts organizations, and arts agencies of all types, genres, sizes, and tax statuses. 

Although this is not an example of a “new idea” or new model, it is a extraordinary trove of information we can use to better understand vulnerabilities in the market / ecosystem and find new ways to understand, support and rebuild these critical parts of the infrastructure.
https://www.americansforthearts.org/by-topic/disaster-preparedness/the-economic-impact-of-coronavirus-on-the-arts-and-culture-sector

Future Art Ecosystems by Serpentine Galleries

The inaugural issue of FAE focuses on the new infrastructures being built around artistic practices engaging with advanced technologies. The view presented here is based on the Serpentine’s experience and desire to share insights from working with artists including Hito Steyerl, James Bridle, Cécile B. Evans, Ian Cheng and Jakob Kudsk Steensen, ongoing conversations across broader networks, and insights derived from a series of interviews conducted with artists Alexandra Daisy Ginsberg, Holly Herndon, Rebecca Allen and Refik Anadol; Ece Tankal and Carmen Aguilar y Wedge of Hyphen-Labs; journalist and technologist Jonathan Ledgard; Julia Kaganskiy, founding director NEW Inc; Kenric McDowell from the Artists + Machine Intelligence programme at Google Research; Liz Rosenthal, Power to the Pixel; futurist Noah Raford; Rachel Armstrong, Professor of Experimental Architecture, Newcastle University; Takashi Kudo of teamLab.

https://www.serpentinegalleries.org/whats-on/future-art-ecosystems/

After the Pandemic is an accelerator for change, incubating ideas and enabling communities to collaborate on creative projects that impact societies, cities and the climate for the better. http://afterthepandemic.scot/