[Following is a synopsis of the "Collecting the Uncollectible" panel
discussion held at the Guggenheim last Tuesday 9 April. The topic, new
business models for digital artists, was conceived by artist Mark Napier
together with Kim Kanatani and Rosanna Flouty of the Guggenheim Museum.
Artists John Klima and John Simon participated along with independent
distributor Michele Thursz. Since I wasn't a very "moderate" moderator,
I'll post my own position on this topic in followup messages. –Jon]

+ + +

In response to the question of whether software-based can art be sold,
Mark Napier said that there are believers and disbelievers, but for some
reason they don't seem to be talking to each other. The purpose of this
panel, as he saw it, was to reconcile those worlds.

Jon Ippolito then cited some of the impediments the traditional art
market perceives in digital art–the challenges it raises from
traditional standpoints of aura, durability, materiality, access,
promotion, and ownership.

Ippolito proposed that the variable media paradigm currently being
pursued by the Guggenheim and its partners offered a solution to the
"variable aura" and perceived ephemerality of digital art. (More info at
http://www.guggenheim.org/variablemedia.) John Klima's solution was to
offer a personal pledge to upgrade his project EARTH for any collector
as long as he's still alive.

To give the audience a sense for the range of materiality possible in
digital art, John Simon contrasted his acrylic sculptures cut by a
software-controlled laser with his well-known applet Every Icon, which
is e-mailed to collectors and can be installed on various types of
hardware. The fact that Simon has sold 125 Every Icons to date suggests
that immateriality is not by itself an impediment to selling digital
art.

In response to the dilemma of how to keep digital art accessible (via
the Web, for example) while at the same time allowing for a rarity
conducive to sales, Klima has explored a tiered approach to production
and distribution. The online version of EARTH consists of a free cross-
platform Java version ("just a simple elegant Landsat retriever"), but
he limited to eight an edition of full-featured "turn-key" hi-resolution
computer versions.

Simon and media art distributor Michele Thursz demonstrated two
approaches to the promotion problem–ie, how to get digital art under
the nose of collectors unfamiliar with it. Simon illustrated the Do It
Yourself model with his "Souvenir Shop" on numeral.com. Simon discussed
working with Amazon.com to host his online store and the costs and
benefits of controlling his own distribution. Thursz contrasted the DIY
model with her experience as an independent distributor. Thursz has
worked with galleries such as bitforms and nonprofits such as Turbulence
to help connect artists with curators and develop new revenue models for
digital art.

Finally, on the topic of unique v. multiple ownership, Simon introduced
the concept of editions–that is, multiple but individual ownership–as
applied both to hardware and software. Simon discussed when to number an
edition and when to limit it. For example, his LCD panels are numbered
and limited; Every Icon is numbered and unlimited; and his laser
sculptures are unnumbered and unlimited.

Napier introduced another form of multiple ownership, this time shared
rather than individual. Collectors can purchase one of fifty shares of
Napier's recent project Waiting Room; this entitles them to a CD with
the requisite software to view and interact with this communal graphic
interface. Collectors also receive a certificate, and there was some
discussion about whether what they were ultimately buying was the
viewing experience or the certificate itself.

In conclusion, Ippolito raised the broader issue of whether art should
be sold at all. Doctors anticipate he'll make a full recovery ;)